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Cover of A Beat For You by Glen Adams.

Glen Adams

A Beat For You

Jamwax / Emotional Rescue

Emotional Rescue and Jamwax come together to present the first of three essential 12”s from NY/Jamaican label Capo Disco, all officially licensed and remastered for the first time. The brainchild of reggae vocalist, musician, producer and label owner Glen Adams, the label married disco with his Caribbean roots to perfection. Born and raised in Jamaica, Adams story is a similar one to the performers of the golden period post-Independence. Initially discovered as a vocalist by Coxsone Dodd, he went on to work with such luminaries as Ken Boothe and Stranger Cole before co-founding The Heptones and working Duke Reid, Bunny Lee and Lloyd Charmers.
As a session organist he worked for The Hippy Boys, The Reggae Boys and later with Lee Perry’s The Upsetters, he came in to the orbit of The Wailors, touring England with them in the early 70s and with Perry co-wrote Mr Brown. When most of The Upsetters became Marley’s rhythm section, Adams stayed with Perry before making the move to Brooklyn in 1975.
There he started Capo Records, running it and it’s sub-labels, successfully until the mid-80s. During these later years he ventured in to mixing Reggae with Boogie and Disco rhythms and released just four 12”s under Capo Disco as well as recording boogie and hip-hop influenced releases with T Ski Valley and as Glen Adams Affair for SAM and Moonglow Records.
Here then the spotlight is on Adam’s nascent disco releases and the series starts with the wonderful, uplifting "A Beat For You". Actually appearing on a one off sister-label, Top Secret, this is a beautiful “Lovers” anthem from Adams over a laidback dub-bass riddim. Backed with a simple instrumental Version, the space and interplay of the keys and guitar over drum and bass is superlative. “There is a beat in my heart, just for you…just for you.”

STAFF COMMENTS

Patrick says: Jamwax meet Emotional Rescue up town for this reissue 12", offering a fresh pressing of Glen Adams seriously groovy disco/dub hybrid "A Beat For You". Boogie synths, serious dancefloor power and a more than a hint of digi-dub result in an essential slab of wax for anyone of a cosmic/Balearic bent.

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Cover of Stop That Fussing And Fighting by Glen Adams.

Glen Adams

Stop That Fussing And Fighting

Jam Wax / Emotional Rescue

Emotional Rescue and Jamwax end their Capo Disco series by returning to Glen Adams and his cover of Bob Marley’s classic. The early 70s Lee Perry produced original raw sound is taken to the disco reggae dancefloors of the early 80s with a bottom heavy jam, while his Capo Crew works a killer dub flipside. 
“Fussing & Fighting” was originally released on the 1971’s Soul Revolution album and for many came during the pinnacle of Bob Marley & The Wailers output, before the smoothing out of their sound during the later “Island” years. Whichever, the guidance and collaboration with Perry transformed the Wailers from a successful Ska / Rocksteady group towards a visionary, conscious, crossover phenomenon. Perry’s in-house band, The Upsetters, lent so much to this early period, the brothers Aston and Carlton Barrett creating a perfect drum and bass bedrock. With Glen Adams on organ, the original version known simply as is an incessant, rumbling message and in that light, Adams return to it over a decade later makes justified and righteous sense.
Actually released on both Capo Disco and Marley’s own Tuff Gong, Adams’ vocal marries a disco-dub and guitar groove, dropping, in the latter half, right down to tambourine into perfectly stretched Discomix. Things get even more laid out on “Mad Blank” aka the version. Riding the desk, “Capo” lets each instrument time and space, dropping to just a kick and dubbed piano before slowly coming back with hats, guitar and then when the bass comes, the Gospel purity of dub reggae shines, all before the teasing fade calls for a rewind. Rest and rise, Glenroy “Capo” Adams.

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Cover of 1980's Rock 'n' Roll by G.G. Allin & The Jabbers.

G.G. Allin & The Jabbers

1980's Rock 'n' Roll

Orange

    An absolute must for all fans of the most extreme rock and roll figure of the past century this ‘singles’ compilation includes the entire “Bored To Death” 7´´ E.P. (1979), “1980´s Rock´n´Roll” 7´´ (1979), “Gimme Some Head” 7´´ (1981), “You Hate Me + I Hate You” 7´´ E.P. (1982), “No Rules” 7´´ E.P. (1982) plus the relevant tracks from the posthumously released “Out For Blood” 7´´ E.P. (1997) an“Occupation” 7´´ E.P. (2000).

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    Cover of Our Spaces by Guy Andrews.

    Guy Andrews

    Our Spaces

    Houndstooth

    ‘Our Spaces’ is the debut album of a very exciting talent: Guy Andrews. Seeking musical escapism prior to his DJ sets, leading him to one day return home and delete all his old synth patches, he embarked on a musical reinvention of himself. Ignoring previously used DJ-friendly structures, tempos, and mixdowns, ‘Our Spaces’ breathes a new power and directness.

    Breaking free from genre constraints, Guy Andrews could finally express what was in his head. This paradigm shift is evident throughout the album, with its emphatic percussion and reeling distortions a perennial feature.

    This sonic aggression, however, is paralleled with a sensitivity and zeal that really adds a level of depth that is often hard to communicate consistently in album format.

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    Cover of English Rain by Gabrielle Aplin.

    Gabrielle Aplin

    English Rain

    Parlophone

    Debut album from Gabrielle Aplin for Parlophone Records. Entitled English Rain, the album was recorded with Mike Spencer (Rudimental, Alex Clare) in his Buckingham studio over a period of 6 months. Gabrielle wrote or co-wrote all the new songs on the album, and played the majority of the instruments herself.


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    Cover of Greg Ashley & The Western Playboys by Greg Ashley & The Western Playboys.

    Greg Ashley & The Western Playboys

    Greg Ashley & The Western Playboys

    Third Man Records

      Greg Ashley has tracked across the States’ metropolises, fringes and sticks for years now, releasing records under his own name and earlier on with black magic psych cult The Gris Gris.

      Now together with the Western Playboys, you can hear the dusty technicolor Rio Grande fl owing in the veins of these new recordings. Many of these songs are Greg’s indomitable take on waltz, country swing and golden honky-tonk songwriters like Cowboy Joe Babcock and Hank Mills, but lest we forget the cover of Estrus records’ finest garage rock nihilists The Makers. This 12” EP plays out from start to finish like a band in a washed out juke joint at a desert outpost from a Barry Gifford novel - strung out, sharp-witted and never dull.
      Square it up and spin it now!

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      Cover of Pictures Of Saint Paul Street by Greg Ashley.

      Greg Ashley

      Pictures Of Saint Paul Street

      Trouble In Mind

        Greg Ashley has been a ¬fixture on the underground music scene since the late 90’s while stra¬ng eardrums as a teenager in Houston in garagepunk band The Strate-Coats. Since then he’s proven himself not only as a songwriter, singer and guitar player in bands like The Mirrors & The Gris-Gris, but also as a producer / sound engineer.

        His career as a solo artist is vast & varied, spanning the gamut between fried & beautiful psychedelia, gorgeous & cathartic symphonic suites & gentle, damaged folk music, beginning with 2003’s “Medicine Fuck Dream” & last leaving us with 2014’s “Another Generation of Slaves”. His latest, “Pictures of Saint Paul Street” carries forward that album’s musical palette (a rootsy amalgam of tortured, Cohen-esque folk tinged with the beer soaked recklessness of a West Texas honky-tonk).

        The songs on “Pictures of Saint Paul Street” are lush & beautiful autopsies of society’s underbelly, with stark and brutally honest ruminations on humanity. Songs like “A Sea of Suckers” & “Pursue The Nightlife” pull no punches, while “Jailbirds & Vagabonds” and “Blues For A Pecan Tree” carouse on a more abstract, human (almost romantic) level. By the time you’ve hit the album’s centerpiece; “Bullshit Society”, Ashley’s songs move from ballads of hopeless misery to rallying anthems for the dispossessed.




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        Cover of The Greg Ashley Living Underground by Greg Ashley.

        Greg Ashley

        The Greg Ashley Living Underground

        Bad Diet

          Oakland' s psychedelic savant, Greg Ashley, has gone through a tremulous year. Gentrification sent an eviction notice to the doors of his Creamery Analog studio where he recorded such acts as The Dutchess and the Duke, TV Ghost, and The Mantles over almost a decade-long residence.

          After a spiritual retreat to Texas, Ashley returned to the Bay Area and began work on a new studio, inhabiting a church just blocks from his former location. In celebration of this transcendence, Bad Diet is releasing two archival nuggets that exhibit Greg Ashley 's genius, described by SF Weekly as a true psychedelic visionary, maybe the greatest of his generation. Living Underground is a slip inside the peak years of Ashley' s widely-lauded act, The Gris Gris. Recorded in 2005, the lost gem s haunting vocals and pounding back beat combine in a ritual resurrecting the band' s nest offerings. It also grounds The Gris Gris stake as progenitors of the Bay Area s contemporary psych and garage scene. Psychopathia Homosexualis provides a glamorous look into the heart of Sir Lord Von Raven, Ashley' s Oakland supergroup with Eric Von Raven (Time Flys), Josh Miller (Wrong Words), and the late, great Jay Bronzini. It was recorded live at the Creamery in 2010.

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          Cover of Another Generation Of Slaves by Greg Ashley.

          Greg Ashley

          Another Generation Of Slaves

          Trouble In Mind

          Greg Ashley has been melting minds since he was a teenager growing up in central Texas; first in his paint-peeling garagepunk band The Strate-Coats, then in lysergic psych band The Mirrors, and finally to great acclaim in his highly influential quartet The Gris Gris. If that weren’t enough, Ashley has peppered multiple solo albums in between all of these releases tracing along a path that veers to & fro from heady psychedelic freakouts to sensitive, folky tunesmithing. “Another Generation of Slaves” is a bold step off that acid-soaked artery, the nine tunes herein are Ashley ’s most directly poetic suite of songs both melodically & lyrically. “Another Generation...” FEELS different. Recorded in 2013 with a cadre of jazz musicians, the malleablity of his players belies dizzying results, allowing Ashley to focus on communicating the feeling of the tunes in addition to playing them. Lyrically, Ashley has never been one to mince words, but the songs are almost joyously direct.

          Songs like “Brother Raymond” & “Prisoner #1131267” are character studies, while somber cuts like the folky opener “East Texas Plain” & the sultr y “Patterns Of Days” are extremely insular tunes, unquestionably personal & beautifully unfolded. Ashley ’s grown so comfortable in his ability to craft songs, that even the breezy “Awkward Affections”s brazenly honest lyrics don’t feels forced, but like another piece of the puzzle here. The stories fit together like Ashley ’s own version of “Songs Of Love & Hate” or “Trouble Is A Lonesome Town”. A collection that doesn’t work unless the listener is fully immersed in it ’s world, shackled to it ’s narrative.

          The first vinyl edition is pressed on randomly mixed 150-gm vinyl, includes a printed inner sleeve with lyrics & a download code. All other pressings will be on basic black.

          RIYL: Kurt Vile, Lee Hazlewood, Leonard Cohen, Nick Cave, Bill Fay, Mikal Cronin.

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          Cover of One Thin Heroine / Misery Again by Greg Ashley.

          Greg Ashley

          One Thin Heroine / Misery Again

          Mexican Summer

          Greg Ashley (The Gris Gris, The Mirrors, Strate Coats, solo fame, record maker extraordinaire) continues along his path as a troubador, with two new countrified crooners which’ll find you alone, sittin’ at the bar in broad daylight, lookin’ down low. Skirting the line between legitimate Nashville tears in your beers and marvelous, near-classical new Americana folk, these two sorry sons-a-guns are slowly revealing the full count of Ashley’s skills as a singer, songwriter and arranger.

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          Cover of Hanging Around Musicians by Gareth Ashton.

          Gareth Ashton

          Hanging Around Musicians

          Empire Publications

            As meteoric rises go - Gareth Ashton's takes some beating. Born and bred in Derbyshire, he had always been a keen drummer, like his father and in 1977 discovered the joys of punk via The Jam's performance on Top Of The Pops. Within weeks he was forming his own band The Ruin and within months he was playing on the same bill as punk trendsetters The Damned on a nationwide tour and living the dream with the short-lived The Irritators. After gigs in Sheffield, Edinburgh, Dundee and Manchester Gareth went on to pursue other musical goals but never quite hit those heights again. Nonetheless he drummed successfully all over the UK for over two decades playing everything from jazz-funk to country & western. Now retired, Gareth reflects on the lot of a semi-professional musician, a world away from the gilded lives of rock stars and their entourages.

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            Cover of Turquoise Tortoise by Glenn Astro & Hodini.

            Glenn Astro & Hodini

            Turquoise Tortoise

            Apollo

              Next up on Apollo is a stunning double header LP between crate-digger, DJ and producer Glenn Astro and Cologne DJ and Producer Hodini aka Hulk Hodn.

              Boasting out electronic explorations and jazz patterns, 'Turquoise Tortoise‘ is a masterful, unique concotion that infuses Future Soul experiments into Detroit influenced House, Broken Beat and even technoid up tempo percussions rounded up with classic boom bap sounds.

              Conceived as a loose limbed creative experiment,'Turquoise Tortoise' was not written and recorded in the classical sense of a collaboration as Astro explains: "We had the idea of doing an album together for quite a while, but with one of us living in Cologne and the other one in Berlin we never really had the chance to spend enough time together in one place and go to the studio together properly."

              Unsatisfied with simply sending files back and forth via the net, they struck upon the idea to produce tracks individually, bringing them together finally on one album.

              "Although we didn't make the music together it still was really important to us to have a motif and to keep keep it cohesive." Astro adds.

              This was achieved by exchanging key elements/ FX taken from each of the 'completed' song and weaving them in to each of the productions as little call backs or references to each other, the smudged and trippy vibe perfectly complimenting such an approach.

              Hodini's experience working with vocalists proved invaluable, as Turquoise Tortoise is the first time that Glenn has worked on a record with such a portfolio of talented featured artists - Ajnascent contributes his dulcet tones to 'Found!' and 'Viktor And The Quasar' to mesmerising effect. Longtime Astro pal Max Graef shows up to play bass on the vibey b-boy workout 'Malaysian Moped' alongside a carefree vocal contribution by knowsum. A Uk flavour come courtesy via the rap/toasting talents of Peckham's MC Pinty on the beatific 'Beautiful Music'.

              The album title 'Turquoise Tortoise' can be seen as a metaphor," Astro smiles "The turtle or tortoise is often used to describe processes that move forward at a slow pace. This was often the case for the album, to bring everything together the way we wanted, so we thought it symbolizes this really well."

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              Cover of The Taurus EP by Glenn Astro.

              Glenn Astro

              The Taurus EP

              Mule Musiq

              Berliner, label owner, producer & DJ Glenn Astro make his debut on Mule Musiq
              and it's a doozy! Five (count em!) tracks that perfectly encapsulate what this unique producer is all about. After a lush Rhodes section introduces the record we're thrown into the tumbling daytime house rumbler - "Der Schummler Dub"; perfect for those pill-fuelled 'picnics' in Platt Fields park or your nearest Fallowfield back garden; the quirky perc nuances and gritty, 'dusted' aesthetic are present and correct from the off here. "Le Troisième œil" sees the producer dive into dark, acidic MPC techno, with grating shakers flapping relentlessly against this thin and mystic lead this is surely the track that'll appeal to fans of Detroit's 3 Chairs and especially Marcellus Pittman's mischievous meanderings. "Chubble Gum" opens side B with a collage of blurred and abstract loops that slowly gather momentum and form some kinda of cohesive rhythm. Finally, "Billiger Als Umsonst" sounds like he's got some muck in his MPC! A beautifully jolting rhythm with this audible yet hidden scuff deep in its recesses; another one that should pique the interest of Theo's early Akai experiments. Top stuff here from a producer who's really found his stride. Recommended.


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              Cover of Free Fire: Original Motion Picture Soundtrack by Geoff Barrow & Ben Salisbury.

              Geoff Barrow & Ben Salisbury

              Free Fire: Original Motion Picture Soundtrack

              Invada

                Geoff Barrow and Ben Salisbury return to score Ben Wheatley’s 1970s based epic shoot-out ‘Free Fire’, executively produced by Martin Scorsese.

                Compiled by director Ben Wheatley himself, the soundtrack will be released on CD and double LP, featuring the full score by Geoff Barrow and Ben Salisbury, dialogue from the film and licensed tracks (The Real Kids, Creedence Clearwater Revival, John Denver).

                ‘Free Fire’ sees Barrow and Salisbury take a huge directional curve away from their intense, synth-based Ivor Novello award winning score for ‘Ex Machina’, with the composers curating a prog rock, free jazz, psychedelic journey influenced by bands such as King Crimson, Camel and Magma and tips its hat to the Lalo Schifrin thriller genre scores of that era.

                Both the LP and CD will include a digital download card which features the full soundtrack as well as additional unheard bonus material not used in the score.

                FORMAT INFORMATION

                Coloured LP Info: The double vinyl format is pressed on silver vinyl and housed in a deluxe gatefold sleeve.

                Coloured LP includes MP3 Download Code.

                CD includes MP3 Download Code.

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                Cover of Apron EP by Greg Beato.

                Greg Beato

                Apron EP

                Apron Records

                  Proper banger from Greg Beato on Apron. "Respect The 78" deploys those bit-crushed, saturated drums that the new school of techno seem to willing to embrace. A consistent sonar bleep rattles through the track as well while hi-hat fizz right off the tape and the odd cowbell makes an appearance too! Jump further into the track and we're treated to corrosive synth riffs cascading through the mix, dissolving quickly onto the fried tape or being mangles into oblivion through Beato's scorching outboard. Moving through a strange series of fried percussion passages, you'll need some cooling agent for your stylus after this jam burns out. "Let Em Know" takes the momentum and swing from New Jersey house and hypes it up even further, adding an attack of off-beat kicks and snares that gets the whole thing almost taking off with energy. You'll really have to tear them off the ceiling after this thing drops. Finally "3" is a crazed LFO assault, a wobbling sine tone careering through its course while saturated hats and a fat kick provide a steady groove. Proper acidic chaos, great stuff. Apron records seem to sell out super quick so get your orders in ASAP.

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                  Cover of The Belleville Three - High Tech Soul - The Creation Of Techno Music by Gary Bredow.

                  Gary Bredow

                  The Belleville Three - High Tech Soul - The Creation Of Techno Music

                  Wienerworld

                    "Bredow's cast of alumni - the holy trinity o f Atkins, May & Saunderson at the front - fill out this tale with passion, pride and, oddly for music of the future, nostalgia too." - Dazed and Confused

                    "An enjoyable education into the music, the city and the main players past, present and future." - DJ Magazine

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                    Cover of On The Night Plain by George Washington Brown.

                    George Washington Brown

                    On The Night Plain

                    Static Caravan

                    This release contains the finest songs the old man has ever committed to tape - a smorgasbord which encompasses expansive sonic meanderings, unselfconscious indie-rock thrashing, sad-eyed melodrama and the kind of wised-up humour we might expect from a statesman and scholar with such a track record, but which is a rarity in these youthquaking, moronically-earnest and docile times. Here we have George Washington Brown comprehensively topping his past endeavours, having created a truly cherishable thing - a humanistic modern record, a gift from one adventurer to others. For fans of Guided by Voices, Animal Collective, Van Dyke Parks and the Elephant 6 collective.

                    FORMAT INFORMATION

                    Ltd LP Info: 330 edition heavy duty vinyl in a paste on sleeve, with a CDR included.

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                    Greg Brown

                    Over And Under

                    Trailer

                    With his sandpaper-coarse but sensitive baritone, Greg Brown offers keen insights into the realities and foibles of modern life tinged with a hefty dose of common sense. Recorded in just two days, it has a live-in-the-studio feel, which for the most part, is probably just what it is.

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                    Reduced Cover of Sleep Paralysis by Gabriel Bruce.

                    Gabriel Bruce

                    Sleep Paralysis

                    Off Modern Records

                    Gabriel Bruce’s first solo single, Sleep Paralysis is the sound of the ex-Loverman vocalist finding a new voice, with that band’s primal energies being recalibrated into an impassioned sweeping synthesizer symphony. The track recalls Leonard Cohen’s late 80s synth production on I’m Your Man, yet is altogether murkier and more foreboding, interested in depth of darkness rather than surface glimmer. B-side No Love Lost draws the Cohen connection deeper, primarily through Bruce’s deep vocal range, though tonally Bruce reaches something smoother and more versatile than Cohen did, and the track has shades of Nick Cave’s possessive obsessions and fascinations in subject matter.

                    Bruce's debut 7” is incorporated into a 50 page illustrated book which looks into the phenomenon of sleep paralysis itself, featuring cuttings and ephemera of people’s recollections of the sensation. The book features three different paper stocks, colour photos, a variety of different printing effects, a card cover and facsimile of rare writings on Sleep Paralysis. The cover is hugged by a bellyband, available in scarlet, royal blue, sapphire or mandarin.

                    Written by Gabriel, edited and designed by London creative collective Off Modern and released on their label of the same name the release of Sleep Paralysis this December signals the end of months of close collaboration. No wonder this unique single has been picked up on by the likes of the Guardian and The Fader.


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                    Cover of A Portrait by Gavin Bryars.

                    Gavin Bryars

                    A Portrait

                    Philips

                    A double album celebrating the 60th birthday of this wonderful musician. Gavin Bryars is one of Britain's foremost contemporary composers. His work draws together minimalism, ECM style 'chamber-jazz' and classical music creating a sound that merges them all into a perfect symbiosis of sound. The brilliant "Cello Concerto (Farewll To Philosophy)" is just one highlight on this excellent set.

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                    Cover of Wichita Lineman by Glen Campbell.

                    Glen Campbell

                    Wichita Lineman

                    UMC

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

                      Commonly referred to as “the first existential country song”, Stuart Maconie has hailed ‘Wichita Lineman’ as “the greatest pop song ever composed”, its reputation further enhanced by its inclusion in Rolling Stone’s ‘500 Greatest Songs Of All Time’ poll. Written by Jimmy Webb and inspired by the image of a solitary lineman atop a telegraph pole, observed while driving through rural Oklahoma during sunset, this definitive version, released as a single in 1968, would go to Number 3 in the US chart and enter the top ten in the UK. In celebration of Campbell’s 80th birthday in April 2016, we’re reissuing it on red coloured 7” vinyl, using the original artwork from the ‘68 Spanish release.


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                      Cover of Ghost On The Canvas by Glen Campbell.

                      Glen Campbell

                      Ghost On The Canvas

                      Surfdog

                      In an age where there are so few true hit makers, the breadth of Glen Campbell’s career is hard to process. The guy has sold 45 million albums, had 81 songs on the charts, won Grammys and numerous other awards, been inducted into the Country Music Hall of Fame, had a TV show where 50 million people tuned in weekly, played with Sinatra, Elvis, the Beach Boys (on Pet Sounds no less), owned a theater in Branson, acted and did a song for the original True Grit alongside John Wayne, and did it all rising from being the seventh son of a poor Arkansas sharecropper who eventually moved to LA with $300 in his pocket. You can’t even make this stuff up.

                      Glen Campbell became a country-pop crossover star of mind-lashingly megalithic proportions. Perhaps the greatest compliment you can give Glen Campbell, though, is his final album 'Ghost On The Canvas'. For starters, no lesser songwriters than Robert Pollard (from Guided By Voices), Paul Westerberg (from the Replacements) and Jakob Dylan have written for this thing. Think about that for a second. Hipster cult god-beings like Westerberg and Pollard aren’t supposed to be fans of this kind of thing. But that’s how heavy Campbell’s impact has been. “Wichita Lineman,” “Rhinestone Cowboy,” the title track on the Highwaymen album. It’s just undeniable. Oh, and a few guitarists decided to show up, too. You know, little known guys like Dick Dale, Billy Corgan, Rick Nielsen, Brian Setzer.

                      It turns out that when you really take a close look at it Glen Campbell is one of popular music’s most under sung guitarists, too. From his amazing 12-string guitar work on his own albums to his session guitar work as part of the Wrecking Crew (who were Phil Spector’s go-to guys) and on albums by the Monkees, Sinatra, Haggard, Dean Martin and a couple hundred others, Campbell’s guitar has coiled its way deep into the DNA of American music. Consciously bowing out at the tail end of sixty years in popular music, Glen Campbell hits a serene reflective note on 'Ghosts On The Canvas'. He ditched the booze, drugs, women and song decades ago for a life of reverent religious dignity and he’s written and told his story different times and in different ways before, but here he sings and interprets with the naked humility of a massive lifetime’s twilight.

                      Like Zevon’s The Wind or Dylan’s Time Out of Mind, this album finds a man taking stock of a life all but overstocked with all manner of experience and returning in the face of it all to a place of simple love and gratitude where the drama is all natural and the meaning is palpable in every note. It’s beautiful stuff, and a fitting epilogue to a career that’s dazzled like the brightest rhinestones on any man’s jacket.


                      FORMAT INFORMATION

                      Ltd LP Info: Limited edition vinyl.

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                      Cover of See You There by Glen Campbell.

                      Glen Campbell

                      See You There

                      Surfdog

                      Glen Campbell takes a fresh look at his quintessential hits in ‘See You There’, set for release by Surfdog. Glen Campbell, who just celebrated his 77th birthday, will release a new album, See You There, which offers stunning new takes of his career-defining hits, including ‘Gentle On My Mind’, and ‘Rhinestone Cowboy’.

                      During the sessions for 2011’s acclaimed ‘Ghost On The Canvas’, Campbell – for the first time – laid down new vocals for many of his classic hits. Producers Dave Kaplan and Dave Darling later took Glen‘s vocals and reinterpreted the songs to convey an intimacy that is at once chilling, uplifting, haunting and spine-tingling all at the same time, all of this much to Campbell‘s delight. It also includes ‘There’s No Me…Without You,’ which Campbell wrote with Julian Raymond and the previously unreleased ‘Waiting On The Coming Of My Lord’.

                      Shortly after the Ghost sessions concluded, Campbell was diagnosed with Alzheimer’s disease. He was honoured with a star-studded tribute at the Country Music Awards in 2011 and a Lifetime Achievement Award at the GRAMMY Awards in 2012. “This record is a more intimate and unique take on many of Glen‘s most popular songs as well as some other gems. The producers took the magic of his voice and showcased it with tastefully chosen instrumentation, in a whole new and different way for Glen.” says Kim Campbell, Glen’s wife.

                      Campbell titled the album ‘See You There’, an expression that’s been a trademark of his for decades, but takes on an added poignancy at this stage of his life and career – as do the songs that take us back to the early days of his career.

                      Collection Includes Grammy®-Winning Songs ‘Gentle On My Mind’ and ‘By The Time I Get To Phoenix’, plus ‘True Grit’, ‘Wichita Lineman’, ‘Galveston’ & more. Career-defining hits re-interpreted: From the Wrecking Crew to ‘Rhinestone Cowboy’. Twenty-one Top 40 hits with two hitting No. 1. Six Top 20 albums including chart-topper ‘Wichita Lineman’. Five Grammy Awards, three Grammy Hall of Fame honours and a Grammy Lifetime Achievement Award.

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                      Cover of Going For A Song by Garth Cartwright.

                      Garth Cartwright

                      Going For A Song

                      Flood Gallery

                        The in-depth history of the rise, fall and rise of the independent record shop in the UK. Travelling the length and breadth of the UK, Garth Cartwright conducted 100+ interviews with many record shop pioneers, noted musicians and record collectors. Utilising comprehensive research, Cartwright traces record retail history across a century of unprecedented social, cultural and political change.

                        With foreword by Stewart Lee

                        From market traders selling music hall 78s via HMV's gloved classical emporium through Soho's post-WW2 jazz, blues and folk scene to mods hungry for imported ska and soul 45s, Going For A Song documents how popular music and youth fashions took shape around influential record shops. Brian Epstein, the genius behind Liverpool's NEMS shops, utilises his trade contacts to launch The Beatles. Psychedelia's golden dawn is overseen at Mayfair's One Stop (Jimi Hendrix's being a regular) while A Clockwork Orange is filmed in the Chelsea Drug Store. The '70’s finds Richard Branson’s Virgin shops leading a revolution in record retail. Rough Trade and Small Wonder launch punk record labels from within their respective shops. Disco and reggae, techno and dubstep, are all shaped by visionary record shops. Then, at the dawn of this century, hundreds of record shops crash. From these ruins rise independent shops surfing the vinyl revival and Record Store Day.

                        Never before published research documents how a young Bob Dylan records in the basement of a Soho shop while David Bowie, Dusty Springfield, Elton John, Danny Baker and Pete Burns all first entered the music industry via working in record shops. Here friendships were forged, knowledge shared, bands formed and history shaped.

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                        Greg Cash

                        Party Chat Remix

                        PK

                          Second release on Honest Jons' eclectic PK label brings you a deep and dubby (but still uptempo) Q-Marc re-rub of their uplifting garage debut release, joining the dots between garage and reggae a la Main Street! Flip for the old-skool jazzy groove of the original instrumental from Bumpin City's head honcho...

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                          Cover of The Story Of Sonny Boy Slim by Gary Clark Jnr..

                          Gary Clark Jnr.

                          The Story Of Sonny Boy Slim

                          Warner Bros.

                            Gary Clark Jr.’s list of fans and collaborators read like a who’s who of music: The Rolling Stones, Eric Clapton, Alicia Keys, Dave Grohl, Beyoncé, Ed Sheeran, B.B, King and Buddy Guy. After 500,000 sales and a Grammy Award for his Warner Bros. Records debut ‘Blak and Blu’, Clark will build on his burgeoning reputation with the release of ‘The Story of Sonny Boy Slim’.

                            Produced by Clark himself, the album is a mash-up of his biggest influences which range from Leadbelly to Outkast via Marvin Gaye, with sounds that flow effortlessly from retro school soul to hip-hop via aggressive hard rock and sensitive balladeering. In addition to guitar and vocals, Clark also contributed most of the bass, drums, keys, harmonica and percussion that feature within its thirteen tracks.

                            The album was recorded at Arlyn Studios in Clark’s hometown of Austin, Texas to “soak up my hometown vibe and put some of that energy back on record while it was still fresh.” He decided to produce the album in order to “push myself to my creative limits, and to express myself without over-thinking stuff – I’m happy when I’m able to do that because it’s the thing that I love the most.”

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

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                            Cover of No Other by Gene Clark.

                            Gene Clark

                            No Other

                            4 Men With Beards

                              No Other is an absolutely incredible record, and the album that Clark himself thought of as his masterpiece. Despite being a critical and commercial failure at the time of its release in 1974, the years have been kind to No Other and it is now thought of as a classic solo album from one of the founding members of the Byrds. Written in the quiet sobriety of his Mendocino family home, yet recorded in the cocaine excess of Hollywood, No Other is a perfect blending of those two poles. A stunning and important folk-rock record. Comes with a reproduction of the original poster insert.


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                              Cover of Full Closure And No Details by Gabriella Cohen.

                              Gabriella Cohen

                              Full Closure And No Details

                              Captured Tracks

                              Gabriella Cohen’s debut solo full-length is the product of ten days and two microphones. Co-produced alongside close friend, bandmate and engineer Kate ‘Babyshakes’ Dillon, the record is the result of what Cohen describes as the “ceremony” of reflecting on a relationship.

                              The album’s raw, personal side could be traced back to its place of birth at Dillon’s parents’ place in the country, or to the Brisbane streets the songs were composed in. The songs are soaked in the kind of aching nostalgia that is tinged with equal measures of sadness and triumph. On ‘I Don’t Feel So Alive’ Cohen warns: “This could be the last time we get together” and on one hand it’s melancholy but it’s in the spirit of endings that are also beginnings. After finishing the record, Cohen and Dillon hit the road down Australia’s East Coast, from Brisbane to Melbourne, a truck full of instruments and gear following in their wake.

                              There are two sides to Cohen’s coin though - for every moment of raw, cutting emotion, there’s one of otherworldly ethereality. It’s what makes the record feel timeless, which doesn’t mean old-fashioned - it means that the vocoder on ‘Feelin’ Fine’ and the fuzzy, frenzied drums of ‘Alien Anthem’ don’t feel at odds with the dreamy, ambling melodies and old-school ethos at the heart of Cohen’s songwriting.

                              ‘Full Closure And No Details’ is a definitional labour of love: when Cohen talks about her collaborators she sounds like she’s talking about her family - her bass player and backing singers, ring-ins that recorded after Cohen and Dillon finished up in the country, are ‘dear friends’; and Dillon is her ‘sister’. The songs were written on Cohen’s grandpa’s nylon string guitar and ‘Piano Song’ was recorded on Dillon’s parents’ old, out-of-tune upright, the same piano she learned on as a child.

                              “‘Full Closure And No Details’ is quietly impressive - a slowburning fusion of defiance and heartache.” - The Guardian

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                              Cover of Pink Is The Colour Of Unconditional Love by Gabriella Cohen.

                              Gabriella Cohen

                              Pink Is The Colour Of Unconditional Love

                              Captured Tracks

                                Australia’s sweetheart, Gabriella Cohen struck gold with the release of her internationally acclaimed debut, Full Closure and No Details in 2016. After extensively touring the album worldwide and sharing the stage with musical heavyweights like The Flaming Lips, Marlon Williams and Rodrigo Amarante, fans and industry alike embraced the dreamy, fuzz-soaked popscapes created by Cohen. The Guardian praised: “Seductive, broody and occasionally sinister,” and it drew four-star reviews from MOJO, UNCUT and Q Magazine.

                                In the summer of 2017, Cohen moved to a farm in countryside Victoria, Australia, to record and self-produce her second album with engineer and partner-in-crime, Kate ‘Babyshakes’ Dillon. There, amidst flocks of screeching white cockatoos and herds of Black Angus cows, they etched the beginning of Pink Is The Colour Of Unconditional Love. The record was almost complete when the band was invited to join Foxygen’s U.S tour, compelling the girls to finish the album on the road. Armed with a microphone and an interface, Dillon and Cohen captured the final touches on a boat in England, the coast of Portugal; in the mountains of Southern Italy, cafes of Mexico, and finally in Venice Beach, Los Angeles.

                                Pink Is The Colour is an expansive and exciting body of work, showcasing Cohen’s unusually refreshing twists on pop arrangements. ‘Baby’ was born in the graveyard of unrequited love, while ‘Music Machine’ became a swagger of sultry defiance set in LA. Throughout the new album Cohen creates complex and sugary backing vocals. These signature vocal arrangements—contoured with classic harmonies and nostalgic melodies—form songs remarkable in their originality. Honest heartache is woven into glory throughout the record, and during eleven tracks a candid, almost ethereal self-portrait of its songwriter emerges. For Gabriella Cohen, it’s an epitaph of electric wonder, and a definitive fact: Pink is the Colour of Unconditional Love.

                                “A modern psychedelic prophet who layers drawling vocals, heartache, and healing over a background of Velvet Underground-esque guitar distortion.” - Rookie Mag

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                                Reduced Cover of Detroit by Gaz Coombes.

                                Gaz Coombes

                                Detroit

                                Hot Fruit

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

                                  Following Gaz Coombes' successful album - Matador, he is releasing a Record Store Day Exclusive version of 'Detroit' his latest single. Available as a 10" black vinyl in single sleeve.


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                                  Cover of Matador by Gaz Coombes.

                                  Gaz Coombes

                                  Matador

                                  Hot Fruit

                                  It’s been an extraordinary journey for Gaz Coombes, from flashily whiskered pop tearaway to Ivor Novello and BRIT award winning rock star. The mega-watt melodic genius responsible for ten Top 20 hits and six Top 20 albums - 'I Should Coco' was Parlophone’s fastest selling debut since the Beatles 'Please Please Me' - returns with his remarkable new album, entitled 'Matador'.

                                  “There’s this disposable vibe around music at the moment which is odd, because it’s so obviously central to most people’s lives,” says Gaz. “Life is full of moments of fear, loss and longing, but it’s how you get through those things and triumph over them which define you. But there’s as much light as there is dark on this record; there’s beauty in both of those states and that has always intrigued me."

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                                  Cover of World's Strongest Man by Gaz Coombes.

                                  Gaz Coombes

                                  World's Strongest Man

                                  Caroline International

                                    World’s Strongest Man is the magnificent third solo album by Gaz Coombes. Inspired variously by Grayson Perry’s the Descent of Man, Frank Ocean’s Blonde, Californian weed, British woodlands, unchecked masculinity, Neu! and hip hop (and a whole lot more besides), it’s a truly remarkable collection of eleven deeply personal songs each set to expansive, addictive melody.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Gatefold Sleeve Pink Coloured Indies Exclusive.

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                                    Cover of India by Gal Costa.

                                    Gal Costa

                                    India

                                    Mr Bongo

                                    A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogerio Duprat and Tenorio Jr. amongst others.

                                    Replica original gatefold including the cover that was banned by the Brazil ian military government in 1973 during the brutal dictatorship. ‘

                                    India’ includes the incredible ’Pontos De Luz’ as sampled by Kaytranada on ’Lite Spots’ – one of Mr Bongo’s favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.

                                    A record that Mr Bongo have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

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                                    Cover of Happiness In Magazines by Graham Coxon.

                                    Graham Coxon

                                    Happiness In Magazines

                                    Parlophone

                                    The two singles preceding this (Graham's back playing ball, back on a major) hinted at a return to the poppier, more direct music of Blur's heyday, and sure enough, that's what you get here. There's even chugging new-wave barre-chords where once there was atonal tinkering. It's all very welcome. Produced by Stephen Street (this isn't art, it's pop) he's having fun again: there's no time for chin-stroking. It's a catchy, punky, poppy sixties / noughties record for the summer. Welcome back on board, Graham Coxon!

                                    FORMAT INFORMATION

                                    Ltd LP Info: These are very limited SIGNED copies.

                                    Ltd CD Info: These are very limited SIGNED copies.

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                                    Cover of Spectacular by Graham Coxon.

                                    Graham Coxon

                                    Spectacular

                                    Parlophone

                                    More new-wavey, punky pop from the ex-Blur man: dumb, fun and revelling in it. Is it alright to say he sounds like Damon Albarn on this one? He's coming in the shop this week so don't tell him I said that, will you?!

                                    FORMAT INFORMATION

                                    Ltd CDS Info: Limited and numbered maxi CD single. Includes "Life It Sucks" and "I Wish (Live)", plus the video for "Spectaclular". These are very limited SIGNED copies!!!

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                                    Cover of The Spinning Top by Graham Coxon.

                                    Graham Coxon

                                    The Spinning Top

                                    Transgressive

                                    "The Spinning Top", Coxon's seventh studio LP to date, is also his finest yet whether the folky blues shuffle of "Sorrow's Army", menacing thrashes of "Dead Bees", or eight-minute daydream opus, and perhaps album centrepiece, "In The Morning". Comprising 15 original new songs, the album was produced by Stephen Street and featuring collaborators such as Danny Thompson and Robyn Hitchcock. Graham's most intimate and beguiling work to date, "The Spinning Top" ploughs depths, textures and lyrical furrows that few of his contemporaries are still able to muster, especially this far down the line. Conversely, this is the sound of a man rejuvenated and refocused, ready for yet another flourish in an-already compulsive and vital career.

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                                    Cover of What Ya Gonna Do Now? by Graham Coxon.

                                    Graham Coxon

                                    What Ya Gonna Do Now?

                                    Parlophone

                                    More gloriously stripped down, catchy as hell punk pop from Graham Coxon, harking back to the glory days of The Buzzcocks.

                                    FORMAT INFORMATION

                                    Ltd 7" Info: The 7" includes "Bloody Annoying" on the B-side and comes with a free sticker.

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                                    Cover of You & I by Graham Coxon.

                                    Graham Coxon

                                    You & I

                                    Parlophone

                                    More stripped down punky pop hooks from his latest album "Travels At Illegal Speeds".

                                    FORMAT INFORMATION

                                    Ltd 7" Info: The 7" includes an exclusive track: "See Saw" and comes with a poster insert.

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                                    Cover of What'll It Take by Graham Coxon.

                                    Graham Coxon

                                    What'll It Take

                                    Parlophone

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

                                      Limited to 750, Dinked Vinyl with retro sleeve.


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                                      Cover of Falling by Graham Coxon / Luke Daniel.

                                      Graham Coxon / Luke Daniel

                                      Falling

                                      Parlophone

                                        Blur’s Graham Coxon releases a special new single on Parlophone Records on December 15th. ‘Falling’ is a double A-side single which was written by the talented, but unknown song-writer and musician Luke Daniel.

                                        One side features ‘Falling’ recorded by Graham and the other features Luke Daniel’s original recording of the same track.

                                        Proceeds from the sale of this single will be donated to CALM (the Campaign Against Living Miserably), an award-winning charity dedicated to preventing male suicide, the single biggest killer of men under the age of 45 in the UK.


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                                        Cover of The End Of The F***ing World (Original Songs And Score) by Graham Coxon.

                                        Graham Coxon

                                        The End Of The F***ing World (Original Songs And Score)

                                        Graham Coxon

                                          The release of the debut original soundtrack score from Graham Coxon to accompany Channel 4/Netflix series ‘The End of the F***ing World’. .

                                          Recorded in Graham’ home studio in Summer 2017 the album was written, composed and performed by Coxon and marks Coxon’s original soundtrack debut. The first track to be released from the album is titled Walking All Day

                                          The project saw Coxon write over 40 original pieces for the show. He said:

                                          “There were days were I wrote and finished three or four new songs in a single day. It was mental, I’ve never worked to that kind of schedule before. But the creative process around observation and interpretation is one that is very familiar to me. I feel very comfortable reacting to things and adding my bit.

                                          And this show particularly appealed to both my appreciation of dark music as well as my dark sense of humour. It felt like a good fit.”

                                          The End of the F****ing World is an eight part darkly comic TV series based on the 2011 graphic novel by Charles Forsman which follows teenage runaways James and Alyssa (Alex Lawther and Jessica Barden) as they embark on a road trip across England. Directed by Jonathan Entwhislte and Lucy Tcherniak, the critically acclaimed series is described by Noisey as “Richard Ayoade's Submarine meets David Lynch's Wild At Heart with a splash of Black Mirror's bleakness and ink-black humour thrown in.”

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                                          Cover of A+E by Graham Coxon.

                                          Graham Coxon

                                          A+E

                                          Parlophone

                                          Graham Coxon returns to Parlophone for his new album titled A+E, which will be released on 2nd April. A+E is Coxon’s first release since the acclaimed, acoustic-driven The Spinning Top.

                                          Aptly named not only for the sense of scratchy, frantic urgency that suffuses its 10 songs, A+E finds Graham continuing with his singular vision as a truly eclectic artist. Playing all the instruments and improvising in the studio, Coxon found himself preoccupied with lyrical themes around the effects of weekend hedonism in modern Britain, on which A+E shines an outsider’s light, albeit with a mordant, sharp wit.

                                          Produced by Ben Hillier, A+E features Coxon’s distinctive, visceral garage-punk-pop and is inspired by the experimental genres of Krautrock and the black & white, post-punk era – bringing to mind artists such as Neu! (‘City Hall’), Can and Kraftwerk (‘What’ll It Take’), as well as Peter Hamill, Joy Division (‘Knife In The Cast’) and Monochrome Set - with hypnotic, driving grooves (‘The Truth’). This may be the closest Graham has ever come to making, in a skewed sense of the word, ‘dance’ music.

                                          Coxon describes the album as, “Improvisations, experiments in beats, rhythms. A chance to uninhibitedly make some sort of perversely sad, danceable and funny and despondent songs.” Adding “I didn’t want to get caught up in my usual struggle with trying to make things sound really posh. I didn’t want lovely 60s-sounding drums and valves.”


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                                          Cover of A+E (CD/DVD Edition) by Graham Coxon.

                                          Graham Coxon

                                          A+E (CD/DVD Edition)

                                          Parlophone

                                          Graham Coxon returns to Parlophone for his new album titled A+E, which will be released on 2nd April. A+E is Coxon’s first release since the acclaimed, acoustic-driven The Spinning Top.

                                          Aptly named not only for the sense of scratchy, frantic urgency that suffuses its 10 songs, A+E finds Graham continuing with his singular vision as a truly eclectic artist. Playing all the instruments and improvising in the studio, Coxon found himself preoccupied with lyrical themes around the effects of weekend hedonism in modern Britain, on which A+E shines an outsider’s light, albeit with a mordant, sharp wit.

                                          Produced by Ben Hillier, A+E features Coxon’s distinctive, visceral garage-punk-pop and is inspired by the experimental genres of Krautrock and the black & white, post-punk era – bringing to mind artists such as Neu! (‘City Hall’), Can and Kraftwerk (‘What’ll It Take’), as well as Peter Hamill, Joy Division (‘Knife In The Cast’) and Monochrome Set - with hypnotic, driving grooves (‘The Truth’). This may be the closest Graham has ever come to making, in a skewed sense of the word, ‘dance’ music.

                                          Coxon describes the album as, “Improvisations, experiments in beats, rhythms. A chance to uninhibitedly make some sort of perversely sad, danceable and funny and despondent songs.” Adding “I didn’t want to get caught up in my usual struggle with trying to make things sound really posh. I didn’t want lovely 60s-sounding drums and valves.”


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                                          Graham Coxon

                                          Crow Sit On Blood Tree

                                          Transcopic

                                          Third album from Blur's Coxon, and this is his most accomplished effort to date. Acoustic-folk, post-punk guitars and "Madcap" style Syd Barret are all thrown into the blender.

                                          FORMAT INFORMATION

                                          LP Info: Limited edition double vinyl, with signed art print. Limited to 1000 copies.

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                                          Graham Coxon

                                          Escape Song / Mountain Of Regret

                                          Transcopic

                                          Limited edition double A-side, with both tracks coming from his forthcoming album "The Kiss Of Morning". 1000 copies only.

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                                          Cover of The Essential EP by Giovanni Damico.

                                          Giovanni Damico

                                          The Essential EP

                                          Lumberjacks In Hell

                                          Italian wonderkid Giovanni Damico returns to Lumberjacks In Hell for some more fresh and funky takes on the traditional house / disco formula. "Essential" rides a Juggy Jones-esque groove but plumps it out with a weaving piano solo running throughout its course. Feelin' high and lofty throughout with its bright-eyed passages and well placed vocal snatches. "Look At You (Sugar Bomb)" is a more loopy, scuffed-bottom affair, with nods to Long Beach's best jazz-funkers - War. "Drums & Keys" aptly does what it says on the can in true Ronsil fashion while "Rhythm & Drums" conversely, does more than advertised and wraps some African (??) vox around basic tribal perc, frog sounds a steady kick, sounding like a long lost Cottam number if you ask me!

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                                          Cover of Curling Pond Woods by Greg Davis.

                                          Greg Davis

                                          Curling Pond Woods

                                          Car Park

                                          Defining the term 'laptop folk' way before it became fashionable to mix acoustic guitars and electronic sounds, Chicago's Greg Davis is keeping ahead of the curve once more with his second full-length album. While still retaining elements of 'laptop' and 'folk', "Curling Pond Woods" evolves from his debut with a larger array of instrumentation, richer arrangements, more defined song structures, and vocals. Sections of acoustic songs intermingle in and out of drones, field recordings and digital processing. Greg's range includes the psych-folk of the Incredible String Band, the songcraft sensibilities of brian wilson and John Cage's embrace of randomness.

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                                          Cover of Body & Soul EP by Glenn Davis.

                                          Glenn Davis

                                          Body & Soul EP

                                          F*CLR

                                          F*CLR Music are proud to present Irish producer/DJ, Glenn Davis and his debut release.

                                          A deep soulful affair aimed firmly at the dance floor fusing his love of all things Chicago, Detroit & NYC.

                                          The title track 'Body & Soul' has its roots firmly in the Strictly Rhythm/Nu Groove groove - a lush, organ driven banger that is guaranteed to incite hands in the air mayhem.

                                          Ashley Beedle & the North Street crew put a different spin on 'Body & Soul' giving it a spaced out, Balearic feel while 'I ain't got nothing' has got attitude and then some.

                                          The held string, melancholy chords and beautifully ethereal vocals take you to that tiny, dimly lit backstreet club in your mind - you've all been there - the one you never want to leave.

                                          The gasping interjections on 'I feel it' are underpinned by ominous synths while 'Emotional Intelligence' takes you in an even darker Detroit direction.

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                                          Cover of Il Grande Racket (AKA The Big Racket) by Guido & Maurizio De Angelis.

                                          Guido & Maurizio De Angelis

                                          Il Grande Racket (AKA The Big Racket)

                                          Four Flies Records

                                            Now for the first time on vinyl, Four Flies Records is proud to present an unmissable Eurocrime soundtrack by Guido & Maurizio De Angelis, composed in 1976 and considered to be one of the genre’s finest offerings directed by Enzo G. Castellari.

                                            Perhaps the most forceful OST from the Italian duo, IL GRANDE RACKET consists of fuzz distortion and electronic effects from the beginning to the end. This sonic gem is also enriched with psychedelic flutes, obsessive rhythms, and percussion which results with a totally prog-rock and psych-funk score that perfectly describes the main elements of the film: action, tension and violence.

                                            Remastered from the original master tapes preserved for decades in the C.A.M. archives, and augmented with exclusive liner notes by Davide Pulici (Nocturno Cinema) and stunning original artwork created by Luke Insect, this edition will be a true pleasure of the senses for any and all soundtrack lovers.

                                            FORMAT INFORMATION

                                            Ltd LP Info: Gatefold LP 180gm Limited Edition 500 copies.

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                                            Cover of La Polizia Incrimina, La Legge Assolve by Guido & Maurizio De Angelis.

                                            Guido & Maurizio De Angelis

                                            La Polizia Incrimina, La Legge Assolve

                                            Four Flies Records

                                            What we have here may well be the most iconic soundtrack by ultra talented brothers Guido & Maurizio De Angelis. If not, it's definitely the one that is closely linked with Italian crime movie genre “poliziotteschi”, made eternal by dozens movies set in mid 70's violent big cities. For the 50th anniversary of Beat Records, a coproduction with Four Flies, the first time ever reissue of this Italian soundtrack's masterpiece. Boasting a terrific tracklist, "La Polizia Incrimina, La Legge Assolve" gave rise to that Italian groove, subsquently re-used all over the place, from Umberto Lenzi's "Napoli Violenta" to Quentin Tarantino's "Death Proof". Groundbreaking and innovative compared to other Italian soundtracks of the period, the score delivered acid rock with funk episodes ("Gangster Story"), cinematic prog ("The Life of a Policemen"), magical bossa ("Casa Di Moda"), with Guido's psychedelic flute dancing in perfect time around Maurizio's sublime guitars and flawless arrangements.

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                                            Cover of Casioworks by Gust De Meyer.

                                            Gust De Meyer

                                            Casioworks

                                            JJ Funhouse

                                            This is a reissue of ‘Casioworks’ by Gust De Meyer, originally released as a cassette on Ding Dong Tapes and Records in 1983. This stuff has been making crooked collectors, old and young minimal-wave heads and other music lovers going bonkers for years. At the age of 35, back in 1983, Gust De Meyer was working as an assistant at the Faculty of Social Sciences of the Catholic University of Leuven, were he did some groundbreaking work. He got a PhD in musical industry and introduced the study of video games.
                                            Besides that he was busy writing texts and selecting records for a weekly 4-hour pioneering radioshow called ‘Funky Town’ on Belgian national radio. The show was specialized in the Afro-American dance music of the era: discofied electronics, funk, boogie and rhythm & blues. Next to brand new American records, from Chicago, Philly and New York there was also room for European stuff, sharing a likewise bouncy character or electronic groove: italo-boogie, kraut-grooves and some local danceable new-wave. Slick, glossy and commercial but also groundbreaking and goddamn funky. No wonder this radioshow became a hit in no time, even outside the national borders.
                                            The producer of this radioshow was the now world famous composer of minimal and soft classical music Wim Mertens. Around 1981 he started up his Soft Verdict project. The first LP Wim released under this name, was in fact a collaboration with Gust: ‘For amusement only’, a rather radical and raw experimental album concentrating on sounds made by pinball-machines and early computer games like Space Invaders and Pac-Man. It was released in 1982 on the now legendary Les Disques du Crépuscule label. This label was promoting a fresh and eclectic mix of ambient, post-punk, exotic electro-pop and contemporary music, all nicely dressed up in well designed sleeves.
                                            Continuing the interest in the chipset sounds of those early videogames, Gust soon released his own magnum opus and: ‘Casioworks’. After which he, strangely enough, never ever released music again.
                                            ‘Casioworks’ was made at home with only one instrument: the then very popular and cheap Casio VL Tone 1 synthesizer. Every track was recorded in one take on a porta-sound Fostex 250 4 track cassette recorder/mixer. For a first record it’s very focused and mature but also playful and heavy with urgent and visceral power.


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                                            Cover of A Me Stesso Con Simpatia by Giacomo Dell’Orso.

                                            Giacomo Dell’Orso

                                            A Me Stesso Con Simpatia

                                            Cinedelic

                                            This 1975 album is a studio session organized by Maestro Giacomo Dell'Orso (the husband of Edda) here released under his given name and not the Oscar Lindok pseudonym he's better known for. This album had the simple purpose of a fun and playful session without preconceived models. The result is a carefree album, from the friendly cover (Orso means Bear) to the music that is interwoven with bossa nova, samba, jazz and funk in a style that recalls in many ways the work of Maestro Piero Piccioni. Dell'Orso plays organ, electric piano and Bulisacchio (a synth with metal slats that simulate bass), Nino Rapicavoli on flute and sax, Jimmy Tamborelli on guitars and Ciro Cocozza on percussion.

                                            FORMAT INFORMATION

                                            Ltd LP includes MP3 Download Code.

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                                            Cover of New Confrontation EP by George Demure.

                                            George Demure

                                            New Confrontation EP

                                            Tirk

                                            One of our favourite labels, Tirk issue forth this debut EP from George Demure following releases on Output he turns to Tirk to unleash his masterplan. "No Confrontation has 5 tracks of varying influence and flavour, firstly "New Confrontation" offers a dour vocal delivery over a tireless electro-house groove, "Paperclip Millionaire" is a funky lowstrapped guitar groove with George delivering more deadpan vocals. Onto "Sister Valhalla" which is a driving punchy tech house slab, with bouncing analogue bass and crispy beats. Followed by "Atari Swansong", which indicates George is finally getting a new Mac for his production, or an XBox for Christmas over a dark Phuture-istic electro groove. lastly yet by no means least is an unaccompanied fingerpicked folky Americana offering "Rose-A-Lee". In conclusion then a strangely varied offering from George, but a fitting release for Tirk all the same.

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                                            Cover of Collected Recordings by Gareth Dickson.

                                            Gareth Dickson

                                            Collected Recordings

                                            Drifting Falling

                                            Gareth Dickson has spent the last two and a half years touring with Vashti Bunyan as her guitarist. This gave him the opportunity to work with great musicians like Devendra Banhart, Juana Molina and Coco Rosie, as well as the chance to perform in some of the great venues all over the world from The Barbican (London) to Carnegie Hall (New York). Gareth, who hails from Glasgow, Scotland, uses a steel stringed acoustic guitar and effects (delay and reverb) in his quest to recreate the ambiance of some of his more recent musical influences (Aphex Twin, Brian Eno) while drawing on the guitar techniques of some of the finger-picker guitarists of the past (Bert Jansch, Robert Johnson, Nick Drake).

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                                            Cover of The Naked City OST by George Duning / Ned Washington.

                                            George Duning / Ned Washington

                                            The Naked City OST

                                            Doxy

                                              “The Naked City” album is the musical portrait of a city. It’s a bold portrait told in striking, vivid tone colors, bringing to life the throbbing intensity of a great metropolis and its people. It’s a musical portrait with the pulse-pounding rhythm of the city’s heartbeat and melodies drawn from the dreams, the triumphs, the tragedies of the people (...)”

                                              Naked City is a police drama series which aired from 1958 to 1963 on the ABC television network. It was inspired by the 1948 motion picture The Naked City and mimics its dramatic “semi-documentary” format and filmed on location in New York City.

                                              Ned Washington, author of the lyrics and narrative for “The Naked City” album, is one of the best known and most honored musical collaborators on the Hollywood scene.

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                                              Cover of Bell, Book And Candle / The Reincarnation Of Isabel by George Duning & The Brothers Candoli / Gianfranco Reverberi.

                                              George Duning & The Brothers Candoli / Gianfranco Reverberi

                                              Bell, Book And Candle / The Reincarnation Of Isabel

                                              Finders Kreepers / Finders Keepers

                                              For the final chapter of the Finders Kreepers 7″ series of bygone supernatural psychedelic cinema scores we combine a true universal classic with a very deep underground gem for this unlikely pairing of witchcraft films from entirely different cinematic perspectives.

                                              Taken from a South American only 7″ EP dedicated solely to the nightclub music of The Brothers Candoli in Richard Quine’s Bell Book And Candle, the tongue-in-cheek cat magic theme on the a-side of this release combines whirring electric pianos and muted horns to provide a classic kitsch-witch freaky tiki theme complete with purrs, meows and magical spells sharing the same dark comedic approach to the looming domestication of witchcraft shared in haxan classics like Rosemary’s baby and Virgin Witch as wellas comedies like Bewitched and Saxana.

                                              The final side to this ten-part series finally sees the obscure ritualistic funk soundtrack to Renato Polselli’s Reincarnation Of Isobel available on vinyl for the first time since its ultra rare 1973 release (under a different name) on a small Italian imprint. Composed by library music stalwart Gianfranco Reverberi for a film that also goes by the name of Rites, Black Magic and Secret Orgies In The Fourteenth Century, the bizarre feature-length score does little to authenticate the stylistic vintage of the films plot and brings psych rock, synth and sound effects to the proceedings bequeathing gems such as this impending bass and percussion driven title sequence. Complete with explicit feminine vocalisations and sedated Euro mock afro rock textures this rare theme for the X-rated 1970s take on the 1922 Benjamin Christensen film Haxan does its best to provide a musical backdrop for a film that combines witchcraft, vampires and zombies combining all the key fantasy figures found in the Finders Kreepers series for an ultimate deep groove crescendo.

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                                              Cover of Cassy O by George Ezra.

                                              George Ezra

                                              Cassy O

                                              Columbia

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

                                                4 Track EP on limited double gatefold 7" vinyl.

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                                                Cover of Wanted On Voyage by George Ezra.

                                                George Ezra

                                                Wanted On Voyage

                                                Columbia

                                                The Debut album from George Ezra who was included in 2014's BBC sound of 2014 list. His music is a fusion of old and new, American and British, with the likes of Bob Dylan, Woody Guthrie and newcomers Crybaby and Sweet Baboo, all musical influences.

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                                                Cover of Io, Emmanuelle by Gianni Ferrio.

                                                Gianni Ferrio

                                                Io, Emmanuelle

                                                Four Flies Records

                                                  Four Flies keep their quality control sky high with the first vinyl reissue of the original soundtrack to "Io Emmanuelle (also known as A Man For Emmanuelle) – Cesare Canavari’s 1969 erotic-drama starring Italian scream-queen Erika Blanc. The score was composed and arranged by maestro Gianni Ferrio, who created one of his most famous and iconic soundtracks ever, with music that perfectly follows the neurotic character of the young protagonist – from moments of intimacy and introspection, to those of insanity and madness. The result is a terrific cocktail of late 60’s Italian grooves: orchestral beat, RnB, jazz, and avant garde numbers, with an essential contribution of “I Cantori Modernidi Alessandro Alessandroni” (vocal and choir), and featuring Gino Marinacci on flute. One of the rarest records from CAM archives is finally back in the spotlight, remastered from or iginal master tapes and pressed on 180gr vinyl, including an inner sleeve featuring original movie artwork by renowned Italian cinematic painter Sandro Symeoni.

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                                                  Cover of Fading Love by George FitzGerald.

                                                  George FitzGerald

                                                  Fading Love

                                                  Double Six

                                                  ‘Fading Love’ is the debut album from British DJ and producer George FitzGerald and was recorded and produced both in London and George’s Berlin studio.

                                                  FitzGerald made his name DJing on the world’s most prestigious club and festival stages and has also held a residency at Radio 1 for the past two years. He's also released records on labels such as Aus Music, Hotflush and Hypercolour as well as his own ManMakeMusic imprint. 

                                                  ‘Fading Love’ offers deep tech-house tracks that would work equally well (if not better) at home as in a club. Mid-tempo rhythms, nods to EDM in the synths, nods to synthwave in the treated and filtered emotive vocals combine to create a smooth ride.

                                                  “Slot it next to the kind of cerebral, intimate electronic music of Caribou and Jon Hopkins.” - Stereogum 

                                                  FORMAT INFORMATION

                                                  LP includes MP3 Download Code.

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                                                  Cover of All That Must Be by George FitzGerald.

                                                  George FitzGerald

                                                  All That Must Be

                                                  Double Six

                                                    Double Six and Domino Records present ‘All That Must Be’, the second full length album from George FitzGerald. It features collaborations with Lil Silva, Hudson Scott, Bonobo and Tracey Thorne.

                                                    ‘All That Must Be’ is a record with its psychological roots in two cities - Berlin and London. It documents a period of time when FitzGerald’s decade-long stint in the German capital came to an abrupt end, seeing him back in his hometown of London and becoming a father for the first time. It was against this backdrop that ‘All That Must Be’ started to form and the result is a record that deals with the processes of upheaval, change, acceptance and renewal that affect us all.

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                                                    Cover of The Gradual Progression by Greg Fox.

                                                    Greg Fox

                                                    The Gradual Progression

                                                    Rvng Intl.

                                                    "The Gradual Progression" is a transformative collection of new music by Greg Fox. The seven pieces of "The Gradual Progression" activate spiritual states through physical means, Fox’s rigorous inner rhythms the mandalic vessel for unbound expression and arrangement. "TGP" signals both a reconciliation of disparate musical ventures and a new nirvanic stage in the artist’s oeuvre.
                                                    Fox views "TGP" as an exploration of selfhood, and more specifically, the search for his true voice as an artist. Though such a journey is by nature ongoing, if not essentially elusive, the discoveries along the path are the musical riches of "TGP". For his second solo album, Fox employs new methods of externalizing his polyrhythmic virtuosity into non-physical realms.
                                                    This transfer of energy is achieved through responsive environments tethered to various aspects of the performance. Sensors attached to Fox’s drum kit trigger tonal palettes, or virtual instruments invented for each piece, which Fox communes with in the post-Free Jazz manner. That is, locating and emphasizing states of universal resonance in solo and ensemble settings in place of demonstrating individual ability.
                                                    This is where the album’s canonic influences – and inventors – are most recognizable. Pharoah Sanders’ "Elevation" and Don Cherry’s "Organic Music Society" come to mind, though the guidance of master drummer and holistic healer Milford Graves ultimately made TGP possible. For Fox’s astonishing 2014 album Mitral Transmissions, Graves assisted Fox in adapting software that translated output signals from biological sources to virtual instruments. For TGP, Fox again used percussion to initiate passages whose intensity and vibrancy match Fox’s energetic presence and focus.
                                                    Adapting the ‘intuitive gesture’ of action painting, and other responsive means of art-making, Fox developed a musical language constructed to isolate its most emotional and felt states for exploration. The subjective themes that inspired these deep spaces of TGP are numerous: personal loss, self-improvement, and artistic struggle, to name a few.

                                                    Another theme, hiding in plain sight, is Fox’s drumming. Years of supplying spin in collaborative bodies (Guardian Alien, Ex Eye, Liturgy, Zs) becomes a symbol of materiality on TGP, of organic animated energy seeking beyond its boundaries. Fox describes this tactile element as “sensing the emotionality and physicality of the world with the senses and through mental processes––about touching the walls of a pitch black room.”

                                                    TGP includes contributions from musicians Curtis Santiago, Michael Beharie, Maria Kim Grand, and Justin Frye, all lending various voices through instrument and from within. Fox considers the power of Sensory Percussion, the software program developed by Tlacael Esparza that helped facilitate the vision for TGP, unprecedented – something akin to magic.

                                                    Though TGP tackles technical challenges, the inspirational core is the humanist goal of social progress and its parallel pursuit of self-knowledge. Fox strives for a new musical paradigm that focuses less on his drumming and more on its untapped potential as one element in a polyphonic unity. This dissolution of the self into a wider melodic abstraction signifies Fox’s real artistic accomplishment in The Gradual Progression, rendering percussion’s dark matter as an invisible but essential element between rhythm and life.


                                                    STAFF COMMENTS

                                                    Patrick says: Greg Fox drops some serious rhythmic cleansing on RVNG, harnessing the spiritual vibrations of Pharoah Sanders or Don Cherry and blasting them way into future.

                                                    FORMAT INFORMATION

                                                    Ltd LP includes MP3 Download Code.

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                                                    Cover of Catholic by Gavin Friday.

                                                    Gavin Friday

                                                    Catholic

                                                    Rubyworks

                                                      Long awaited album from former Virgin Prunes frontman / alternative rock agitator.

                                                      Produced by Ken Thomas (Sigur Ros, M83, Moby, Yann Tiersen).

                                                      His fourth solo album, the first since 1995’s ‘Shag Tobacco’.

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                                                      Cover of Away From The Bright Lights by Garron Frith.

                                                      Garron Frith

                                                      Away From The Bright Lights

                                                      Skiffler Recordings

                                                        "Resembling a hybrid of John Martyn and Gerry Rafferty on the inside sleeve photo of his second album, the Stalybridge singer-songwriter also demonstrates throughout a similar knack for innovative songwriting talents as the aforementioned duo.

                                                        Away From The Bright Lights is awash with fine, sensitively delivered Frith originals that superbly demonstrate his versatility: smooth acoustic soul on 'Not The Man' stomping bare bone blues on 'Pretty Penny', an absorbing full-band sound with sweeping violin and a perfectly laid-back rhythm section on 'This One' the mandolin and violin colours the celtic flavours of 'RocknRollBand' and the rich strain of gritty Americana that runs through 'Good Thing'.

                                                        What sets Frith apart is his warm and welcoming voice, which maintains its authority and stamps its mark on an album of understated confidence, possessing a beautifully brooding mood and atmosphere." - Danny Moore

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                                                        Cover of The Message Uni Versa by G&D - Georgia Anne Muldrow & Dudley Perkins.

                                                        G&D - Georgia Anne Muldrow & Dudley Perkins

                                                        The Message Uni Versa

                                                        Look

                                                        Like some latter-day beat-centric version of Goffin & King, Georgia and Dudley have been on a collective creative roll in 2007 that shows no sign of stopping yet. Their futuristic hip hop-soul has already been aired on Georgia's "Olesi" and "Patti Blingh" albums, and their "Beautiful Minds" project with Brit DJ / producer 2Tall. Now "The Message Uni Versa" presents a further 20 tracks of the Stones Throw duo's inimitable peace, rhythm and rhyme.

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                                                        Cover of Moods & Grooves Classics V2 by G. Flame & Mr. G / Demarkus Lewis.

                                                        G. Flame & Mr. G / Demarkus Lewis

                                                        Moods & Grooves Classics V2

                                                        Moods And Grooves

                                                        The Moods & Grooves classics series returns with three stone cold belters. G Flame & Mr. G send us hurtling into the A-side with "Pulsez". A massive bass-heavy, tech-house roller. If you like those Delano Smith / Boo Williams type grooves then you're gonna love this. Clever little breakdowns apply a little deceleration before building us right back up again to full power. Marvelous. Demarkus Lewis grabs hold of the B-side, deploying two house jams across the side of wax. "Blown Away" has some lush flute and rich xylophones paired with another rolling house groove and enveloping live finger bass. Hypnotic, and slowly drawing you in to its concentric goodness; you'll be completely powerless to stop this effecting your hips. "Needless" concludes the set with more grooves that would make Rick Wade blush. This time it’s a deep, lights down affair, just made for losing it with your eyes closed next to the speaker stacks; just you and the music. Reminds me of many a fine night spent dancing in Manchester.

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                                                        Cover of 2 Tha Left by G Perico.

                                                        G Perico

                                                        2 Tha Left

                                                        Omerta Inc

                                                        South Central, Los Angeles rapper G Perico has established himself as one of the most promising and consistently great voices in West Coast hip hop over the past year with his updated take on classic gangster rap. Having already released a full-length album in "All Blue" earlier this year and recently following it up with the G-Worthy project that sees him joining forces with rapper Jay Worthy and super-producer Cardo, Perico is now announcing a third album. "2 Tha Left" picks up where All Blue left off and showcases a prolific young rapper who is relentless about honing his craft and is getting better with every new verse he records. The album features LA rappers TeeCee4800, AD, and Polyester alongside Northern California's Nef The Pharaoh and Mozzy in addition to the legendary New Orleans rapper Curren$y. Production on the project is characterized by a modern take on classic G-Funk courtesy of longtime collaborators Poly Boy, Polyester, Westside Webb, and Cardo amongst others.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: A limited clear with blue splatter vinyl. Hand numbered in matte sleeve

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                                                        Cover of Disco Nightmare by G-Machine.

                                                        G-Machine

                                                        Disco Nightmare

                                                        Bordello A Parigi

                                                        Bordello A Parigi treat us to some hand-stamped limited isht here as G-Machine come through with double disco trouble. Already in the hands of the global Italo elite, this sequinned two piece packs punchy percussion, funked up synthery and the kind of frothy melodies that can have me tops off in a heartbeat. On the A-side the titular "Disco Nightmare" pilots the spaceship through seesawing bass sequences, triumphant melodies and a whole load of laser fire before heading through an Einstein-Rosen bridge for a spot of wormhole funk. Muscular, crepuscular and just a little eerie, this turn of pace should work perfectly on Manctaloween. Over on the flip "Flying Over The Island" offers a little something for the tropical jocks out there, serving smooth synth funk and limber bass over a killer rhythmic lilt. Blessed with the kind of sweltering sound design we loved that Domenique Dumont record for, this is surely top of your tropical pops?


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                                                        Cover of Edit 2 by G&D.

                                                        G&D

                                                        Edit 2

                                                        G&D Records

                                                        Here at Piccadilly we love us a good edit record, and that's exactly what this is, a VERY GOOD edit record! Up first, "Rockin" is the kind of slow and steady, loopy disco-funk head nodder you'd have found on a vintage NY Edits 12". Blaxploitation bass slaps, chunky percussion and wah-guitar, all transformed into a mid tempo looper with cool as fuck funk vox pops - TOP! Next up, "Something" slips into the comfortable cosmos of the 70s symphonic discotheque with brass, smooth vocals and pinging synth bass - ZOOMIIIING! Onto the flip and "Spider" traps us in an irresistible web of jazz-funk tonality, driving disco bass and wiggy electronic fx, before dropping into the finest slap bass solo you'll hear this side of 2k18 - NASTY! Saving the best till last, G&D unleash the languid, loose and properly lysergic wrong speed edit of Harry Thumann's cosmic bomb "Underwater". All that super-wiggy synth wonderment served at space-walking tempo - GROOOVIIIIIIING!

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                                                        Cover of Fluff by Andy Gabbard.

                                                        Andy Gabbard

                                                        Fluff

                                                        Alive Naturalsound

                                                        Brimming with creativity, “Fluff” is the debut album from singer-songwriter Andy Gabbard (Buffalo Killers). This is “Modern Grunge Fuzz Pop with 60’s aura”. On “Fluff” you can hear the deeply-solid effects of the grunge genre and mid-90’s ‘alternative music’ in a sonic gestalt. Exhibiting characteristics of fairly recent genres, as well as some classics that surrounded him during his youth, the album breaks barriers of seemingly comfortable, unthreatening music cultivating a physical embodiment of Nirvana, Dinosaur Jr, latter Beatles and even Brian Wilson! Buffalo Killers continue their successful run and now, it’s not running alone. “Fluff” is the start of something great. 

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                                                        Cover of Jardin Instrumentals by Gabriel Garzón-Montano.

                                                        Gabriel Garzón-Montano

                                                        Jardin Instrumentals

                                                        Stones Throw

                                                        Sampled by Drake (“Jungle”) and G-Eazy (“Running”). Instrumental versions of Gabriel’s Stones Throw Records debut Jardín now available on limited edition wax. Gabriel Garzón-Montano’s formidable skills have come to fruition on Jardín in his Stones Throw debut. “This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,” he said. “I’ve always wanted to make music that is healing, comforting, and funky. I named the album Jardín hoping for it to create a space for healing when people put it on. “A garden is full of life, growth and beauty,” Gabriel said of choosing that unifying image as the title for his new album. “It makes me think of green and white and all the colors as they appear in different flowers.” That vivid spectrum bursts forth on Jardín itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches. From the heartache and aching vocals that float over the dusty drums of “Crawl” to the stutter-step thump of “Bombo Fabrika” to the high falsetto he nails on “Octave,” Garzón-Montano proves himself to already be one of 2017’s biggest breakout talents.

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                                                        The Gabrieli Consort & Paul McCreesh

                                                        A Venetian Christmas

                                                        Archiv Production

                                                        Sick of Roy Wood's Wizzard, Cliff Richard's "Mistletoe and Wine" or even carols from Kings? Here's a chance to experince the ambience of the first Mass of Christmas in St. Mark's as it might have been celebrated in Venice around 1600. Featuring the music of Giovanni Gabrieli (1554-1612) and Cipriano De Rore (1516-1565) and exquisitely played on period instruments by the Gabrieli Consort and conducted by Paul McCreesh, this is a brilliant spiritual and joyous disc with the wonderful Archiv Production sound quality that recaptures the reality of the voices and instruments.

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                                                        Cover of As If In A Dream I Drifted At Sea by Daniel Gadd.

                                                        Daniel Gadd

                                                        As If In A Dream I Drifted At Sea

                                                        107 Recordings

                                                          The story began like this ...We heard Daniel Gadd by pure chance. A flickering neon sign occupied one corner of the stage. Daniel took centre stage. He plays guitar and sings. We happened to be there. Immediately we began to listen. That dark basement in central London, a haven far from the concerns of people on the streets above, was the best place to be in London that night. The audience was spellbound. And then just as he seemed to be finishing up, someone shouted out “one more!” “Okay, thanks…is it okay if I do one more?” asked Daniel, wondering for a moment, not sure if it was. The venue booker by the door did not hesitate and nodded the go-ahead. Daniel played on. And we were very glad to be there. It turned out that Daniel Gadd had somehow got to London via Spain, and he had been in London for a year. He’d trained at Berklee College of Music in Valencia, Spain. He composes and scores for film, and also works as a film composer’s assistant, during the daytime.

                                                          At night he likes to play gigs. He’d even recorded an album of songs by the sea at Kalk Bay, a small fishing village that’s now become part of Cape Town. But he hadn’t known what to do next. Well we said we love your music so let’s meet up soon. A few days later we met Daniel at Foyles bookstore café at 107 Charing Cross Road. The album he’d mentioned is his remarkable debut. So here it is…. the album will now be released on CD and digital through Cargo. Daniel named his label 107 Recordings in recognition of the Foyles meeting where the idea for the release of this album was born. Daniel Gadd is 26 years old. He’s British-South African. He grew up in South Africa, he lived in Spain for a year and after that he found his way to London…

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                                                          Cover of Life On Your Mind / Feliz / Sahara by Gafanhoto Lingo.

                                                          Gafanhoto Lingo

                                                          Life On Your Mind / Feliz / Sahara

                                                          Greasy Geezers

                                                          Greasy Geezers follow up Wah Wah Collective's "Tell Me Why" with this ace three tracker. Opening with the breezy Cuban style "Life On Your Mind", the 12" also includes latin future-soul "Feliz" and mellow, torch-like "Sahara".

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                                                          Cover of Seventeen Words by Gailes.

                                                          Gailes

                                                          Seventeen Words

                                                          Ba Da Bing!

                                                            While they’ve released records on their own, and even collaborated in the past (Orcas), Rafael Anton Irisarri and Benoit Pioulard have never made music quite like they do with Gailes. This is a pure winter doldrums soundtrack, when the stillness after a snowstorm ends elongates into deep contemplation.

                                                            It’s not surprising that Seventeen Words was conceived, composed and recorded as the duo weathered a brutal winter squall, the remains of which can be viewed on the album’s artwork. This is bottomless music, minimal in sound yet majestic in presentation. Snow slows, time freezes. This is the world of Gailes, just a fragment of our own writ large for eternity.

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                                                            Cover of Stage Whisper by Charlotte Gainsbourg.

                                                            Charlotte Gainsbourg

                                                            Stage Whisper

                                                            Because

                                                            Charlotte Gainsbourg releases her new album ‘Stage Whisper’ through Because Music. An album of live and unreleased studio tracks, it is the follow up to the critically acclaimed ‘IRM’ album, which was released in January 2010. ‘Stage Whisper’s studio material features collaborations with Beck, Conor O’Brien of Villagers, Noah and the Whale and Connan Mockasin.

                                                            Many of the studio tracks on ‘Stage Whisper’ originate from the sessions for ‘IRM’, which enjoyed critical claim across the globe. The Sunday Telegraph declared the album to be a work of “borderline genius”, Mojo claimed “IRM marks Charlotte Gainsbourg’s musical coming of age”.

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                                                            Cover of Histoire De Melody Nelson - 40th Anniversary CD/DVD Edition by Serge Gainsbourg.

                                                            Serge Gainsbourg

                                                            Histoire De Melody Nelson - 40th Anniversary CD/DVD Edition

                                                            Mercury

                                                            Brimming with lust, drama, and dark humour, "Histoire De Melody Nelson" is widely acknowledged as Gainsbourg's masterpiece. The 1971 release was criminally ignored outside France, despite the godfather of French pop's decade of cutting-edge songwriting. It's now something of a cult classic, and artists as diverse as Air, Nick Cave, and Portishead have all cited the album as an influence. Don't be put off by the 'concept album' tag. There are no goblins here. Instead, Gainsbourg concentrates on his favourite subjects - sex and death. Most of the lyrics are intoned in Serge's seedy seductive whisper, intertwined perfectly with the cinematic music. From the slow, smoky funk of "Melody" through intricately arranged ballads and the final apocalyptic "Cargo Culte" (featuring a 70-strong choir), there's never a dull moment. In lesser hands, this would be an overblown mess. "Histoire De Melody Nelson", in its subtlety and invention, remains a testament to Gainsbourg's genius.

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                                                            Cover of Rest by Charlotte Gainsbourg.

                                                            Charlotte Gainsbourg

                                                            Rest

                                                            Because

                                                            Produced by Ed Bangers’ SebastiAn (Frank Ocean, Kavinsky) and mixed by Tom Elmhirst (Adele, Lorde, David Bowie), the album features collaborations with Sir Paul McCartney, Daft Punk’s Guy-Manuel de Homem-Christo, Connan Mockasin and Owen Pallett (Arcade Fire, Caribou).

                                                            Having previously written lyrics with Jarvis Cocker and Air on ‘5.55’ (2006) and Beck on ‘IRM’ (2010), ‘Rest’ is the first album where Gainsbourg penned all the words. Feeling daunted by the desire to poetise her ideas, deliverance would arrive initially courtesy of Guy-Manuel de Homem-Christo, who provided the music for the title track, steering Charlotte toward a forensically focused approach to lyric writing. “Those were the first words that I actually sang on the album. I came in with all my bunches of lyrics… It was too much, really, and Guy-Man was saying, ‘you can’t say all that, you have to simplify it,’ and he reduced it to three words! It felt so innocent in a way, but it was exactly what I needed at that time”. On the album, Gainsbourg addresses personal topics ranging from the death of her father Serge and more recently sister Kate Barry, to the tensions between her shyness and her life as a performer and public figure, to charmingly illogical childhood fears.

                                                            The album’s major production lynchpin would be French DJ, remixer and producer Sebastian Akchoté-Bozovic, aka SebastiAn, best known for his releases on French house label Ed Banger and for his production work for Frank Ocean. His background in electronic music accorded with Charlotte’s desire for a sound with a disquieting, mechanistic edge, inspired by Giorgio Moroder and, perhaps unsurprisingly for a revered, award-winning film actress, movie soundtracks, particularly Pino Donaggio’s score for Brian De Palma’s ’70s horror classic Carrie and Georges Delerue’s music for Jean-Luc Godard’s nouvelle vague masterpiece Le Mepris, as well as the chilly, unsettling ambience of films like Stanley Kubrick’s The Shining and Hitchcock’s Rebecca.

                                                            The eleven essays on ‘Rest’ are nothing if not sure-footed, proffering a compelling fusion of gleaming, string-emblazoned modern electro-pop and cinematically textured avant-chanson – their magical music box melodies kissed by bruised, introspective, occasionally disquieting lyrics. The album opens with the nursery rhyme enchantment of ‘Ring a Ring a Roses’, a hazy mosaic of nostalgic childhood snapshots – the verses delivered in intimately captured French, the instantly infectious chorus in coolly clipped English – and ends with the electro-disco-flavoured ‘Les Oxalis’ (named after the eponymous woodland flower). “Those two songs were always the bookends of the album”, Charlotte explains. The latter’s rhythmic energy cuts against the lyric, describing a lachrymose promenade through a cemetery. “I remember SebastiAn asking, ‘Are you sure that’s what you want to say against that rhythm?’ But that’s how this album made sense to me, in the contradiction between things, with the music taking you somewhere and the words going the opposite way”.

                                                            It’s a potent dichotomy that permeates much of ‘Rest’, from ‘Lying With You’, whose busy drums and angular synths frame a lyric about Serge Gainsbourg’s death (“Like everyone who’s gone through this, you have to deal with the memory of someone who is still alive in your head, and the way you’ve seen them dead. I wanted to talk about the crudity of this”, explains Charlotte), to the frank, self-examining ‘I’m a Lie’ (“…about not knowing if you’re able to collapse or fly. It’s something that I’m always wrestling with”), and the wonderfully Giorgio Moroder-esque ‘Deadly Valentine’, whose lyrics, essentially a string of uncannily delivered wedding vows, play out against a motorik Euro-disco beat and soaring strings.

                                                            Another essay, ‘Songbird in a Cage’, was penned for Charlotte by Sir Paul McCartney, no less. “We had a very nice lunch about six-and-a-half years ago”, she recalls. “I couldn’t believe that I was actually sitting next to him. I told him that if he ever had a song for me it would be a dream come true. A few weeks later he sent this track. It was a demo. I didn’t know what to do with it, because I wanted it to be part of the album. We had to reinvent it. Paul very sweetly came to Electric Lady. He did a bit of piano, some bass, a bit of guitar. It was incredible, just to see him work”.

                                                            The aides-de-camp may have played their role on Rest, but it remains undeniably the work of a singular artist, one who has explored her personal darkness in pursuit of a sense of purpose and a place of resolution, purging herself of creative shyness and timidity in the process. “This time it felt like flying on my own. I knew I needed the right collaborator, and SebastiAn was always there, but all the same, this time the album is really mine”.

                                                            STAFF COMMENTS

                                                            Barry says: Brilliant goth-pop, throbbing basslines and the undeniably exotic and infinitely more alluring addition of vocals 'En Fraincaise' (that's french for 'In French'). Lovely.

                                                            FORMAT INFORMATION

                                                            Vinyl comes with CD version of the album enclosed.

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                                                            Cover of Les Chemins De Katmandou by Serge Gainsbourg & Jean-Claude Vannier.

                                                            Serge Gainsbourg & Jean-Claude Vannier

                                                            Les Chemins De Katmandou

                                                            Finders Keepers

                                                            After decades in the making Finders Keepers Records proudly present us with the first-ever pressing of Serge Gainsbourg’s most elusive and coveted soundtrack studio recordings - co-written, arranged and orchestrated by the genius Jean-Claude Vannier (‘Histoire De Melody Nelson’) during what many consider to be the dynamic duo’s most definitive creative period.
                                                            Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone’s lost ‘Danger Diabolik’ soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie ‘Les Chemins De Katmandou’ have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.
                                                            Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like ‘La Horse’, ‘Cannabis’ and ‘Sex Shop’. Laying the stylistic, futureproof foundations for subsequent decades of forward-thinking Gallic funk mastery.
                                                            Comprising Vannier’s signature recipe of thick plucked bass lines, close-mic’d drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to ‘Les Chemins De Katmandou’ (aka ‘The Road To Katmandu’ or ‘The Pleasure Pit’) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.
                                                            This previously lost full soundtrack score now exists on vinyl for the first time ever as an infinitely important milestone in the early development of the duo who would shape the sound of French pop music for years to come.

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                                                            Cover of Bonnie & Clyde by Serge Gainsbourg / Brigitte Bardot.

                                                            Serge Gainsbourg / Brigitte Bardot

                                                            Bonnie & Clyde

                                                            Mercury

                                                            Recorded a year before his massive duet with Jane Birkin "Je T'aime Moi Non Plus", this 1968 offering from Gainsbourg and Brigitte Bardot is one of Serge's first duet albums. The set bridges Serge's jazzy styles from the early 60s with his soft and easy offerings of the 1970s. Worth it for the title track alone, but the whole album is great.

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                                                            Cover of Initials SG - The Ultimate Best Of by Serge Gainsbourg.

                                                            Serge Gainsbourg

                                                            Initials SG - The Ultimate Best Of

                                                            Philips / Mercury / Universal

                                                            At last, 12 years after his death, a proper retrospective of France's greatest export! His recording career spanned four decades, taking in everything from jazz to rock to reggae, but it's probably for his orchestral easy listening and low-slung cinematic funk that he's best loved round thse Northern Quarter parts. Everyone from Air to David Holmes and Andy Votel are hugely influenced by his sound. If all you know is "Je T'aime... Moi Non Plus", then prepare to have your life enriched with the delights of "Bonnie & Clyde", "Requiem Pour Un C", "Ballade De Melody Nelson" etc. 23 tracks in all, on both vinyl and CD.

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                                                            [ - ]
                                                            Cover of 17 by Gajek.

                                                            Gajek

                                                            17

                                                            Monkeytown

                                                            This is Gajek. This is '17. Come in, feel free. Don´t worry if you see a flute in the sink.

                                                            Matti Gajek's followup to his 2014 debut album 'Restless Shapes' opens the floodgates to signals from a future best navigated by ear. Moving through polyphonic pulses, layers of grooves and sounds, zooming in and out of ever evolving patterns of concentration and decomposition, the ten tracks of Gajek´s '17 are electrifyingly futuristic clubmusic true to the almost five decades old motto of Berlins Zodiak Free Arts Lab: „Total freie Musik“ - totally free music.

                                                            Paying tribute to electronic pioneers like Hans-Joachim Roedelius and Florian Fricke while staying clear of historical mystification Gajek revisits the abstract clarity and improvisational audacity of 1970s electronics from a perspective firmly rooted in the digital now – this is not '71. Today motoric rhythms emerge and elapse from postdigital aural scapes, intense and sublime, linking the thermodynamic to the ephemeral. Beyond the echoes of past utopias '17 discovers present signs for possible tomorrows.

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                                                            Cover of BBS002EP by Galactic Funk Militia.

                                                            Galactic Funk Militia

                                                            BBS002EP

                                                            Black Beacon Sound

                                                            A duo of funky strutting numbers from the Galactic Funk Milita via Sheffield's Black Beacon Sound. On the first part of the Dance Floor Grinder duology, the strutting snappy percussion and super smooth vocal delivery (both rhythmic and melodic) roll around the funked-out rhythmic backline, before peaking in a cacophony of frantic horns and perfectly executed drum licks. 

                                                            The second side bring a rubberlips remix, breaking down into more of an instrumental redux, with phasing and instrumental solos taking centre stage, backed by the vox rather than led by them. The wig-out peak hits after a few blissful minutes, breaking down into it's component parts before juddering and fading away. A fantastic remix, taking the component parts and inverting them into a fresh take whilst still retaining the heat of the original. 

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                                                            Cover of #10 by Galactic Zoo Dossier.

                                                            Galactic Zoo Dossier

                                                            #10

                                                              After a four year wait the world’s greatest psychedelic underground, hand-drawn pro-zine is back. Lauded by the likes of international taste-making publications everywhere, ‘Galactic Zoo Dossier’ returns with a brand new, mind-expanding issue.

                                                              Painstakingly illustrated by Plastic Crimewave and contributors from around the globe, ‘Galactic Zoo Dossier’ are also celebrating their 20th anniversary (fifteen of which have been arm-in-arm with the forces of Drag City).

                                                              Issue 10 of ‘Galactic Zoo Dossier’ is subtitled ‘The Interview Issue’ and features sixteen interviews with inimitable subjects such as Shirley Collins, Michael Chapman, Giorgio Gomelsky, Edgar Broughton, Arthur Brown and other legends of the blown mind.

                                                              Of course, it wouldn’t be complete without a full set of ‘Damaged Guitar Gods’ / ‘Astral Folk Maidens’ trading cards (collect them all).

                                                              Also, this issue heralds a return to that zeitgeisty format originally included with early issues of ‘Galactic Zoo Dossier’, a mixtape, on a real live cassette, compiling totally unreleased magical sounds by Bang, Comus, Edgar Broughton, Richard Pinhas, Judy Dyble, Michael Yonkers, Red Square, Peter Daltrey and Michael Chapman, amongst others. This is the largest and most exciting issue yet.

                                                              ‘Galactic Zoo Dossier’ has been praised in Mojo, The Wire, Spin and Pitchfork and the magazine has even branched out into the successful Galactic Zoo Disk LP reissue label.

                                                              Available exclusively to independent retailers.

                                                              FORMAT INFORMATION

                                                              Magazine Info: Limited edition magazine and cassette.

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                                                              Cover of At Saint Thomas The Apostle Harlem by Diamanda Galas.

                                                              Diamanda Galas

                                                              At Saint Thomas The Apostle Harlem

                                                              Intravenal Sound Operations

                                                              At Saint Thomas the Apostle Harlem documents Galás' volcanic May 2016 performances at Saint Thomas the Apostle church in Harlem, NY, described by the New York Times as "guttural and operatic, baleful and inconsolable, spiritual and earthy, polyglot and wordless, nuanced and unhinged." Sung in Italian, German, French, and Greek, the performances include Galás' dramatic settings of the death poems by Cesare Pavese and Ferdinand Freiligrath, as well as interpretations of songs by Jacques Brel ("Fernand", "Amsterdam") and Albert Ayler ("Angels," sung by Galás, who has always believed that Ayler's work is also vocal music). 

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                                                              Cover of On Fire by Galaxie 500.

                                                              Galaxie 500

                                                              On Fire

                                                              Domino

                                                              "On Fire" is widely recognized as the canonic pinnacle of Galaxie 500's career. The artwork conveys this, with a low-angle shot of the band, looking up towards an amber sky. This record marked the realization of their signature sound. Nowhere is it clearer than on the album opener, "Blue Thunder", the closest a song can come to waves crashing on a beach in songform. Lyrically inconsequential, with a chorus composed entirely of 'la's', the track's power lies in a systematic build and break of intensity that reaches a spector-like climax. It is the quintessential Galaxie 500 song, encapsulating all that was great about the band. With the Boston trio once again utilizing the bizarre genius of producer Mark Kramer, "On Fire" sounds like anything but. The guitars are warm blankets enwrapping Dean Wareham's vocals, percolated by the open percussion of Damon Krukowski and anchored by the emotion-laden bass of Naomi Yang. Songs like "Snowstorm", "Strange", and "Decomposing Trees" have an endless quality, without beginnings or ends, but rather frozen somewhere on a spectrum of melancholy.

                                                              STAFF COMMENTS

                                                              Darryl says: A rarity here - an album that works just as well in the cold darkness of winter as it does in the Summer glow. Chiming guitars and frozen melancholy, a classic dream-pop album.

                                                              FORMAT INFORMATION

                                                              Ltd LP includes MP3 Download Code.

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                                                              Cover of This Is Our Music by Galaxie 500.

                                                              Galaxie 500

                                                              This Is Our Music

                                                              Domino

                                                              After producing two albums celebrated by a thirsty underground network of fans, Galaxie 500 released what turned out to be their unexpected swansong, "This Is Our Music". The title is an intentionally declarative statement. After being labelled masters of the disengaged and forlorn, Damon Krukowsi, Dean Wareham, and Naomi Yang delivered a full-length comprised of their most stately material. Here, one can hear potential realized, as well as changes afoot. "Fourth Of July" is a surprisingly up-front song for the band, with rolling drums and a bass-heavy refrain, and it proved to be their most popular single. The track sets the stage for the dynamism of "This Is Our Music". When Galaxie 500 sounds wistful ("Summertime"), it sounds like years of yearning actualized; when the band sounds regretful ("Sorry"), it comes pleading on its knees. The trio found a beautiful balance between increased production values and knob-twiddler Mark Kramer's odd handed approach.

                                                              FORMAT INFORMATION

                                                              Ltd LP includes MP3 Download Code.

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                                                              Cover of Today - Remastered Reissue by Galaxie 500.

                                                              Galaxie 500

                                                              Today - Remastered Reissue

                                                              Domino

                                                              When Galaxie 500's today was released in 1988, it set off a chain reaction of quiet explosions still being felt. Never before had a record so emphasized the calming elements of rock music, transforming what at first seems like a collection of bridges into fully realized songs. And one can draw a straight line from here to the many groups they influenced, like Low, Belle & Sebastian, and Bon Iver. "Today" is full of idiosyncrasies. The trio of Damon Krukowski, Dean Wareham, and Naomi Yang were recent Harvard grads who intuitively eliminated any histrionic tradition to rock songs, leaving core emotion (not for nothing did they include a cover of "Don't Let Our Youth Go To Waste", by the kings of feeling, the Modern Lovers). It was produced by Mark Kramer, who was best known for his work with cataclysmic slop rock pioneers such as Bongwater, Ween, and King Missle. The band's hometown of Boston was just coming out of its love affair with Mission Of Burma and pouncing upon the spasmodic electricity of The Pixies. Despite, or perhaps because of, all these elements, "Today" thrived. More than 20 years after its initial release, its title is still no misnomer. The music, recorded with what many thought at the time was too much reverb, sounds present, alive, and indeed a product of today. Songs like "Flowers", "Temperature's Rising", and of course "Tugboat" (the band's debut single) stand the test of time and exist in an eternal now.

                                                              STAFF COMMENTS

                                                              Darryl says: The debut album from Galaxie 500, chiming slowcore-sunburst guitars, smooth rolling bass, hazy psychedelia fuzz and laid back forlorn vocals. Also check out their equally amazing 'On Fire' album...

                                                              FORMAT INFORMATION

                                                              Ltd LP Info: Limited to 500 copies only.

                                                              Ltd LP includes MP3 Download Code.

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                                                              Cover of Tear Your Minds Wide Open! by The Galileo 7.

                                                              The Galileo 7

                                                              Tear Your Minds Wide Open!

                                                              Damaged Goods

                                                                Medway garage-psych at its finest! Limited to 300 vinyl copies with free CD featuring an exclusive extra track! Prior perception is a right nause, especially when it comes to The Galileo 7. This Kentish quartet have now been kicking out keen psych-pop nuggets since 2010, over the course of four albums and several 45s, but vocalist/guitarist/songwriter Allan Crockford's illustrious past and parallel present, as bassist with a roll call of the greatest British bands of the past 30+ years – The Prisoners, The James Taylor Quartet, The Prime Movers, The Solarflares, Graham Day & The Forefathers – seems to have, weirdly, done 'em no favours.

                                                                And in an age when peeps of a certain age are going goo-goo googly-eyed over the XTC back catalogue, rediscovering all manner of 60s psych-pop and garage treats, and lionising such moderne combos as Thee Oh Sees and Tame Impala, that the Galileo 7 haven’t reaped comparable plaudits seems just plain stoopid... This, their fifth album (counting the scorching “Live-o-Graphic” set), sounds like the work of a quartet of twenty-somethings – it’s high-energy, psychedelic garage rock’n’roll, replete with catchy, memorable tunes, seriously gnarly guitar, darkly humourous lyrics, four-part harmonies, Viv’s searing organ, Paul’s pin-point bass work and gloriously crash, bang, wallop drums, in a Keith Moon meets Thom Mooney (The Nazz) vein. The latter comes courtesy of longtime Galileo 7 bassist Mole (Embrooks / Higher State / State Records), whose shift to the drum seat has really kicked everything up a notch – his dynamite sticksmanship and stellar backing vox really bring out the best in the band

                                                                FORMAT INFORMATION

                                                                Vinyl comes with CD version of the album enclosed.

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                                                                Cover of In The Heat Of The Moment (Andrew Weatherall / Toydrum Dub Remixes) by Noel Gallagher's High Flying Birds.

                                                                Noel Gallagher's High Flying Birds

                                                                In The Heat Of The Moment (Andrew Weatherall / Toydrum Dub Remixes)

                                                                Sour Mash

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

                                                                  This exclusive 12" for Record Store Day is limited edition and feature remixes of the single 'In The Heat Of The Moment' by Andrew Weatherall and Toydrum. Previously unreleased, this is the first time these critically acclaimed remixes are available on vinyl. Noel is a supporter of Record Store Day and says "Record shops are as important as the records themselves".

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                                                                  Cover of AKA...What A Life! / Let The Lord Shine A Light On Me - UNKLE Reworks by Noel Gallagher's High Flying Birds.

                                                                  Noel Gallagher's High Flying Birds

                                                                  AKA...What A Life! / Let The Lord Shine A Light On Me - UNKLE Reworks

                                                                  Sour Mash

                                                                  Closing out an exceptional debut year for Noel Gallagher’s High Flying Birds, the band’s most recent single “AKA…What A Life!“ and its B-side “Let The Lord Shine A Light On Me” have been remixed by pioneering electronic producers UNKLE.

                                                                  Stretching each track out to 8 minutes plus UNKLE, the brainchild of James Lavelle, have reimagined the two tracks as leftfield, psychedelic epics perfect for both the dancefloor and at home afterwards.

                                                                  Already being supported by the likes of Radio 1’s Zane Lowe and Pete Tong, the remixes will be pressed up on highly limited white label 12” vinyl, before being released digitally late February 2012

                                                                  These remixes mark the second time that UNKLE have crossed paths with Noel Gallagher, having previously produced the Oasis track “Weight of the World”.



                                                                  FORMAT INFORMATION

                                                                  12" Info: Strictly limited white label pressing.

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                                                                  Cover of Lock All The Doors by Noel Gallagher's High Flying Birds.

                                                                  Noel Gallagher's High Flying Birds

                                                                  Lock All The Doors

                                                                  Sour Mash

                                                                    This track is the fourth single to be released from the hugely successful second album, ‘Chasing Yesterday’ and is backed by the non-album B-side ‘Here’s A Candle (For Your Birthday Cake)’.

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                                                                    Cover of As You Were by Liam Gallagher.

                                                                    Liam Gallagher

                                                                    As You Were

                                                                    Warner Brothers

                                                                    After the phenomenal reaction to his solo track ‘Wall of Glass’ and the emotional scenes that accompanied his first solo shows, Liam Gallagher brings us his eagerly anticipated debut album ‘As You Were’.

                                                                    “I didn’t want to be reinventing anything or going off on a space jazz odyssey,” says Liam. “It’s the Lennon ‘Cold Turkey’ vibe, The Stones, the classics. But done my way, now.”

                                                                    The album’s cover features an iconic new portrait of Liam which was taken by the influential photographer, fashion designer and creative director Hedi Slimane.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Limited white vinyl edition.

                                                                    Coloured LP includes MP3 Download Code.

                                                                    LP includes MP3 Download Code.

                                                                    Box set Info: Deluxe box set edition.
                                                                    Contents:
                                                                    12” (standard) white vinyl
                                                                    Deluxe CD, poster
                                                                    Klaus Vormann print
                                                                    Printed ticket
                                                                    For What It’s Worth 7” white label
                                                                    Ted Kessler foreword
                                                                    Polaroids (in 50 boxsets)

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                                                                    Cover of Wall Of Glass by Liam Gallagher.

                                                                    Liam Gallagher

                                                                    Wall Of Glass

                                                                    Warner Bros.

                                                                      Unlike boxing, rock and roll is not renowned for great comebacks. A few missteps and then it’s usually farewell, have a good life, who are you again? Occasionally, though, a true heavy musical champ loses a bout only to re-emerge even stronger later. David Bowie, for example, went through a long fallow period before his renaissance. Paul Weller had a rocky few years before finding his feet as a solo artist. Now we can add a third era-defining voice to that list of champions who returned to reclaim their belt: Liam Gallagher.

                                                                      After Beady Eye officially split in 2014, Liam found himself “out of the bubble” of being in an organised rock group with all the appropriate management apparatus for the first time in twenty years. He fell hard. Suddenly just a regular geezer (“just a regular absolute legend” he clarifies), he had to consider what he was going to do. For a while, he toyed with the idea of moving to Majorca and living “Sexy Beast-style” around the pool in the sun. He had a few holidays. He went for lots of jogs. He had a few pints. And he got divorced. And when all that was done he took a long look at himself in the mirror and remembered who he is and what he does. He’s Liam Gallagher, son of Peggy Gallagher, of Burnage, Manchester, the best singer and frontman of his generation. So he decided to start singing some songs again. Majorca could wait.

                                                                      Playing around in his own idiosyncratic style on a guitar at home in London, he surprised himself by writing a song. “I am definitely not a professional at it,” he says, modestly. “It’s proper Frankenstein tackle. But I suppose everyone has their ways. Even Paul McCartney didn’t just sit down and write Hey Jude straight away.”

                                                                      The song that he wrote was a heavy dollop of soul-rock called Bold and strong enough to get him signed to Warner Bros. There was something there alright. Eventually, he had a whole batch of songs written which he demoed with a multi-instrumentalist called Dan McDougall in London before he started to meet producers and co-writers. “Warner Bros said to me, ‘Are you up for a bit of co-writing? I was, like, ‘never done that before. Why not?’” He flew out to LA, met a few, but really hit it off with Greg Kurstin. “Greg Kurstin played me a few ideas, we had a chat, swapped some ideas, sorted it out and before you know we had some more songs. I’m as surprised as anyone that it worked, but the songs we did are top.”

                                                                      These songs include Liam’s incredible first single as a solo artist, Wall Of Glass. If you had to make an equation of all the elements that made the early Oasis singles so apocalyptically good - i.e, huge waves of guitar hooks + melody you can’t shake for…ever + thunderous rhythm + LIAM GALLAGHER’S VOICE delivering an unbelievably catchy chorus - then Wall Of Glass fits in the lineage perfectly. It’s hard to recall a time he’s sung better - it’s like hearing him for the first time again, the same yearning menace that claimed a million hearts by the end of Supersonic’s first chorus. His voice is definitely on point.

                                                                      “Yeah, well,” he almost agrees. “I’m a good singer, man! Nine out of ten times I nail it. In a studio, without a doubt. Never done a shit vocal there.”


                                                                      FORMAT INFORMATION

                                                                      Ltd 7" Info: Limited repress!

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                                                                      Cover of Holy Mountain by Noel Gallagher's High Flying Birds.

                                                                      Noel Gallagher's High Flying Birds

                                                                      Holy Mountain

                                                                      Sour Mash Records

                                                                        After teasing fragments of songs and art from new album, Who Built The Moon?, Noel Gallagher’s High Flying Birds turn fans’ attention to the release of 'Holy Mountain', the first single to be taken from the new album out today through Sour Mash.

                                                                        Nestled high in the tracklisting of the follow up to the platinum-selling, Chasing Yesterday (2015) and featuring Paul Weller on organ, Holy Mountain is delivered with thundering self-assurance.

                                                                        Gallagher says: “It was one of the first things David and I did on the first week of working together. I knew instantly that it was going to be the first single. There’s so much joy in it. Until the day I die, it will be one of my favourite pieces of music that I’ve ever written. It sounds great live. My kids love it, my friends’ kids all love it and I am sure ‘the kids’ will love it.”

                                                                        The 12” vinyl release features Holy Mountain accompanied by an exclusive, instrumental version of the track, while the B-Side features Dead In The Water (Live at RTÉ 2FM Studios, Dublin). Also offered as an album bonus track, Dead In The Water catches Gallagher and keyboard player, Mike Rowe in between takes at a Dublin radio station. Such moments are destined to go unrepeated, with Gallagher vowing never to re-record it any other way.

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                                                                        Cover of It's A Beautiful World by Noel Gallagher's High Flying Birds.

                                                                        Noel Gallagher's High Flying Birds

                                                                        It's A Beautiful World

                                                                        Sour Mash Records

                                                                          Noel Gallagher’s High Flying Birds announce new single ‘It’s A Beautiful World’ – the second to be taken from the Number 1 album ‘Who Built the Moon?’, following the success of the first single ‘Holy Mountain’.

                                                                          The hypnotic track features ambient electronica and sharp production from acclaimed producer, DJ and composer David Holmes, and a French spoken word segment inspired by Gallic art house cinema.

                                                                          Producer David Holmes says: “The track had so much space and was feeling great. After Noel wrote the song he asked me about getting a French vocalist to do some kind of spoken word, so I called my friend Charlotte Courbe and played her an extract from a French short film that I always loved and wanted to borrow from. She then produced an astounding piece of writing that contrasted Noel’s song and music so beautifully.” 

                                                                          FORMAT INFORMATION

                                                                          Ltd 12" Info: Limited Edition Yellow Vinyl.

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