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Frank Black

Frank Black

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

    Long out of print repress on exclusive coloured vinyl - Orange vinyl

    Frank Black

    Teenager Of The Year

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

      Long out of print repress on exclusive coloured vinyl - White vinyl

      Freddie Hubbard

      Little Sunflower

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

      It's our lucky day, here we have a beautiful official repress of this soul classic by Freddie Hubbard, plucked out of the furthest reaches of the Columbia vaults. Lifted from Hubbard's lauded 1979 LP 'The Love Connection', this sublime piece of melodic, deep, Soul / Jazz will have ears and minds open with its instantly recognisable opening string sequence. Used to devastating effect on Pepe Bradock's all-time 1999 deep-House classic 'Deep Burnt', those sweeping strings capture us and lead us into a epic journey with the wondrous vocal stylings of the legendary singer Al Jarreau. This is prime early morning music, pushing all the right buttons and spreading light wherever it is played, a beautiful beautiful record indeed. What is essentially an extended and rearranged version of Hubbard's 1967 original, the '79 version of 'Little Sunflower' boasts a sumptuous arrangement and production from the mighty Claus Ogerman (Ben E King, Mel Torme, Bill Evans, Antonio Carlos Jobim & more). A truly wondrous piece of music, reissued on a single side in its full 12" length of 9+ minutes from the source archive audio. 

      STAFF COMMENTS

      Patrick says: On the off chance you've never been to a nightclub, I'll inform you that this was the jazz cut which Pepe Bradock flipped for the seminal deep house anthem “Deep Burnt”. Thing is, even though it spawned the essential deep house track, it's actually better in its original form...

      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.

      Francisco Aguabella

      Desire / Casa Fuerte

      "Desire" is an amazing vocal club classic which has stood the test of time and is always in demand. It was never before pressed and released as a 45. A massive dancer and a must have release! If you like Latin Jazz dancers b-side "Casa Fuerte" is for you. A top class banger!

      STAFF COMMENTS

      Millie says: Fast paced lively Latin jazz always gets a big thumbs up from me, it's upbeat style is infectious making everyone in the mood to dance.

      Frank Booker

      Frank Booker Edits Pt. 2

      Another Frank Booker set of edits. At Piccadilly Records we regard him as a 'very good' editor. Not 'mint' but 'very good'. So attention is given to anything that lands at the counter with his name on it. 

      Straight off the bat ‘Be Yourself’ takes you on a sensuous journey around the disco cosmos. Interplanetary echoes, stratospheric strings and a bass and brass beamed down directly from the outer galaxy are brought together with those heavenly vocals alluring any lost souls. What is not to like?

      ‘More’ follows up – a hair raising, funk fuelled edit combining luscious vocals, a badass bassline and the kind of guitar riffs that will leave you straight up salivating for more. This is peak time, delectable disco with an added umph and rhythms that are kind to the discerning DJs out there.

      Closing out the EP things get slowed down to galactic chugger territory, marshalling the funky starship to the underground with the pied piper of supercharged jazz flutes leading the dance. Totally bonkers? No. Just genius.

      He may be reaching the 'mint' status fairly soon at this rate!

      STAFF COMMENTS

      Sil says: Top notch high quality and high octane edits from a man who knows what is doing. Buy on sight!

      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".

      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.

      Francis Coppieters

      Piano Viberations LP (THE KPM Reissues)

      2018 Reissue – Remastered From Original Tapes, Carefully Reproduced Original Art.

      Piano Viberations’ “small group jazz featuring piano and vibes with rhythm” makes for a gorgeous Francis Coppieters showcase, surely one of Belgium’s best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we’re re-issuing, this is easily our current favourite.

      “The Open Highway” is the appropriately-named opener, and immediately demonstrates Coppieters’ dexterous interplay between piano and vibes in assured, joyous fashion. The shuffling bossa of “Sales Notes” is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break that is “Funky Chimes” brilliantly demonstrates Coppieters’ quiet majestic side with its slow-motion funk rhythm with beautifully reflective notes throughout.

      The upbeat and joyful “Cross Talk” closes out side A. Vibes and piano are definitely at the heart of the arrangement here. The quick cut movement of “Piano In Transit” is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, “To Shearing With Love” is a warm, slow, romantic piece in the style of George Shearing. It’s plaintive and sublime.

      Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was first released. Piano and vibes with rhythm indeed.
      As with all ten re-issues, the audio for Piano Viberations comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


      FORMAT INFORMATION

      Ltd LP Info: 180 gram vinyl edition.

      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.

      Fabienne Delsol

      Four

        Fabienne Delsol’s new album Four is a culmination of a year or so’s activity at Toerag studios. The big change this time around is the co-production by Fabienne alongside Luke Oldfield, himself a long-time engineer and producer at Toerag. Though swathed in the same toil and tears of her previous three solo albums, Four has a more nuanced and mature sound, rooted in psych whilst retaining some snappy French pop and ‘60s garage styles of auld. There is also a mass of complimentary instruments, in particular the Mellotron is a welcome and worthy addition to many of the tracks. The contemporary and original songs 'I'll Never Be Lonely Again' and 'See How They Run' are masterfully crafted for Fabienne’s distinct delivery, and both feature a strong ‘60s groove in-keeping with her trademark sound, the latter being a contender for the highlight of this classy album.

        As is archetypal of a Fabienne Delsol LP, carefully chosen covers are lovingly interpreted via Fabienne’s delicate voice – take Lyme and Cybelle’s ‘Follow Me’, itself a wonderful heavy-handed garage-folk jaunt, or the stunning take on the Human Beinz’ second album opener ‘Face’, a spellbindingly solid piece - praise indeed to the assembled players on both. A lifelong devotee of “the Quo”, it’s no surprise then to hear Fabienne tackling a Spare Parts album track, only here ‘When I Awake’ is pared-back and sparkling, whilst Francoise Hardy’s smouldering French classic ‘J’ai Fait Du Lui Un Reve’ is reimagined with a sumptuous air of the ethereal, with stark emotion in that voice and slowly building up tonal layers as the track progresses - you’ll struggle to hear anything as haunting this year. 

        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.

        F-on & Urtzi_

        Downbeat Black Label 04 - Part 1 (A/B)

        Downbeat Black Label returns with two limited releases from F-on and Urtzi delving deep into drone and experimental techno and coming out sounding like Theo Parrish jamming with Demdike Stare.

        This release is part of special double vinyl pack, sold separately.
        Drone slow techno and 4x4 experiments by the owners of the label, F-on and Urtzi.

        Smiling C collaborate with Bahamian super talent, F.J. to compile a selection of six lost tunes from his catalogue, many of which make their first appearance on vinyl. Fritz Bootle, Jr. (F.J.) created a unique blend of reggae and r'n'b while living on the Grand Bahama island in the early 90's. Subtly inspired by the Compass Point Balearic locus of the nearby island of New Providence, and locally by a flourishing scene of soca, reggae, and disco, he developed this sound to fill a gap he saw in popular music.

        He was fortunate to marry into a family that gave him unlimited access to work in the legendary studio on Freeport, G.B.I. Recordings, run by Frank Penn. Always more of a passion project, he would come up with these in the evenings after work, finding a way to blend all his different influences (Bob Marley, George Duke, Teddy Riley, Journey...). Fooling around with Cubase he navigated his way to this magical deep bass sound and new jack style drum programming. "That's The Way" is the retrospective collection of the best moments from his Bahamas chapter.


        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.

          F/i

          Why Not Now? ... Alan!

            After many delays, Sorcerer is please as punch to finally reissue the debut LP from 1987 by Milwaukee space-rock gods, F/i: Why Not Now?… Alan! Available for the first time on the format since its initial release, it remains a Holy Grail item for lovers of cosmic rock & roll sounds from Underground Amerika in the 1980s. F/i had been churning out tape upon tape of experimental electronics since the early ‘80s. Influenced by Krautrock (particularly Cluster, Tangerine Dream, Ash Ra Tempel) and the harsh noise of Industrialists Throbbing Gristle and early SPK, by the mid ‘80s they morphed into a fully-fledged “rock” band, albeit one incorporating all of the above. This LP is the perfect synthesis of these sounds: grimy, lo-fi ‘rock’ with elements of industrial clang and extended, Hawkwind-ish space-rock jams; from the two-step cosmic churn of “Electric Waltz” to the ‘Neubauten-style bang & bash of “Zombie Theme”. Remastered by Mikey Young, the sleeve perfectly replicating the original, our edition is a limited edition of 500 copies.

            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.

            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. 

                  Factory Records

                  Fac Off T-shirt (Grey)

                    Factory Records sweary-ish t-shirt.

                    Fad Gadget

                    The Best Of Fad Gadget

                      Fad Gadget, who, alongside Human League, Cabaret Voltaire and The Normal, was at the forefront of the electronic movement of the late 70s/early 80s and is recognised as one of the most influential acts of the last twenty years.

                      The first signing to the Mute label, Fad Gadget released his debut single, the groundbreaking ‘Back To Nature’ in October 1979 (recently featured in Season 2 of ‘Stranger Things’). Recorded using a drum machine and synthesiser a string of classic singles followed, including ‘Ricky’s Hand’, ‘Fireside Favourites’ and ‘Collapsing New People’.

                      A truly unique artist, his live shows were legendary and quickly established Fad Gadget as one of the most exciting acts of the time.

                      This collection features tracks from Fad Gadget’s four critically acclaimed albums, ‘Fireside Favourites’ (1980), ‘Incontinent’ (1981), ‘Under The Flag’ (1982) and ‘Gag’ (1984). Tovey dropped the Fad Gadget moniker and recorded a further five albums for Mute under his own name throughout the 80s and early 90s. He continued to experiment with many different styles, mixing electronics with rock, punk, folk and dance music.

                      Special edition repress of the album on silver double vinyl. Released as part of the MUTE 4.0 (178>TOMORROW) series.

                      “Mesmerizing… Fad Gadget - aka Frank Tovey - laid the groundwork for a generation of synth bands” - Billboard

                      STAFF COMMENTS

                      Patrick says: One of my musical heroes between the age of 18 and 24 (albeit posthumously), Frank Tovey was a British synth pop pioneer, confrontational performance artist and right weirdo. Here we get ALL the unclassics in one place. Music for bedsits...

                      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.

                      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. 

                      At its genesis, social-media platforms posited themselves as new, innovative ways to connect with friends and family. You could share and promote your work, trade insights on the latest pop-culture phenomenon, coo over a friend’s new pet or baby—the possibilities seemed as boundless as the Internet itself had in the early ‘90s. But as one platform begot another, and then another, the proverbial milk started to curdle. Especially in the last decade, as algorithms evolve, Facebook and Twitter have morphed into warped personalized mirrors, where users can gaze at and react to left- or right-leaning news sources, specific-to-them advertisements, and—perhaps most relevant—fiery political opinions. Facebook in particular has become a breeding ground for hate speech and bullying, among other issues.

                      This is precisely what troubles Omaha electro-punk pioneers The Faint on their forthcoming seventh studio album, Egowerk. “Social media is turning well-meaning people into self-important cruel monsters,” asserts lead singer Todd Fink. “Egowerk’s focus is on the current social state of the Internet: an amazing world of free knowledge, communication, and opportunity is proving to be a toxic battleground. One where the people most sure of their opinion are quick to take a stand and destroy anyone who doesn’t agree with them.”

                      His sense of urgency unfurls over the album’s frenetic, cacophonous tracks. Opener “Child Asleep” echoes well-loved Faint singles from the Danse Macabre days, with rapidfire techno beats that sear so hot, your forehead will break into a sweat regardless of proximity to a dance floor. And though the synths should sound familiar to any Faint follower, the song’s monotone message is at once classic and current: “If I was wise, I would see I’m a child still asleep.” Elaborating further, Todd says, “It would be amazing if I could wake up from the world that I think I'm awake in already. If there’s a better way of understanding life, I'd love to be privy to it. You see the wisdom of all Gurus in the East, and you know they're not bothered by this or that. They've attained something, and the rest of us are just kind of banging into stuff, trying to figure out what to do with our lives.”

                      But in terms of music creation, the band, which also includes drummer and backup vocalist Clark Baechle, keyboardist Graham Ulicny, and guitarist and bassist Michael “Dapose” Dappen, is very much wide awake. It’s been four years since the Saddle Creek flagship act dropped a proper studio album, and more than two decades since they first tore onto the Midwest scene, alongside area staples Cursive and Bright Eyes, with anxious electro-pop-punk anthems that meshed doomsday themes with thudding dance-floor hooks.

                      Now with their latest effort, the group began to construct Egowerk shortly after releasing their 2016 career-spanning record, CAPSULE:1999-2016, with Baechle making frequent trips back to Omaha from his new home in Philadelphia to mix the record. “We came up with the foundation of nearly an entire song each day, every day,” says Fink. “We worked really fast and made a lot of progress at the beginning.”

                      “As a band, we did the whole record ourselves,” says Baechle, who also oversaw the production on Egowerk. “We voted to produce it as a band. For me, personally, this was the biggest difference between this album and others.”

                      Recording at Enamel Studios in Omaha, The Faint composed 11 blistering tracks that explore society’s current relationship to, well, themselves. “I have work to do on my ego, and so does everyone else,” says Fink. “It's become really noticeable with the state of the world, especially when we're on communications platforms, social media and all that stuff. We have to ask ourselves why we're doing what we're doing. Is it an ego trip? Are we trying to make other people do what we wish we would do? Or are we just trying to feel better than other people and taking people down?”

                      Despite The Faint’s nihilistic musings on Egowerk, Fink and Baechle remain optimistic that things can improve if society is willing to absorb dueling perspectives. “The more you learn about any issue, any issue at all, the more you understand that it's more complicated than you think,” Fink says. “I'd like to see people less convinced that they're right about everything all the time. I guess I think we'll figure it out as time goes on.”


                      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. 

                        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.

                          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

                                Meet Me On The Ledge: The Collection

                                  Still recording and touring more than 50 years on from their creation, Fairport Convention are credited with pioneering the Electric Folk movement, providing the distinctively English identity to Folk music that we know and love today. Here you’ll find classics from albums such as Liege And Lief, Unhalfbricking, What We Did On Our Holidays and many more. 

                                  FORMAT INFORMATION

                                  LP includes MP3 Download Code.

                                  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

                                    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



                                      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 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!

                                      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.

                                        Selva Discos fulfills its duty of giving a new life to Fernando Falcão's long lost LPs with the reissue of his album Barracas Barrocas, originally released through Egberto Gismonti's cult record label Carmo in 1987. Somehow, an original copy of this album is even more elusive than its predecessor Memória das Águas and it is a pity that such a stunning piece of music was kept apart from listeners worldwide for so long.

                                        The follow-up to Memória das Águas was recorded in São Paulo after Fernando Falcão returned from his exile in France in 1984. In order to conceive Barracas Barrocas, the musician had the help of illustrious friends, such as singer-songwriter Alceu Valença and singer Tetê Espíndola, alongside brothers Myriam and Daniel Taubkin. At the time, Falcão was still using the sound sculptures he created for Memória das Águas, as he is credited in the liner notes for playing a "water orchestra" and his berimbau variant called balauê.

                                        Barracas Barrocas is an album that works as a more condensed and coherent artistic statement of Falcão's oeuvre. Lush strings, swelling brass, glowing production, and humming atmospheres fill the record, adding a beautiful yet subtly linked counterpoint to his previously explosive debut. It is very cinematic, sounding like the soundtrack of a play that only existed in the musician's mind.

                                        For this release, not only the sound was remastered but the artwork of Barracas Barrocas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus an article that tells the story of Fernando Falcão after returning to Brazil following his exile – a story that has never been told, until now.

                                        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

                                        30 Minutes On A Manchester Slag Heap

                                          A youngish Mark E Smith is interviewed about all things Fall and Manchester whilst answering by often avoiding the interviewer’s questions in some of Mark’s favourite surroundings- outside on a Manchester slag heap- most answers are preceded by a pause whilst he inhales another draw on his cigarette

                                          The Fall

                                          58 Golden Greats: 3CD Boxset

                                            The expanded 3-CD follow up to the iconic now out of print 50,000 Fall Fans Can’t be Wrong compilation, now features songs right up to the groups last album. Compiled and annotated by long time Fall aficionado Daryl Easlea from across all the labels the band has appeared on. The booklet designed by long time Fall designer Becky Stewart contains a track by track overview. Mastered by Andy Pearce from the best sources available. Formed in Manchester in 1976, Fall were a seminal English post-punk group. The group existed in some form from that point on, built around its founder and only constant member, the late, great Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group's music underwent stylistic changes over the years, but was always characterised by an abrasive guitar-driven sound and frequent use of repetition, underpinned by Smith's distinctive vocals and often cryptic lyrics. This compilation is ideal for anyone wanting to discover the weird and wonderful world of the Fall. "They are always different; they are always the same." 

                                            The Fall

                                            Bend Sinister / The 'Domesday' Pay-Off Triad-Plus!

                                              Beggars Arkive reissue The Fall’s ninth studio album, Bend Sinister, originally released in 1986. This edition is titled Bend Sinister/The 'Domesday' Pay-Off Triad-Plus!

                                              It was the last of three albums in a row produced by John Leckie and was named after a dystopian novel by Vladimir Nabokov.

                                              After the universal acclaim for the previous year’s This Nation’s Saving Grace, Bend Sinister often stands in its predecessor’s shadow. It is a dark, brooding album made at the height of the group’s Beggars Banquet years and many people include this at the top of the list of favourite Fall albums.

                                              From Bend Sinister, “Mr. Pharmacist” is a lurching instalment in pop music’s ongoing conversation with drug dealers, illicit and otherwise. Actually a cover of 1960s garage-rockers the Other Half, it’s also a demonstration of how the Fall’s relatively unchanging style could bolster other people’s songs. – PITCHFORK

                                              “Part musical hypnotist, part ranting madman, Smith was a singular figure in post-punk. His Mancunian accent, dry witticisms and plays on words were one of the Fall’s most constant characteristics. Their songs were odysseys into his ever-verbose psyche, marked by repetitive rhythms and melodies.” – ROLLING STONE

                                              “At various points in the band’s four-decade career, the Fall might sound like punk, hard rock, psychedelia, funk, blues-rock, jazz-rock, electropop or sheer noise. “If it’s me and your granny on bongos, it’s the Fall,” Mr. Smith once declared. The BBC disc jockey John Peel, an early and steadfast supporter, said of the Fall that ‘they are always different, they are always the same.’” - THE NEW YORK TIMES

                                              "Mark E Smith’s group of psychedelic post-punks rank as one of the most visionary, singular British bands of all time.” -THE GUARDIAN

                                              FORMAT INFORMATION

                                              2xLP Info: Double LP, gatefold sleeve with inner bags. Includes replica program for the Riverside production of ‘Hey Luciani!’.

                                              2xCD Info: Double CD contains 6 unreleased songs, casebound, and includes 24-page booklet with notes by Daryl Easlea.

                                              The Fall

                                              Dragnet

                                                Dragnet is arguably The Fall's best-known album. With the departure of Martin Bramah after Live At The Witch Trials, the band underwent yet another lineup shift in late 1979. Marc Riley switched to guitar and Steve Hanley joined on bass; the latter's signature basslines would become a major part of The Fall for the next two decades.

                                                Opening track "Psykick Dancehall" strikes like an elusive, working-class anthem with its bouncy tempo changes and Mark E. Smith's unfiltered vocals raining down on the dance-floor. "Dice Man" takes its direction from disheveled beats, stuttering lyrics and asymmetrical phrasing. Somehow Dragnet manages to be even more lo-fi than The Fall's debut, yet reveals a cohesive sound and fierce songs that would further build the band's cult following.

                                                The Fall

                                                Dragnet

                                                  Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics. “Dragnet” is the second studio album – released 26th October 1979 - these editions celebrate the fortieth anniversary of this seminal album. Originally released through record label Step-Forward, it predicated 2 major factors in the group’s career – high productivity and high group turnover. The album has historically garnered excellent reviews, including 4/5 in MOJO, 8.7/10 on Pitchfork and 4/5 in Q Magazine. Featuring the one and only Mark E. Smith alongside Steve Hanley (bass), Marc Riley (guitar), Craig Scanlon (guitar), Mike Leigh (drums), Kay Carroll (backing vocals) and Yvonne Pawlett (keyboards). 

                                                  The Fall

                                                  I Am Kurious Oranj

                                                    I Am Kurious Oranj is The Fall’s eleventh studio album. Released by Beggars Banquet 30 years ago, in 1988, it contains some of their most loved songs including “Cab It Up!”, “New Big Prinz” and “Jerusalem” which takes its lyrics from a poem by William Blake.

                                                    The album was written as the soundtrack to an avant-garde ballet titled I Am Curious, Orange, produced by the experimental Michael Clark Company and performed in London with The Fall playing live. As it said in the original ballet program, replicated inside this reissue, “Mark E. Smith is a history buff and admirer of Michael Clark, and I Am Curious, Orange spawned the idea of a thematic delving into the foibles and little-known psyche of William of Orange.”

                                                    According to Mark E. Smith in his book, Renegade, “We adapted the title from a Swedish porno film--I am Curious, Yellow. I was trying to make the point that we all share some kind of common knowledge that’s within ourselves; that comes out in all sorts of things. Some people call it a gene pool. It’s as if you already know subconsciously about historical incidents. You don’t have to have been taught it. It’s in-built. At the time I wanted to put this across, basically as a loose explanation of what was happening in Belfast: it’s in the head and bones and there’s nothing you can do about it. I was on a roll at the time. I’m rarely short of ideas, and I’m not into preserving them much, either. If it’s in your head and you’ve got the right people around you them there’s no better time to tell the story.”

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Orange coloured vinyl. Contains the replica of original programme of the ballet play performed at Sadler Wells Theatre.

                                                    The Fall

                                                    Levitate - Expanded Edition

                                                      “Levitate” is the Fall’s 19th album originally released in 1997 on Artful Records. It has been out of print for a number of year snow and is much sought after by fans It’s the last album to feature two long-time Fall members, drummer Karl Burns and bass player Steve Hanley (whose playing was once described by Smith as the defining element of the group's music). The album was initially going to be produced by Keir Stewart and Simon Spencer (who previously collaborated with Smith under the moniker D.O.S.E. on the 1995 single ‘Plug Myself In’). Most of the recordings took place at Edwyn Collins’ studio in West Hampstead. However, Stewart and Spencer soon fell out with Smith over payments and left after a week, taking most of the tapes with them. The only tracks from these sessions to make the album were "4½ Inch" (allegedly edited out of samples of a rehearsal recording), ‘Spencer’, later re-dubbed by Smith as ‘Spencer Must Die’, and ‘The Quartet of Doc Shanley’.

                                                      The Fall

                                                      Live At The Witch Trials

                                                        The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band's diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks. 



                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Limited red vinyl features the US artwork and track-listing. It is limited to 1000 copies.

                                                        3xCD Info: The 3CD version comes housed in a clamshell boxset. Alongside the full album is a disc of b-sides and session tracks and a live show from Mr Pickwick’s in Liverpool 1978. The boxset also features a booklet of new sleeve notes by Daryl Easlea and has been remastered by long-term Fall engineer Andy Pearce.

                                                        The Fall

                                                        Singles 1978-2016: 3CD Boxset

                                                          The Fall is an English post-punk band, formed in Manchester in 1976. The band has existed in some form ever since, and is essentially built around its founder and only constant member Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group's music has gone through several stylistic changes over the years, characterised by an abrasive guitar-driven sound and frequent use of repetition, and is always underpinned by Smith's distinctive vocals and often cryptic lyrics. The band is noted for its prolific output: as of autumn 2017 they have released over 32 studio albums, and more than triple that counting live albums and other releases. This collection features all the A-sides recorded across a multitude of labels: Step Forward, Rough Trade, Kamera, Beggars Banquet, Cog Sinister, Permanent, Artful, Action… oh, and Cherry Red! We got the lot!

                                                          STAFF COMMENTS

                                                          Barry says: As well as the massive box set, we also get this slightly trimmed-down but no less superb 3CD version of this stunning fall singles compilation. Some well-known classics, and maybe a few you won't have heard (who am I kidding, course you've heard them all!). Nonetheless, it's a worthy addition to any Fall fan's compilation, and needless to say, a brilliant starting point.

                                                          FORMAT INFORMATION

                                                          CD Box Set Info: 3xCD edition.

                                                          The Fall

                                                          1982 - 6 CD Box Set

                                                            1982 was a decisive year for The Fall. Their critically acclaimed album “Hex Enduction Hour” was released in March on Kamera Records, closely followed by “Room To Live” in September.

                                                            This six-disc boxset brings together those two classic albums alongside a host of John Peel sessions, Kamera singles, live performances and the group’s live album “In A Hole”, recorded during their tour of New Zealand and originally released on Flying Nun Records.

                                                            Also included in the box is a replica poster from the August 1982 show at the University of Canterbury in Christchurch, New Zealand and a replica press-release for “Hex Enduction Hour”.

                                                            Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics.

                                                            “They are always different; they are always the same.” John Peel.

                                                            The Fall

                                                            45 84 89 A-Sides

                                                              Originally released in 1990, the seventeen songs collected here come from The Fall’s Brix Smith era, aka “the golden era of Fall releases.” This is a perfect introduction to the band, and as legendary critic Robert Christgau said, it’s “The only Fall record any normal person need own”.

                                                              The band’s legendary and notorious frontman Mark E. Smith passed away earlier this year at the age of 60. The band’s output since they formed at the height of the punk rock movement in Manchester in 1976 was prolific to say the least. It’s hard to be exact, but in their four decades, The Fall released 31 studio albums, 5 part-studio/part live albums, 32 live albums, 40 compilations, and Mark E. Smith also released two spoken word albums. Another high number is that of former members of The Fall. There were over 60 different band members over the years. Their high volume of quality work over the last 40+ years had an enormous influence which was extolled greatly after his death.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: White vinyl edition.

                                                              The Fall

                                                              Dragnet - Deluxe Edition

                                                                "The Fall's second album was also one of the hardest to find in later years, getting only sporadic represses and reissues. Though some opinions would have it that there was a good reason for this -- namely, that it was something of a dead end sonically -- it's not as bad as all that. It's true that more than a few tracks come across as Fall-by-numbers (even then, already better than plenty of other bands), but there are some thorough standouts regardless. There's also another key reason to rate Dragnet -- it's the debut album appearance of Craig Scanlon, who picked up on the off-kilter rockabilly-meets-art rock sensibilities of the initial lineup and translated it into amazing guitar work. No less important is the appearance of Steve Hanley, who would soon take over fully on bass from Marc Riley, who in turn moved to guitar, forming one heck of a partnership with Scanlon that would last until Riley jumped ship to form the Creepers. Generally the songs which work the best on Dragnet throw in some amusingly odd curves while still hanging together musically. The full winner is unquestionably "Spectre vs. Rector," an amazing combination of clear lead vocals and buried, heavily echoed music and further rants, before fully exploding halfway through while the rhythm obsessively grinds away. Another odd and wonderful cut is "Muzorewi's Daughter," which starts out sounding like stereotypical Hollywood music for Native American tribes before shifting between that and quicker choruses. "Dice Man," with its rave-up melody and slower vocal- and guitar-only chorus, not to mention the weird muttering elsewhere in the mix, says it all in under two minutes and has fun while doing it. Through it all, Smith rants and raves supreme, spinning out putdowns, cracked vocals, and total bile with all the thrill and energy one could want from a good performer. " - AllMusic.

                                                                Expanded deluxe edition of this, the second studio album from The Fall. Includes eleven bonus tracks, including the singles "Fiery Jack" and "Rowche Rumble".

                                                                The Fall

                                                                Grotesque (After The Gramme)

                                                                  Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall's Grotesque is the true pure-bred Fall release from the Marc Riley era. Released in the immediate wake of The Fall's most beloved single (Totally Wired), the album carries over that righteously famed teeth-chattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist Steve Hanley and aged only 15 at the time of recording.

                                                                  "Pay Your Rates" negates the notion of easing into things, opening the album with pure jitter, guided by hornet-buzz guitars and Mark E. Smith's commanding shout, allowing for breath only during the brief, lumbering waltzes that appear at unexpected intervals. "New Face In Hell" is an entirely alien take on dancehall post-punk – a kazoo-driven rave-up that holds an unshakable position in the band's canon.

                                                                  Many significant firsts surround Grotesque, including The Fall's inaugural production partnership with Mayo Thompson and the debut of Suzanne Smith's wonderful artwork, both of which would play key roles in the band's following phase.

                                                                  The Fall

                                                                  Hex Enduction Hour

                                                                    Hex Enduction Hour was originally conceptualized as the death knell for The Fall. Beleaguered by career uncertainty and guided by vague premonitions of collapse, Mark E. Smith declared that one full hour was needed to thoroughly and perhaps finally state his case with The Fall. This framework resulted in a true classic of the post-punk era and an album that gave The Fall their first taste of album chart success, thankfully removing surrender from the equation.

                                                                    Recorded in haste in both Iceland and England in late 1981, the performances on Hex Enduction Hour are among the band's most urgent and distinctive. The album begins with the severe provocation of "The Classical" and the terse punk of "Jawbone And The Air-Rifle," but it's "Hip Priest" that stands out as Smith's calling-card theme, a song that would become inextricable from his character (or perception thereof) in the years that followed. The elongated "And This Day" fittingly positions the band as spell-casters, closing the hour by filling every conceivable bit of space with wild, primitive percussion and whimsical electric piano.

                                                                    The Fall

                                                                    Hex Enduction Hour - Deluxe Edition

                                                                      First released in March 1982, "Hex Enduction Hour" is The Fall's fourth studio album and is regarded as a 'classic' in their catalogue. With Smith's sustained rail against culture as Britain went from being a producer to a consumer, "Hex..." is the point where The Fall mapped-out a whole new territory. A tour-deforce of dense, knotty, broken, brazen, dark, bleak and skewiff alt rock, it's no surprise that the track "Hip Priest" was used during the climax to the film, The Silence Of The Lambs. In short, "Hex..." is when it got really good.
                                                                      This deluxe edition adds a complete second disc of bonus tracks ranging from tracks recorded for a Radio One Peel session in September '81, the single "I'm Into C.B." and six live tracks recorded in England and New Zealand between November '81 and August '82.

                                                                      The Fall

                                                                      Hex Enduction Hour - Triple Splatter Coloured Vinyl + 7" Edition

                                                                        1982 was a decisive year for The Fall. Their critically acclaimed album “Hex Enduction Hour” was released in March on Kamera Records, closely followed by “Room To Live” in September of that year.

                                                                        This triple LP includes the full classic album plus John Peel Sessions and live recordings in Manchester and New Zealand.

                                                                        The bonus 7” single is a replica of their 1982 Kamera single ‘Look, Know’, b/w ‘I’m Into C.B.’

                                                                        This release is a triple gatefold on green & white splatter vinyl – the 7” is black vinyl.

                                                                        Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics.

                                                                        “They are always different; they are always the same.” John Peel.

                                                                        FORMAT INFORMATION

                                                                        3xLtd LP Info: Triple gatefold on green & white splatter vinyl and bonus 7".

                                                                        The Fall

                                                                        Hip Priests And Kamerads

                                                                          "So named due to this being a collection of stuff released on the Kamera label, for a long time Hip Priests was the only way to listen to material from the mighty Hex Enduction Hour album, as well as Room to Live and related singles like "Lie Dream of a Casino Soul" and "Look, Know." For that reason alone it was a useful collection, though it was also flawed in that nearly everything was mastered for CD from vinyl, a harbinger of what would eventually happen in the late '90s with any number of early Fall reissues. It's especially noticeable on "Hip Priest" itself. Whether or not one wants to debate the aesthetics of such an approach, it's still more than a little frustrating. Thankfully, the song selection is nearly impeccable -- omissions are unavoidable, but there's no overlap with Palace of Swords Reversed, and the highlights are legion: "Hip Priest," "The Classical," "Mere Psued Mag. Ed.," "I'm Into C.B.!," and the absolutely wonderful B-side "Fantastic Life." The CD and cassette versions both include a useful bonus of interest to hardcore fans -- four live cuts of varying fidelity of other material from that time. "Who Makes the Nazis?" is OK enough, but the take on "Just Step Sideways" gets delivered with rough, fiery authority. At the end of the collection, meanwhile, there's an extremely muddy take on "Jawbone and the Air-Rifle" that will likely cause immediate departures on the part of neighbors and friends. A full quarter-hour ramble and stumble through "And This Day" concludes the release as a whole; it's a great performance that at nearly every point sounds like it'll collapse into formless chaos. Mark E. Smith is his typically contrarian self, while the lineup has its usual off-center way with the proceedings." - AllMusic.

                                                                          The Fall

                                                                          Live - Uurop VIII-XII Places In Sun & Winter, Son

                                                                          The definitive English post-punk band? Probably! Formed in Manchester in 1976. The band has existed in some form ever since, and is essentially built around its founder and only constant member Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group's music has gone through several stylistic changes over the years, but is often characterized by an abrasive guitar-driven sound and frequent use of repetition, and is always underpinned by Smith's distinctive vocals and often cryptic lyrics.

                                                                          This live album has been collated from various gigs over the last three years.

                                                                          The Fall

                                                                          Live At The Witch Trials

                                                                            The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band's diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks.

                                                                            "Frightened" has magnetic attraction / repulsion that shifts between Martin Bramah's skeletal guitar, Yvonne Pawlett's plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith's mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. "Rebellious Jukebox" takes yet another turn and showcases the band's more melodic leanings.

                                                                            One gets the sense that The Fall are in a time-travel hallucination (from 19th century witch trials to a scathing critique of the late-70s punk scene) where the band's snot-nosed scrabble afflicts the shape of pop to come. As Smith dictates, "We are The Fall, northern white crap that talks back."


                                                                            STAFF COMMENTS

                                                                            Matt says: Another from the recent slew of much welcome Fall reissues. A personal favourite, which contains the Piccadilly Records anthem "No X From John Quays" which was written about one of our most dearist customers. It's a brittle, spiky and angst-ridden occassion and finds Mark in typically aggressive and confrontational mood. Plenty more to come from this pivotal band.

                                                                            After what seemed like a very long, drunken, tense-with-anticipation waiting period, the moment is upon me. The band takes the stage, and immediately launches into a big-sounding version of The Joke. Mark bounds onto the stage and starts bellowing into the mic with intensity: "The Joke! Five years in a PC camp, the Joke!" "Ahh," I think, "they're not going to totally suck." This latest incarnation of the Fall includes three hard-working lads named Ben, Spencer, and Jim, who know their shit something fierce. This is an incredibly tight band that is gaining momentum at the expense of every amateurish musician ever to mistakenly step onto the stage. Mr. Smith himself was in fine form, prowling around the stage snarling lyrics into the mic and messing around with his bandmates' amps (but not too much - I have to stress that his behavior was fairly clean on this tour). He seemed to be on something besides straight-up "joie de vivre," but that is hardly an aberration. This man and his friends like to do drugs, and have done since the early days of the band in 1977. Whatever, it's rock and roll. What matters is the music, which was strong. The band was a juggernaut with a mad genius at the helm. Picture a massive battleship with wheels rolling over small towns with a mad banshee snarling and hurning invective down at those foolish enough to stand in the way. Mark E. Smith is an incredibly self-assured performer who exudes more charisma standing still than most lead singers do hopping around and climbing on things. The biggest stormer of the evening was "I Am Damo Suzuki," MES' tribute to one of his favorite bands, Can. One of the first lyrics, "and the drums....come in...and the drums they come in FAST" sent shivers down my spine as the drummer started bashing out the catchier-than-strep beat. In general, the set got faster, louder, and generally "more" towards the end. I think it was during the cover "Mr. Pharmacist" that the energy really started picking up. "Two Librans" off of the Unutterable was also pretty powerful--both because the massive guitar chord hook style of these songs suits the new band pretty well. So now for the $64 million question: are the Fall over? Even worse, were they over a long time ago? The answer, to anyone who is still paying attention, is resoundingly no. This band can fill the GAMH with people going nuts. They are a monument, but unlike other monuments, they continue to create. As Smith once barked, "Ours is not to look back, ours is to continue the crap!" Indeed.

                                                                            FORMAT INFORMATION

                                                                            CD Info: The full 2LP set now on CD for the first time with a bonus track which is a Mark E Smith interview.

                                                                            The Fall

                                                                            Mark E Smith’s Personal Holiday Tony Tapes

                                                                              A mixture of Live and Studio out-takes that have never been out on vinyl before. Gatefold Sleeve, 180 gm Orange Vinyl. About five or six years ago Mark E Smith and I were going through some old audio recordings of The Fall both studio live and he invented a character called Holiday Tony who he said should be the person who should come round and listen to the tapes with us. He made a phone call to me telling me Holiday Tony lived in Prestwich and went to Blackpool on his holidays once a year with an old brown suitcase with recordings of The Fall inside. I even got a letter off Mark telling me when it was ok for Holiday Tony to go round and see him. Another idea of Mark’s about three years ago was to do a vinyl as a Non Record Store Day release in the weeks before Record Store Day and that every track should just be called The Holiday Tony Tapes. So here is the album. 

                                                                              • July 2017 sees the new album by the Fall – their first since Sub Lingual Tablet in 2015 – containing 11 new tracks recorded at various studios in the UK and produced in conjunction with Mark E Smith.

                                                                              • The band, now in their 41st year, have proven a major influence to many a band in both the UK and around the world (bands such as Pavement, Hole and even Faith No More).

                                                                              • New Facts Emerge is their third studio album for Cherry Red and adds to the list of over 100 live and studio albums released by the band over the years.

                                                                              • Formed in 1976 by Mark E Smith, the band has gone through numerous line ups but retain a consistency that many other bands would envy.



                                                                              FORMAT INFORMATION

                                                                              2x10" LP Info: LIMITED 2 x 10” LP EDITION.

                                                                              The Fall

                                                                              Perverted By Language

                                                                                The Fall returned to Rough Trade in 1983 to release a pair of singles ("The Man Whose Head Expanded" and "Kicker Conspiracy") and Perverted By Language, their sixth proper studio album. Perverted By Language hints at the band's shift towards a distinctly pop approach, one that they would perfect via their Beggars Banquet output that immediately followed. Yet again, the force and panic of their initial Rough Trade recordings remains the foundation for much of the album. A transitional recording in the absolute best sense, Perverted By Language is The Fall both as they were and as they would become.

                                                                                The emergence of Brix Smith is often cited as the impetus for The Fall's move toward outward pop, and she makes her first appearance with the band on Perverted By Language. Nowhere is her presence felt more than on "Hotel Blöedel," where she handles lead vocal duties alongside Mark E. Smith whose mangled violin accompaniment roots the song's cold romanticism in his unmistakable brand of strange. "Garden" provides a new take on The Fall's stretched-out tendencies – using ringing, clean guitars to build a nearly 10-minute epic more subtly than ever before. The opener, "Eat Y'self Fitter," is wholly classic Fall: a playfully circular bass line drives the album's strongest vocal spout, complete with emphatic breaks where Mark E. Smith issues the song's spiteful decree with equal parts glee and scorn.

                                                                                The Fall

                                                                                Perverted By Language

                                                                                  "Punk may have been the initial spark for the Fall, but by 1983 they had made it clear that whatever trend was next was not for them. Brix Smith made her debut with the band on Perverted by Language, helping to introduce the slightly more pop-friendly era of the group with another fine album. She takes lead vocals at various points throughout, notably "Hotel Bloedel," while her husband plays violin and adds extra spoken word thoughts along the way. The hints of strange beauty that the Fall can sometimes let into its world appear here more than once -- whether it's Brix's influence or not isn't clear, and why not? "Garden" still hits hard while using a softer chime at its heart, while "Hexen Definitive" is almost a country (and western) stroll. Even for all the slightly more accessible touches for a wider audience, the Fall remain the Fall. "Smile" shows the band's abilities at tense audio drama excellently, a relentless, steady build with the Steve and Paul Hanley and Karl Burns rhythm section leading the way, winding up to a total explosion that never comes. Smith's increasingly frenetic vocals match the looming dread of the track to a T. "Neighbourhood of Infinity," notable for its appearance on Palace of Swords Reversed, crops up here in a studio take, again a sequel of sorts to "The Man Whose Head Expanded." Musically it hits its own stride, another of the many motorik-tinged tunes that helped give the Fall its own particular edge ("I Feel Voxish" also fills that bill, and quite well at that). "Eat Y'Self Fitter," touching on everything from meeting heroes (maybe) to returning late rental videos, makes for a great start to things, an endlessly cycling rockabilly chug with extra keyboard oddities and sudden music-less exchanges for the chorus." - AllMusic.

                                                                                  Remastered and expanded edition of the cult post-punks 83 classic release. This double CD features the original album, plus six bonus tracks: "The Man Who's Head Expanded", "Ludd Gang", "Kicker Conspiracy", "Wings" and "Pilsner Trail", plus a Peel session from March 83, a remix of "Garden" and six tracks recorded live in Brighton in October 83.

                                                                                  The Fall

                                                                                  Room To Live

                                                                                    On Room To Live, The Fall take the hurried, all-or-nothing approach of their preceding Kamera Records releases to extreme ends. Forged via Mark E. Smith's continual disassembling of players and focus on previously unrehearsed material, the album collects The Fall's most experimental and improvisational recordings. As proclaimed on the album cover, "Undilutable Slang Truth!" would be revealed throughout Room To Live.

                                                                                    With the album's comparatively lo-fi production and always-teetering performances, the title track comes closest to a stab at pop (by The Fall's standards), built on fantastically bent saloon swaying under one of Smith's by-now characteristic dressing-downs of square life. "Detective Instinct" is an unshakeable creeper, as languid and ominous as the band would get during the Marc Riley years. "Marquis Cha Cha" is a post-punk rhumba, beginning with fury and then easing into something only The Fall could conjure.

                                                                                    The Fall

                                                                                    Room To Live - Double Marbled Coloured Vinyl Edition

                                                                                      1982 was a decisive year for The Fall. Their critically acclaimed album “Hex Enduction Hour” was released in March on Kamera Records, closely followed by “Room To Live” in September.

                                                                                      This double LP includes the classic album (“Room To Live”) plus live recordings in Manchester, London, New Zealand, Netherlands and Canada.

                                                                                      This release is a double vinyl on coloured marble effect vinyl.

                                                                                      Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics.

                                                                                      “They are always different; they are always the same.” John Peel

                                                                                      FORMAT INFORMATION

                                                                                      2xColoured LP Info: Double vinyl on coloured marble effect vinyl.

                                                                                      The Fall

                                                                                      Seminal Live

                                                                                        The Fall's contractual obligation album. With Brix leaving (or left, depending on your history) the group, this is a hastily assembled selection of what sound like Frenz Experiment outtakes and nine live tracks, their last for Beggars Banquet. These opening five tracks would have made a nice EP supporting the single "Deadbeat Descendant," the first song featured on the album. They're not among their best, but "H.O.W. (History of the World)" has a certain grim stateliness to it, with a grungy bassline by Hanley leading the group. "Pinball Machine" continues in Smith's long line of rockabilly covers.

                                                                                        The Fall

                                                                                        Slates

                                                                                          If The Fall truly is a cult band, then Slates both benefits from and reinforces such shrouded obsessions. In presenting these six particular songs as a 10-inch EP, the inherent and attractive difficulty of The Fall's sound is made physical, framing the urgency of their singles from this period (notably How I Wrote 'Elastic Man' and Lie Dream of a Casino Soul) alongside lengthy rumblings normally restricted to long players.

                                                                                          The tumbling and phased "Middle Mass" begins on an incredible high note, segueing into the snake-charm hypnotism of "An Older Lover Etc." "Slates, Slags, Etc." is built on stretched VU-inspired riffing, complete with ace feedback bleed that doubtlessly went on long after fade-out. Ultimately, it's the piercing chimes of guitar and marching drum grind of "Prole Art Threat" that elevates Slates beyond oddity. Truly one of Mark E. Smith's finest, busiest and most enigmatic performances, equally matched by a band at the peak of their powers.

                                                                                          The Fall

                                                                                          The Frenz Experiment

                                                                                            "After the dark morass of Bend Sinister, the sound of 1988's Frenz Experiment comes as a bit of a shock. The arrangements are spare and broken down to the essentials, with the distorted guitars brought down low and Wolstencroft's drums high in the mix. Marcia Schofield had also joined the band to add keyboards. With most of the songs credited only to Smith himself, this could be seen as a solo album of sorts, or an indication of some rift within the group -- it certainly doesn't translate into the music. For the first time too, his vocals are loud and clear, though certainly not comprehensible; "Bremen Nacht" hints at some sort of run in with a ghost in Germany, "Athlete Cured," with its Spinal Tap-borrowed riff, tells of a "German athletic star" made ill from unusual circumstances -- the narrative turns strange, then funny until wandering off, a classic Smith tactic. Their cover of the Kinks' "Victoria" marked the Fall's first entry into the British charts, but also fit in with Smith's continuing explorations of Britain's history and how it translates into issues of class identity. The CD contains their other two singles from this time -- "Hit the North" and a cover of R. Dean Taylor's "There's a Ghost in My House," which the group makes their own -- plus several B-sides." - AllMusic.


                                                                                            The Fall

                                                                                            The Rough Trade Singles

                                                                                              The Rough Trade Singles collects The Fall's four singles recorded for this influential label in 1980 and 1983 – How I Wrote 'Elastic Man' / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band's studio LPs. With 7-inches being the era's vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums.

                                                                                              "Totally Wired" is often cited (and rightfully so) as The Fall's most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. "How I Wrote 'Elastic Man'" is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on "The Man Whose Head Expanded" almost suggests danceability, Mark E. Smith's idiosyncratic shriek on "Kicker Conspiracy" pierces through the twin drumming of Paul Hanley and Karl Burns and the group's unpredictable / unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release.

                                                                                              Liner notes by Brian Turner.

                                                                                              The Fall

                                                                                              The Wonderful And Frightening Escape Route To The Fall

                                                                                                This contains the material from the two singles and the EP, Call For Escape Route, that the band released in 1984, which were also part of the extended cassette ver-sion of the original album. These were the remaining tracks recorded at the sessions.

                                                                                                The Fall

                                                                                                The Wonderful And Frightening World Of The Fall - Expanded Edition

                                                                                                  This expanded edition bundles together The Wonderful And Frightening World Of The Fall with The Wonderful And Frightening Escape Route To The Fall.

                                                                                                  Released in 1984, The Wonderful And Frightening World Of The Fall was the band’s seventh studio album and their first for Beggars Banquet. It makes few concessions to the larger market - every potential hook seemed spiked with the band’s usual rough take- it-or- leave- it stance - though the integration of Brix Smith into the band added a melodic twist. This LP has been mastered from HD files transferred from the analog tapes.

                                                                                                  The Wonderful And Frightening Escape Route contains the material from the two singles and the EP, Call For Escape Route, that the band released in 1984, which were also part of the extended cassette ver-sion of the original album. These were the remaining tracks recorded at the sessions.



                                                                                                  The Fall

                                                                                                  The Wonderful And Frightening World Of...

                                                                                                    "The Fall made the leap to a semi-major label -- Beggars Banquet -- with The Wonderful and Frightening World of the Fall, hooking up with noted producer John Leckie to create another smart, varied album. Contemporaneous with the slightly friendlier "Oh! Brother" and "C.R.E.E.P." singles without actually including them, Wonderful and Frightening World makes few concessions to the larger market -- every potential hook seemed spiked with the band's usual rough take-it-or-leave-it stance. Mark E. Smith's audible, tape-distorting spit on the descending chord blast of "Elves" -- already spiked with enough vocal craziness as it is -- gives a sense of where the album as a whole aims. Brix Smith co-writes about half the tracks, creating a strong partnership with many highlights. It may start with a semi-low-key chant, but when "Lay of the Land" fully kicks in, it does just that, Craig Scanlon in particular pouring on the feedback at the end over the clattering din. Smith sounds as coruscating and side-splittingly hilarious as ever, depicting modern Britain with an eye for the absurdities and failures (and crucially, no empathy -- it's all about a gimlet eye projected at everyone and everything). Two further standouts appear on the second half -- "Slang King," a snarling portrayal of a cool-in-his-mind dude and his increasingly pathetic life, and the concluding "Disney's Dream Debased." Though unquestionably the most conventionally attractive tune on the album, ringing guitars and all, Smith's lyrics portray a Disneyland scenario in hell, however softly delivered. Elsewhere, Gavin Friday from the Virgin Prunes takes a bow with his own unmistakable, spindly vocals on the trebly Krautrock chug of "Copped It" and the slightly more brute rhythm of "Stephen Song."

                                                                                                    [The CD version, in an admirable move by Beggars Banquet, contains seven extra tracks to fill the disc out, including "Oh! Brother" and "C.R.E.E.P.," along with associated B-sides and the Call for Escape Route EP.] " - AllMusic.

                                                                                                    The Fall

                                                                                                    This Nation's Saving Grace

                                                                                                      "Feel the wrath of my Bombast!" exhorts Smith on this follow-up to their groundbreaking Wonderful and Frightening World of... the Fall, and this collection is ample proof of the pure confidence the group had at this time. Stompers like "Barmy," "What You Need," and the mighty "Gut of the Quantifier" are all led by Brix Smith's twanging lead hooks, filled by distorted guitars and bludgeoning drums, on top of which Smith rants with conviction. But it's the departures from this sound that mark the real interest here: The synth-driven "L.A." looks ahead to the Fall's experiments with electronica; "Paint Work" is an impressionist piece interrupted by Smith accidentally erasing over some of the track at home; and "I Am Damo Suzuki," a tribute to Can's lead singer, which borrows its arrangement from several of that group's songs. the Fall sound mysterious, down-to-earth, and hilarious all at the same time. The CD reissue adds the singles "Cruiser's Creek" and "Couldn't Get Ahead" as well as their B-sides making this an essential purchase." - AllMusic.

                                                                                                      The Fall

                                                                                                      This Nation's Saving Grace - Expanded Edition

                                                                                                        This expanded edition bundles together This Nation's Saving Grace with Schtick - Yarbles Revisited.

                                                                                                        Originally released in 1985, their 8th album, This Nation's Saving Grace is one of The Fall’s most loved releases and is often hailed as one of the greatest albums of the 1980s. Drawing from the well of primal rock ‘n’ roll, the band play with muscular spontaneity and inspiration to create music that still sounds unique and challenging, especially against today’s anodyne imitations of Rock and ‘guitar music’. This LP has also been mastered from HD files.

                                                                                                        Available for the first time on vinyl, Schtick - Yarbles Revisited compiles the singles released around This Nation’s Saving Grace and includes 5 tracks from the bands’ 1985 BBC Peel sessions. Also included is the track “Ma Riley” which made its debut on the CD box set in 2011.

                                                                                                        The Fall

                                                                                                        Totale's Turns (It's Now Or Never)

                                                                                                          Given The Fall's penchant for iconoclasm, it's no surprise that they decided to say goodbye to the '70s with a series of gigs at Northern England's gruffest halls. The band's formidable live show was met with even more derision and disorder than customary during these late '79 and early '80 performances, and they skillfully amplified such sentiments back at the crowd. Totale's Turns, The Fall's first live album, was released on Rough Trade just prior to their pivotal third album, 1980's Grotesque.

                                                                                                          "The difference between you and us is that we have brains," shouts Mark E. Smith to open Totale's Turns as the band breaks into the rollicking "Fiery Jack," their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon's splintering guitars, Steve Hanley's thunderous bass and Smith's combative sneer reverberate over "Rowche Rumble," "Choc-Stock" and "Spectre Vs. Rector" more than any studio would ever allow. Totale's Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date.

                                                                                                          Superior Viaduct's edition is the first time that Totale's Turns has been available on vinyl domestically. Liner notes by Brian Turner.


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