THIS IS A BLACK FRIDAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 24TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 25TH).

The fourth night of the famed Fillmore West run that produced the bulk of Live/Dead is an exceptional example, going back more than 54 years, of why you never miss a Sunday show. Opening with what would later be known as the Live/Dead suite, 3/2/69 demonstrates the Dead had not only not run out of steam after three magnificent shows, in many ways they surpassed the previous nights' wildly powerful music.

Before your very eyes, and lucky ears, Garland return with their second album on LFI. The follow up to their debut "Preludes # 1" is a surreal journey in which the duo further explore their shared interest of sample based music, minimalism and arrangement methods found in the dub tradition. By combining analogue and digital technologies with found sounds and acoustic instrumentation, Cologne based DJ Phillip Jondo and Glasgow based artist Simon Weins invite the listener to delve deeper into their exploration of time, space, texture and form...
Returning with a more refined body of work, Garland sets the tone on # 2 by shifting attention to the ever-changing nature inherent to sound itself. Worlds in which the origin of sound is untraceable and where micro events become the basis for extended explorations.

TRACK LISTING

1. S.Am
2. Gar.Ske
3. (((Noh)))
4. Eps.Ans
5. Tom.Pt
6. Candy.Blp
7. Detar.Hu
8. Fa.De
9. E.Ijyh

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

This Record Store Day Exclusive 7” Red Vinyl contains two previously unreleased mixes of the classic single ‘Your Generation’ and later b-side ‘Trying For Kicks’ by Alan Winstanley. During the recording of the album for the band to take away and listen to. Both tracks are previously unreleased and are Exclusive to this release and do not feature on the Deluxe Ediiton. No download.

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

2000 LPs on black vinyl pressed for the world. Unreleased First ever live recording of Green River from the bands personal archives. For fans of Mudhoney, Green River, Pearl Jam.. Recorded on Sept 28,1984 at the Tropicana in Olympia Washington. From the original tapes. Pressed at RTI. Includes Original Concert Poster. Tracks : Against The Grain, 10,000 Things, New God, Corner Of My Eye, P.C.C., Strange Ways, Tunnel Of Love

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

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King. Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969. Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label, For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz. Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
LIMITED TO ONE PER PERSON.

Available on limited edition pink vinyl, with extra previously unreleased tracks included on the download card, this Record Store Day exclusive is a repackaging of a long out-of-print vinyl version of Gemma Ray's sophomore solo album "Lights Out Zoltar!", on its 10th anniversary. Recorded and produced at home in London with Michael J Sheehy (Dream City Film Club, Miraculous Mule), it showcased Gemma as an original and ambitious writer and producer, an independent with a wondrous box of tricks up her sleeve.As such it received rave reviews from the international press (below), whilst "100 mph (in 2nd Gear)" was Single of the Week on BBC Radio 2's Mark Radcliffe show. "By rights she should be a household name.This album is a rare treat indeed" - John Doran (BBC/QUIETUS) "Had Phil Spector forced his girl groups in a more noir-soundtrack direction, this might've been the result.Ray has a truly impressive feel for vintage pop flourishes, layered to lavish effect.And all those details are what you're supposed to be paying attention to, right up until the blade hits your back." SPIN "Three months after I first got the album I'm still marveling at the way Ray has synthesized a whole slew of retro references into a cinematic psychedelic sound.Ray's sound is like one of those Willy Wonka Gobstoppers: it's massive and composed of layer upon layer of aural tastes and colours" - VANITY FAIR "An eerie aural kaleidoscope that conjures up thoughts of what an album by Mary Weiss of the Shangri-Las produced by David Lynch would have sounded like.Though it echoes with references to mid-'60s melodramatic pop, it's of the moment and

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JULY 17TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JULY 17TH).

Georgia is very happy to announce Seeking Thrills: After Hours, a limited 12" to be released on Record Store Day 2021. Where Seeking Thrills was Georgiaís exploration of the dancefloor in pop form over 12 tracks, After Hours sees Georgia going deeper into the club setting, with four remixes of her own songs designed specifically for club use. After Hours gave Georgia the opportunity to go deeper into those influential club sounds that were at the core of Seeking Thrills. Condensed into 4 tracks, this 12î is not only collection of tracks rooted in house and techno, it's Georgia's homage to the dance culture that was so instrumental in the creation of Seeking Thrills. Format(s) LP - die-cut sleeve with reverse print, yellow coloured vinyl 

TRACK LISTING

1. Feel It (After Hours) 2. Never Let You Go (After Hours) 3. 24 Hours (After Hours) 4. The Thrill (After Hours)

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Exclusive acoustic re-recording of 4-tracks from the album ‘Turn The Car Around’ for RSD 2023 – Orange coloured vinyl, 45RPM. Exclusive artwork.

TRACK LISTING

A1. Overnight Trains (Wurlitzer Version)
A2. Don’t Say It’s Over (Studio Outtake)
B1. Long Live The Strange (Acoustic Version)
B2. Turn The Car Around (Studio Outtake)

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 24TH).

An exclusive Garbage release created especially for Record Store Day 2023! Presented on vinyl for the first time, this 12íí single includes the rare track "Witness to Your Love", as well as three previously unreleased tracks. The release has been pressed on transparent coloured vinyl and is accompanied by an exciting, vibrant artwork.

TRACK LISTING

 A1. Witness To Your Love
A2. Cities In Dust
B1. Blue Betty
B2. Adam And Eve

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Generation X were born out of the English punk era of 1976 from the ashes of the band Chelsea, and featured Billy Idol and Tony James who achieved both solo and group success throughout the decade and beyond

Recorded in one week in a converted garage with producer Martin Rushent (The Stranglers, Buzzcocks, Human League) this debut showcased the cleaner sound, with more focused vocals, with the band often cited as pioneers of the pop-punk genre. An underrated album at the time, it stands as a snapshot of the era. Breaking into the UK album top at the time, it featured the single Ready Steady Go. This RSD version is presented as 180g yellow vinyl with a bellyband to emulate the original release.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 24TH).

Expanded double LP edition of the early ë90s Giant Sand gem, including a second previously unreleased disc featuring live recordings from Sub Pop's Vermonstrous Festival, 1992. With new liner notes and commentary from Howe Gelb. An everyday tale of answering machines, petroglyphs and a Takamine guitar; true stories from Joshua Tree: ìAnother fascinating set of desert-fried rock ëní roll, serving up one winner after another.î (AllMusic). A masterpiece of psychedelic desert-rock, a spiritual cousin to the Meat Puppets' ëUp On The Suní and Kyuss's ëSky Valleyí.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

50th Anniversary - Abbey Road Half Speed Master by Miles Showell cut using the 2018 96k24bit files.
The 180gram black vinyl is housed in a gatefold sleeve and comes complete with a replica of the original 16-page “Blue Book” of lyrics and drawings plus an Abbey Road Certificate and Obi.
Recorded in August 1973 at Pavillon Du Hay, Sens, France on the Manor Mobile (24 Track)
Produced by Gong and Simon Heyworth
Engineered by Simon Hayworth
Remastered in 2018 from the original Virgin analogue masters by Simon Heyworth
Released on Virgin Records in 1973, ‘Angel’s Egg’ was Gong’s 4th album and 2nd in their ‘Radio Gnome Invisible Trilogy’.
It features Gilli Smyth aka Shakti Yoni on vocals / ‘Space Whisper’ and was the first Gong album to feature Steve Hillage as a full-time band member.
Contains such fan favourites as “Other Side of The Sky”, “Flute Salad”, Oily Way” and “I Never Glid Before”.
Line Up & Down:
Gilli Smyth aka Shalti Yoni: Vocals ( Spacewhispers)
Daevid Allen aka Dingo Virgin: Guitar, Vocals
Steve Hillage aka Submarine Captain Hillage: Guitars
Mike Howlett aka T. Being esq: Bass
Tim Blake aka Hi T. Moonweed: Synthesizer, Vocals
Didier Malherbe aka Bloomdido Bad de Grass: Flute, Tenor Saxophone, Soprano Sax, Backing Vocals
Mirielle Bauer aka Mirielle de Strasbourg: Glockenspiel
Pierre Moerlen aka Pierre de Strasbourg: Drums, Marimba, Vibraphone

TRACK LISTING

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Greentea Peng's 'RISING' EP was a turning point in her career, this 7-track vinyl pressing features some of her biggest tracks such as "Downers" and "Mr. Sun (miss da sun)" that launched her into the limelight and solidified her position as one of the most exciting artists coming out of the UK right now.

This new pressing of "RISING" will be pressed on Eco vinyl, using offcuts and waste from other vinyl pressing runs, melting them down and creating new records from the vinyl waste. Each record will be slightly unique in colour and pattern. Records are brown/crimson with a marble effect containing black, green, blue and grey highlights. Each record is slightly different due to the eco element, using melted down offcuts from other pressing runs. Colour may vary.

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.

Extremely hard-to-find Ghanaian LP from legendary musician Gyedu-Blay Ambolley, originally released in 1980. Tough Highlife, funk and boogie moods with added synthesizer! Ambolley is still actively touring today, keeping these vibes alive - he will be touring Europe throughout 2019. This is the third Gyedu Blay Ambolley LP that we have reissued on Mr Bongo, following on from his seminal ‘Ambolley’ and ‘Simigwa’ recordings. Official Mr Bongo reissue licensed from Gyedu-Blay Ambolley.

TRACK LISTING

Control
Woye De Adolfo
Don’t Go
Mercy Kae Dabi
Take Am So
The Message (God Is Love)

Extremely hard-to-obtain album from the Ghanaian master composer, producer and musician. Originally released in 1982 by the WEA International label and then again in Germany in 1985 by Ambolley himself; this is one of his finest albums in our opinion.
Ambolley fuses Highlife, disco and boogie sonics perfectly and features the anthemic club cut, Highlife, that we have spinning for a while - always does the job!  Official Mr Bongo reissue. Licensed from Gyedu-Blay Ambolley.

TRACK LISTING

A1. It's High Life
A2. Walking Don The Street
A3. 'Cos I Love You
B1. Cut Your Coat
B2. Adwoa
B3. Simigwa
B4. Franfranta

Written and produced with Ebo Taylor and originally released in 1975,  "Simigwa" is Ambolley's debut solo album. It's a legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk.
Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.
‘Simigwa’ was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.

TRACK LISTING

Kwaakwaa
Akoko Ba
This Hustling World
Toffie
Adwoa
Fa No Dem Ara

On “Dizzy Strange Summer”, Genevieve Artadi offers a window into her ad-lib creativity and the LA community where it’s been nurtured. This is the vocalist, composer and producer’s second solo album, and it sees her stake out her own ground outside of her other groups KNOWER, Expensive Magnets and Everything’s Under Control. She brings her own slant to the DIY LA scene that she’s grown up in, melding influences from jazz, psychedelia, bossa nova and avant-garde electronics. “Dizzy Strange Summer” marks not only Artadi’s debut on Flying Lotus’ Brainfeeder imprint, but her first self-produced project released on any record label.

An impulsive spirit underwrites every part of the album, something reflected in the energy Genevieve devotes to create the videos to accompany them. It’s an honest, unmediated reflection of the period in which she created the music, supported by a close circle of like-minded musical friends including - but not limited to - Louis Cole (Brainfeeder), Sam Wilkes (Leaving Records), Henry Halliwell, Daniel Sunshine, Adam Weissman (Pollyn / Real Bad Man), Ruslan Sirota, Ross Garren, David Binney and Jacob Mann — each of whom she tapped up to add their flavour to songs where she felt their styles or talents aligned. Most tracks would begin life on her laptop, be sent to a friend for them to add their spin to it, before coming back to Artadi to be elevated to their final form. Reflecting on what drives her to create, she says: “Sometimes I just really get that burning feeling to make something and get it out there.” Above all, this is an album that speaks to that drive: to create something and share it with people.

The album was written in a time of upheaval, something reflected in both the lyrics and the sound of the record. “I was pretty lost… but enjoying feeling lost,” Artadi says. Drawing inspiration from the tumult around her and she relished the opportunity to express herself uninhibited by the shackles of compromise associated with collaboration. Crucially, this often means a silly, playful side being played off against a serious one; but she doesn’t think the former undercuts the latter, seeing the two as vital shared ingredients to what she does. “I don’t feel like I would be giving an honest picture if I didn’t do both,” she says.

“Dizzy Strange Summer” revels in juxtapositions, unleashing high energy assaults at full tilt before giving way to soft-focus melancholia, allowing Genevieve to show off the full spectrum of her vocal prowess. On the first single ‘Living Like I Know I’m Gonna Die’ for example, her delivery is beautifully understated and airy: “Living like the future is a guess, living like I’m smaller than a speck”. “I sing it softly ‘cos it’s an internal proclamation... a message to myself,” she explains. She displays this vulnerability on ‘All I Want For Now’, ‘Before The Dark’ and ‘Will You Tell Me’ too - the latter a stunning duet with harp. Elsewhere, on ’Godzillaaaa’ for example, her delivery is informed by ESG and Talking Heads, stomping past on a stark riddim in a whirlwind of distorted percussion and synths.

TRACK LISTING

Side A
01. I Hate When I Can’t Feel My Heart
02. Living Like I Know I’m Gonna Die
03. Godzillaaaa (feat. Real Bad Man)
04. Nowhere To Go
05. Edge Of The Cliff (feat. David Binney, Louis Cole)
06. Will You Tell Me
07. Loneliness Grows
08. Hot Mess

Side B
01. Hope Song
02. Is What You Believe
03. Feelz Tru
04. Oo Ya
05. All I Want For Now
06. Mad Child
07. Before The Dark
08. Cupcake5 

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.

TRACK LISTING

1. A Sea Of Suckers
2. Goodbye Saint Paul Street
3. Blues For A Pecan Tree
4. Two Person One Man Band
5. Bullshit Society
6. Jailbirds And Vagabonds
7. Self-Destruction Derby
8. Medication #9
9. Pursue The Night Life
10. Six A.M. At The Black And White

Copenhagen’s Tartelet continues its 10 th anniversary with another an EP from Glenn Astro, serving up five exclusive tracks across a multifaceted 12". The EP takes inspiration from Keith Haring’s celebrated 'Crack is Wack' mural in New York, which was a reaction to the drug epidemic of the time. Only 250 copies will be released worldwide.

In a short space of time, Glenn Astro has cooked up his own unique musical world. He has released full-lengths on Ninja Tune alongside Max Graef, and recently on Apollo Rec, sister label of R&S, in conjunction with Hodini.

The opener "Crack Is Wack" is a loose and live sounding jam with warm synth chords, alternating 808 drum patterns and breaks. It has a celebratory feel as expressive keys and walking basslines take turns to take the lead and move things forwards. The feel good "Der Langweiler" is a much slower and loveably lazy joint, incorporating a cosmic 808 drum groove mixed with arpeggiated Wurlizer chords and a grooving e-bassline sinking you deep into the late night groove.

On the flip and switching up the vibe again is "Der Maschine", which has frazzled electronic synths next to wooden hits and a playfully distorted drum machine to make for something that brims and bristles with dance floor energy in inventive new ways.

"Boring Times On Beleuse Five" is a tripped out sci-fi track with percolating drums and heavenly chords. It’s sparse and dynamic but with a compelling rhythm. "Discomania" is an exclusive and vinyl-only cover version of Piero Umiliani’s eponymous electronic disco classic, is a gorgeously spaced out disco instrumental with expressive keys, drums and percussion all adding up to something impossibly infectious.

This is another remarkable EP of effortlessly fused sounds, showcasing Glenn’s new steps exploring cosmic and electronically driven aesthetics.

STAFF COMMENTS

Matt says: Playful and trickski Glenn has a sound and outlook completely of his own. He's carved out this identity through some carefully constructed, sympathetic constructions that add an elven magic to a cauldron of downbeat, hip-hop, house raw elements. Almost impossible to describe but always fun to listen to!

TRACK LISTING

A1. Crack Is Wack
A2. Der Langweiler
B1. Der Maschine
B2. Boring Times No Beleuse Five

Taking his cue from seminal mix albums of days gone by, Glenn Astro is back with a compilation of original productions from a cast of fictional artists on “Nothing Is Real”. Across 13 tracks, the Tartelet mainstay celebrates the thrill of discovery which came as standard listening to new entries in series’ like X-Mix and DJ Kicks, moving between head-nodding downtempo, ambient techno, broken beat and all manner of chill-out room delights. You might be left wishing artists such as DJ 1999, Mental Trance and Eye Soul8r had actual discographies to go and explore, but as Astro himself is keen to point out, ‘nothing is real.’

Astro has never been shy to embrace classic tropes and tones in his past albums for Tartelet, Apollo and Ninja Tune, but he’s drawing on a different set of influences for this album and embracing the flexibility afforded by using imagined aliases for varied production styles.

‘I had the idea to do a mixtape, preferably with unknown dance tracks that also reflect that whole 90s/early 00s vibe,’ Astro explains. ‘Instead of digging for some records that haven’t been sourced yet or trying to find those forgotten treasures, I made the tracks myself. That way I had full control over BPMs, feel and the whole arrangement of tracks. I thought of a few alter egos and started producing the tracks in the order that I intended to play them in a mix. In the end a whole compilation of tracks emerged.’

While the concept might suggest you’re going to hear a lot of over-familiar sounds, don’t be fooled. Astro is inspired and inquisitive, channeling the experimental spirit of the 90s and early 00s when electronic music was still continually being redefined in all kinds of micro-scenes. In many cases, Astro’s productions slip into the cracks between genres rather than specifically mimicking a style.

Even if the reference points are detectable, the end result is a curious blend as indebted to ambiguity as the overall concept of the compilation. Like the spine-tingling sensation of hitting play and awaiting the waves of unknown sonics on one of those seminal mixes, you never know exactly what you’re going to get as you take the trip through “Nothing Is Real”.

STAFF COMMENTS

Matt says: A brilliantly conceived project which sees Glenn attempt to recreate the halcyon sounds of 90s downbeat which he does with staggeringly authentic results. Light up a joss stick, roll up your finest indica a get fully submerged in this post-xtc glow.

TRACK LISTING

A1. Glenn Astro & Mental Trance - Intro Track
A2. Glenn Astro & Crystalline Reality - The Growl
(crystalline Mix)
A3. Glenn Astro & Eye Soul8r - Autumn Subs
A4. Glenn Astro & Dj 1999 - The Abyss
B1. Glenn Astro & Brain Liquor - Jaque?
B2. Glenn Astro & Crystalline Reality - The Growl
(night Mix)
B3. Glenn Astro & Mental Trance - Mental Trance
B4. Glenn Astro & The Foundation - Steppers
Worldwide, Unite!
B5. Glenn Astro & Dj 1999 - Almost Pleasant

Gacha Bakradze releases his third album on Lapsus entitled "Pancakes", and while the name may appear conventional at first glance, it actually contains esoteric philosophical concepts.

The Georgian producer perceives the making of pancakes - a transformative and healing parental activity that he loves to partake in with his son- as a metaphor for alteration, metamorphosis and change. A reflection that also accentuates the importance of balance during each process of preparing a simple recipe, which in turn highlights key human attributes such as patience, attention to detail and willingness to adapt to shifting circumstances.

On a sonic level, Gacha’s new album embodies precisely that: the contextual reworking of his music, while maintaining the essence of his previous work. "Pancakes" provides the typically melancholic yet vibrant genetics already recognisable in his music, but also embraces new genres, including his unique and personal take on hyper-pop and trance. It is an album of contrasting elements, where bucolic interludes make way for heavier tracks that are more suited to a club environment, an aural universe that hybridises IDM, electro, bass music and cutting edge techno, and once again demonstrates that trying to pigeonhole Gacha Bakradze's sound is a somewhat fruitless task.

TRACK LISTING

A1. Boredom
A2. Opi (album Version)
A3. Overtime
A4. Tainted
A5. Backup
A6. Attention
B1. Presence
B2. Morning Chatter
B3. Last Escape
B4. Ff31warning
B5. Terror
B6. Echoes Of Silence

After being completely sold out on vinyl, Geoff Barrow & Ben Salisbury’s "DROKK: Music Inspired By Mega-City One" has been reissued as a special edition on double LP with beautiful new bespoke packaging and bonus material. This incredible new package is designed by Marc Bessant and features a spined ‘sombre grey’ outer sleeve with deboss and die-cut revealing the reverse board inner sleeve and vinyl label.

"DROKK" is a synth heavy score with a relentless darkness, a cold atmosphere where the tension never drops. Although it is a soundtrack of sorts, Barrow and Salisbury instinctively felt that music for MC1 should steer clear of the rich orchestration common to many contemporary film scores. Even for electronica the music is often purposefully stark and spare, with the majority of tracks created exclusively on the Oberhiem 2 Voice Synthesizer with a cameo from Beak>.

STAFF COMMENTS

Barry says: Absolutely one of my favourite synth albums to this day, Barrow & Salisbury's DROKK is finally available again for everyone I constantly recommend it to. Brilliantly restrained atmospheres and dusty synth soundscapes perfectly capture the Dreddian atmosphere better than the original soundtrack could ever hope to (sorry Silvestri). An essential cinematic synth staple.

TRACK LISTING

1. Lawmaster / Pursuit
2. Helmet Theme
3. Titan Bound
4. 301-305
5. Justice One
6. Scope The Block
7. Exhale
8. Council Of Five
9. Puerto Luminae
10. Miami Lawgiver
11. Eagle
12. Clone Gunman
13. Inhale
14. Iso Hymn
15. 2T[FRU]T
16. Dome Horizon
17. End Them
18. Helmet Theme [Reprise]
19. The Men Who Never Learned
20. Heista
21. Cal
22. Dark Judges
23. Fish
24. Justice 1 (Demo)
25. Miami Lawgiver (Alt. Version)
26. Call-Me-Kenneth
27. Scope The Block (Alt. Version)

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.

TRACK LISTING

Where We Going?
Do The Boob (The Real Kids)
I’m I.I.F.M
Sledgehammer Cracks Nut
This Is Ord
Docks Beat
Step Into My Office
Run Through The Jungle (Creedence Clearwater Revival)
Raw Onions
Vern
Come Out
Gorgeous As Ever
Money Count
Nice Teeth
Harlequins Reunion
Steven’s Been Reprimanded
Stevo Apologises
Suck On This
First Shot
Mostly The Suit
Martin Shot
Will Everybody Calm The Fuck Down
Snipers
Good To Go
Free Firing Gunshot Solo
The Phone Rings
Watch And Vern
Crawl Chase
So That’s What A Fucking Brain Looks Like
Lead Lobotomy
Poke Him In The Eye
We Can’t All Be Nice Girls
That’s Why I Appreciate The Arts
Leary
Aiming For The Nose
Oh Fuck
Where Do You Think You’re Going Little Harry
Annie’s Song (John Denver)
A John Denver Story
Justine’s Theme
This Old Guitar (John Denver)

Invada Records and Lakeshore Records announce the release of the soundtrack to Amazon Prime’s ‘HANNA: Season 1’ on vinyl.

Pressed on white double vinyl housed in a deluxe gatefold sleeve.

For the first time, composers Ben Salisbury and Geoff Barrow were able to put together a team of musicians to work together to form a collaborative score for the whole series.

The soundtrack consists of tracks by Karen O and Beak>, plus an original score by Ben Salisbury, Geoff Barrow, The Insects, Simon Ashdown and Yann McCullough.

“Because of the size of the ‘HANNA’ series, we had the opportunity to bring our own team of artists and composers. The producers had already contacted the amazing Karen O whose song ‘Anti-Lullaby’ formed a theme that was continued throughout the series. It was also great to work with our friends The Insects (Massive Attack co writers Bob Locke & Tim Norfolk), Simon Ashdown and music editor turned composer Yann McCullough” - Geoff Barrow

Yeah Yeah Yeahs’ singer Karen-O’s wandering, ominous ‘Anti-Lullaby’ appears on the soundtrack along with her Goth rendition of Smashing Pumpkin’s ‘Bullet With Butterfly Wings’, with Beak>’s ‘Wulfstan II’ appropriately closing the album.

The score for ‘HANNA: Season 1’ features layers of manipulated organic elements which composer Ben Salisbury describes thusly: “The score for the series was mainly inspired by the character of Hanna herself, and her forest upbringing. Even though the music is sometimes processed, it is always based on something real and organic rather than pure electronics. We often used layers of woodwind instruments (including some fairly unusual ethnic flutes and pipes) as a way of linking Hanna to the natural world in which she was brought up, and also to try and capture her fierce animal spirit and her sense of wonder as she experiences the ‘new world’ beyond the forest.” - Ben Salisbury

TRACK LISTING

We Have Heller
Anti-Lullaby (Karen O)
Training
Connections
Escaping The Hotel
The Ghost Of Her Mother
Relentless / Forest
Memories
Bullet With Butterfly Wings (Karen O)
Berlin Night Drive
Always Hunted
Eric's Theme
Sensing Danger
Beyond
A Cornered Animal
Marisa Held Hostage
Eric Leaves Hanna
Nice Paris Life
Runway Ambush
Wulfstan II (Beak>)

The shadow that Gary Bartz casts over the last six decades of progressive Black music, and his continued dedication to same, makes him a logical and very welcome contributor to the Jazz Is Dead label. An alto saxophonist steeped in the history and tradition of his instrument who is also restlessly experimental and not prone to purism of any kind, he enjoys both the respect and admiration of his peers and the hero worship of several generations after him – including Adrian Younge and Ali Shaheed Muhammad, which inevitably led to Gary Bartz JID 006.

A look at his body of work reveals dalliances with bebop, hard bop, free jazz, spiritual jazz, soul jazz, jazz-funk, fusion and acid jazz, all while resolutely remaining unmistakably Gary Bartz. There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early ‘70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. And while on the subject of samples, the Bartz catalog has provided hip-hop and other genres with a rich source of them, and artists who have gone to his well when producing beats also include Black Sheep, Jurassic 5, Casual, RPM, Warren G, Photek, Statik Selektah, Chi-Ali, 3rd Bass, Showbiz, ZTrip, Young Disciples, and many others.

The socio-political content of much of Bartz’s work, particularly during the early ‘70s, is another factor that has captured the attention of and influenced many. He was wide awake to the pressing issues of his day, which sadly haven't changed much in a half-century—long before the term "woke" was ever coined—which adds continued relevance and resonance to albums like the two Harlem Bush Music LPs. Speaking his mind and expressing thoughts and feelings lyrically and vocally were a consistent aspect of his work during this era, but even with all this there's always still a space within Gary's oeuvre for the celebration of simple and beautiful basic truths. “Working with Gary Bartz epitomizes the ethos behind Jazz Is Dead,” says Younge. “He’s a luminary that has contributed so much to music culture, for decades. His musical ability is expanding with age and we’re honored to be a part of his world.”

"Day By Day" brings Bartz full circle by placing him in a more modern context which he contributed to creating in the first place. It takes certain sonic cues from Muhammad's old group, A Tribe Called Quest, while also calling to mind neo-soul a little bit. But the icing on the cake is the unexpected and gorgeous vocal chorus which is like the sun coming out and which once again harks back to an element familiar to Mizell fans. With its propulsive bassline steadily prodding the track along, "The Message" is strongly rooted in classic ‘70s modal jazz and serves as the spiritual and emotional centerpiece of the album. The instrumental interplay and textures would have been perfectly at home on the Black Jazz label even though there's also a certain almost intangible postmodern, 21st century approach to that style, perfectly in keeping with Bartz's well-known tendency to look forward, not backwards.

TRACK LISTING

A1. Spiritual Ideation
A2. Visions Of Love
A3. Black & Brown
A4. Blue Jungles
B1. Day By Day
B2. Distant Mode
B3. The Message
B4. Soulsea

London-based Gina Birch began her storied career in music in 1977 when she formed the feminist punk band The Raincoats with fellow Hornsey School of Art student, Ana da Silva. Gina and Ana witnessed an early performance by The Slits and although neither of them knew how to play any instruments, they knew they had to start a band. Just months after they picked up their instruments they were on stage doing their thing around London and the UK in the fledgling and groundbreaking punk rock scene. The Raincoats quickly developed a large and loyal groups of fans and supporters, among them Red Krayola, Swell Maps and Geoff Travis and his new record label, Rough Trade. The Raincoats went on to record 3 albums for Rough Trade that are frequently found on lists of the most important records of the punk rock era and are still name checked as influences by artists today.

Originally, The Raincoats broke up in 1984 but were talked into reforming in 1994 when Kurt Cobain asked them to go on tour in support of Nirvana (sadly, that never happened). With a renewed interest in the band led by Kurt and Kim Gordon, The Raincoats records were reissued with liner notes by Kurt and Kim themselves. Worldwide tours and a brand new 4th album on DGC resulted in 1996. The Raincoats still perform today for special events and have started their own record label, We Three Records, to handle their back catalog.

Gina is a respected painter, a celebrated filmmaker and video director (directing videos for The Libertines and New Order to name a few) and is a mother of 2 wonderful daughters. She has formed and fronted the band Dorothy and The Hangovers.

In September of 2021, Gina released her first ever solo single, Feminist Song, on Third Man Records in celebration of the opening of their brand new London location. Now Third Man release Gina’s brand new and first ever solo full length album, I Play My Bass Loud, recorded by Martin “Youth” Glover from Killing Joke and featuring Thurston Moore from Sonic Youth.

STAFF COMMENTS

Laura says: The debut solo album from the former Raincoats singer / bassist is a glorious amalgamation of new and old sounds. Meandering bass weaves around brooding synths, while Gina's vocals sway from heavily processed and angsty to softer (but no less defiant) to sprechgesang and spoken word. There are some great dub infused tracks that hark back to late 70s post-punk too. It's an album that could really have been made any time between 1977 and the present day and would sit nicely alongside your The Raincoats, The Slits, Big Joanie and Dry Cleaning LPs.

Following the release of Netflix’s inspiring documentary short, ‘Hold Your Breath: The Ice Dive’, Galya Bisengalieva presents her official soundtrack, via One Little Independent Records.

To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax.

Galya uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. The soundtrack commands attention while giving the characters their own space to breathe.

“Employs swirling drones and saturated textures to evoke a fragmented world” - MOJO.

“[The tracks] beautifully storyboard the titular film, but also stand on their own as life-affirming ambient pieces” - Electronic Sound.

TRACK LISTING

Prelude
First Dive
Sisters
The Crash
Elina’s Fears
Healing
Melting Ice
Tapani
Lake öllöri
Should I Panic About Dying?
Rebuilding
The Night Before
The Dive
Ending

Kazakh-British artist Galya Bisengalieva returns with her second studio album for One Little Independent, ‘Polygon’.

Like Galya’s 2020 debut album, ‘Aralkum’, the composer, producer and musician returns to stories from her home country of Kazakhstan.

While ‘Aralkum’ was about the shrinking of the Aral Sea, ‘Polygon’ tells the tale of one of the darkest episodes in Kazakh history. Though it created more nuclear fallout than Chernobyl, the story of the Semipalatinsk Test Site located on the steppe in Northeast Kazakhstan (known as The Polygon) is little known internationally, even though it was the Soviet Union’s primary testing zone for nuclear weapons.

TRACK LISTING

Alash-Kala
Saryzhal
Polygon
Sary-Uzen
Chagan
Balapan
Degelen

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.

Pop music and comic culture – somehow they have always been siblings. So what could be more natural than to have the great songs of one of the most legendary bands transformed into comic strips by fantastic illustrators and cartoonists? So here it is: The Go Betweens songcomic – Thank You For A Lovely Day. Eleven songs from the entire creative period of the legendary Australian band interpreted by eleven international cartoonists and artists. As diverse, colourful and complex as the band's nine studio albums.

In 1977, friends Robert Forster and Grant McLennan founded The Go-Betweens in Brisbane, Australia and within a few years their folky indie rock, songs such as 'Right Here', 'Love Goes On' and 'Streets of Your Town' helped make them an international force in the indie world. In 1989, the band disbanded after six successful albums, only to return in 2000 with a new album 'The Friends of Rachel Worth’ - recorded together with the members of Sleater-Kinney - followed by 'Bright Yellow Bright Orange’ in 2003 and ‘Oceans Apart’ in 2005 after which the sudden death of Grant McLennan in May 2006 put an end to recording activity.

Since then, Robert Forster has been nurturing the band's legacy; helping re-release and present their early works in the form of two box sets by Domino Records, telling the story of the Go- Betweens, as a story of true friendship, in his autobiography "Grant and I” as well as releasing numerous solo albums and touring them around the world.

Soundway reissues the vocal and instrumental versions of 'If I Love You', from GC Cameron, the lead singer of the legendary soul group The Spinners, the 12" EP also includes two unreleased recordings from the same session - 'Live for Love' and 'Thank You Baby'.

Hailing from McCall Creek, Mississippi, G.C. Cameron rose to fame at 22 years of age, when he joined Motown Records to become lead singer of legendary group The Spinners. After a string of well received releases, including chartbusterIt's A Shame, co-written and produced by Stevie Wonder, Cameron left The Spinners to pursue a solo career.

It was a trip to Fantasy Studios, San Francisco in 1977, where Cameron teamed up with Harvey Faqua, Greg Crockett and Elgie Stover to realise what is arguably his finest work. A full album was recorded, but only two tracks saw the light of day, via the short-lived UK label, Flamingo.

Soundway presents a four track EP, comprised of the two in- demand cuts previously released on Flamingo - the deep and dubby disco-workout If I Love You (Instrumental) and soul drenched ballad Live For Love, coupled with two unreleased recordings rescued from the abyss after 45 years of collecting dust. The modern- soul- dancer Thank You Baby, backed by Jeanie Tracy and Martha Walsh, is a jewel that displays Cameron's full range whilst the vocal to If I Love You elevates the recording to dance- floor- ready and joins the dots that never existed.

TRACK LISTING

A1. If I Love You
A2. If I Love You (Instrumental)
B1. Thank You Baby
B2. Live For Love

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.

Chaos For The Fly is the debut solo album from Grian Chatten, vocalist of Dublin’s critically-acclaimed band Fontaines D.C.

Rare moments of respite from a relentless touring schedule afforded Chatten the opportunity to start work on something for himself, occupying a completely different headspace from his hugely successful work within Fontaines D.C. Co-produced by the band’s longstanding producer Dan Carey, the album is arguably the most poetic we’ve heard from Chatten. Each song here has a sweep of colour and textures that breathe life into his lucid tales. Over its nine tracks, Chaos For The Fly is a record that takes in all of life’s rich emotions, transporting the listener to a place you not only want to visit, but will find yourself returning to again and again.

STAFF COMMENTS

Andy says: Grian Chatten, as I’m sure you all know, is the lead singer of Fontaines D.C. This is his first solo album and it’s an absolute corker! It only seems right, at this point, to own up to being not the biggest Fontaines’ fan, but that’s why this record is such a wonderful surprise to me. Whilst they thunder along in their rambunctious, post punkish style, Grian solo is a far more considered and down beat affair. Musically, Chatten seems to be referencing such poetic songsmiths as Leonard Cohen, Elliott Smith and, of course, Shane MacGowan, and he’s said that the whole album came to him in a vision whilst walking along Stoney Beach in Ireland. It’s interesting that he should share this as there is a tangible faded (seaside) glamour and epic, introspective vibe which shrouds the whole record. There are only nine songs here, but every one is a gem. Dan Carey is still on board as producer but, on this album Grian’s voice is pointedly out front, clear as a bell and centre of attention. His voice is stunning. And, as for his words, well these songs are pure poetry set to music; miniature films, if you like. My two favourite tracks are, funnily enough, back to back in the running order. “All Of The People” is just a brilliant melody with a harsh and apparently heart felt finger pointing lyric whilst “East Coast Bed” just drifts so gorgeously it’s in a genre all of its own!

TRACK LISTING

1. The Score
2. Last Time Every Time Forever
3. Fairlies
4. Bob's Casino
5. All Of The People
6. East Coast Bed
7. Salt Throwers Off A Truck
8. I Am So Far
9. Season For Pain

Erratic Cinematic is the hugely anticipated debut album from ‘first class warrior-poet’ Gerry Cinnamon. The anthemic tracks, laced with social commentary have captured the imagination of audiences up and down the country. Gerry Cinnamon’s music crosses generations in a way that only a handful of wordsmiths can – relatable, relevant and a true storyteller. Unsigned and unmatched in his ability to operate outside of the mainstream Gerry has become a cult hero and force to be reckoned with. In an age of information overload, it’s clear Gerry Cinnamon cuts through the noise. No longer is the intermediary power with the label or the media. It is between the artist and the listener. Gerry Cinnamon embodies this. The reaction to this critically acclaimed debut album has affirmed Gerry Cinnamon’s place as a writer as well as a inimitable live act. than an artist but a phenomenon, paving the way for the next generation of DIY pioneers.

TRACK LISTING

Sometimes
Lullaby
What Have You Done
Belter
Fortune Favours
The Bold
Erratic Cinematic
Keysies
Diamonds In The Mud
War TV

Gerry Cinnamon, an already legendary live performer, made history last summer after selling out Scotland's national football stadium twice over to become the first independent act - and the first Scot - to sell out multiple nights at Hampden Park. A year on, the definitive live album from the multi-platinum singer/songwriter will be released on 14 July 2023. "Well that was a trip and a half. Played all sorts of gigs all over the world but that was something else. Over 100,000 of us. Music is a magical thing that connects people in a special way. History made. Memories made more importantly. Felt the Hampden roar right in my chest and it was mighty." - Gerry Cinnamon. The homecoming shows concluded his 350,000-capacity UK and Ireland tour, originally due to happen in 2020, instead taking place across 2021-22, also included sold out shows at Birmingham and Manchester Arena, London’s iconic Alexandra Palace, the 25,000 capacity Malahide Castle, Dublin, and Musgrave Park Stadium, Cork.

STAFF COMMENTS

Barry says: There's no way you could ever argue that Mr. Cinnamon doesn't have a good thing going, with his most recent tours breaking records all over the place, the peak of which was at Glasgow's Hampden Park. Crosbie's vocals are on fine form, and his execution of these souped-up folk ballads makes it all the more impactful. A great document of a stunning live run.

TRACK LISTING

SIDE A
1. Lullaby (Live At Hampden Park)
2. Sometimes (Live At Hampden Park)
3. What Have You Done (Live At Hampden Park)
4. Ghost (Live At Hampden Park)
5. Fortune Favours The Bold (Live At Hampden Park)
SIDE B
1. Sun Queen (Live At Hampden Park)
2. Fickle McSelfish (Live At Hampden Park)
3. Dark Days (Live At Hampden Park)
4. Roll The Credits (Live At Hampden Park)
5. Belter (Live At Hampden Park)
SIDE C
1. Sacred (Live At Hampden Park)
2. War Song Soldier (Live At Hampden Park)
3. The Bonny (Live At Hampden Park)
4. Mayhem (Live At Hampden Park)
5. Diamonds In The Mud (Live At Hampden Park)
SIDE D
1. Discoland/Wonderful Days/I Wanna Be A Hippy (Medley) (Live At Hampden Park)
2. I Wish I Was In Glasgow (Live At Hampden Park)
3. Where We're Going (Live At Hampden Park)
4. Kampfire Vampire (Live At Hampden Park)
5. Canter (Live At Hampden Park)

Gerry’s eagerly anticipated second album ‘The Bonny’ is out on his own Little Runaway label.

“It’s probably not smart to release during a lockdown when the shops are closed and everyone’s isolating but no chance I’m letting folk down. Never gave a fuck about numbers anyway not gny start now. Albums out April 17”.

He’s already exceeded 115 million plays at Spotify, including the recent singles ‘Dark Days’ and ‘Sun Queen’. Everything that Gerry has achieved has been done entirely independently via his own label Little Runaway. It’s the result of making a connection with fans in the purest way. His songs tell relatable stories which have captured the imagination of audiences up and down the country. Gerry makes a habit of whipping the audience into a frenzy which sees them leaving on a high and wanting more!

After ‘The Bonny’ went straight to Number 1 in the UK and Ireland in April, like everyone else, Gerry had to reschedule his 2020 dates until next year. With over 200,000 tickets sold in the UK and Ireland, he was preparing for his biggest ever tour, one of the biggest in the UK, firmly establishing him as one the top live artists in the country. And he was making waves abroad, set to tour in the US, Australia and throughout Europe. With all that on hold until 2021, he took stock and kept creating with more new music expected next year. The Bonny is already the third biggest selling UK album released in 2020 and the Definitive version also includes new recordings of two fan favourites that can finally be included on an LP.

“Been waiting a long time to get those tunes back,” explains Gerry, “Should have been on the first album but that's what happens when you trust the wrong people.Ghost was written around the same time as Kampfire Vampire, Fickle McSelfish, and Roll the Credits so it’s good to have them all on the same record.”

Ghost is classic Gerry and illustrates why he has become one of the most popular artists in the UK and beyond – lyrics sparking rich imagery, reminding the listener of their own life, while deftly telling his own story (“turn into a ghost if you want to disappear, cry tears for someone else some place where I can’t hear”). Anthemic hooks melt with bittersweet sentiment. Certain fan-favourite, Ghost is made for those days when we are all back together and singing our hearts out alongside him.

TRACK LISTING

Canter
Kampfire Vampire
War Song Soldier
Where We’re Going
Head In The Clouds
Dark Days
The Bonny
Sun Queen
Outsiders
Roll The Credits
Ghost
Mayhem
Fickle McSelfish
Six String Gun
Every Man’s Truth

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

10" Vinyl - (500) copies Limited Edition cut at 33rpm. This double A-side is the result of a series of sessions that took place throughout 2017, when Gary collaborated with producer Mike Bennett.

Gene Clark’s 1974 masterpiece gets the reappraisal it’s long overdue.

“One of the greatest albums ever made. Initially celebrated for its obscurity, No Other is now celebrated for its magnificence. It was in every way a magnum opus: epic, sprawling, poetic, choral, rococo.” The Guardian

On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other. Released in 1974 on Asylum Records, a year after the Byrds shortlived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make. Although received warmly by critics, it flopped and was soon deleted, a failure Gene never came to terms with.

However, as The New York Times wrote around the record’s 40th anniversary in 2014, “hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star’s Third/Sister Lovers and Lou Reed’s Berlin,” with the album now being increasingly recognised as one of the greatest of its time, if not all time.

45 years on and recently remastered at Abbey Road, 4AD have given No Other the reappraisal it deserves. 

STAFF COMMENTS

Darryl says: Recently remastered at Abbey Road and 45 years on from its original release 4AD are giving Gene Clark’s 1974 masterpiece it’s long overdue reissue. Available on black vinyl, standard CD, a limited deluxe CD edition in a hardbound book cover, and an all encompassing and sumptuous silver box set containing vinyl, three SACD’s, Blu-Ray and an 80 page hardbound book.

TRACK LISTING

LP & CD Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

2CD Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

No Other (Sessions 1)
1. From A Silver Phial (Version 4)
2. Silver Raven (Version 2)
3. Some Misunderstanding (Version 3)
4. Life’s Greatest Fool (Version 2)
5. Train Leaves Here This Morning (Version 2)
6. Lady Of The North (Version 2)
7. The True One (Version 2)
8. Strength Of Strings (Version 2)
9. No Other (Version 2)

Deluxe Boxset Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

No Other (Sessions 1)
1. From A Silver Phial (Version 4)
2. Silver Raven (Version 2)
3. Some Misunderstanding (Version 3)
4. Life’s Greatest Fool (Version 2)
5. Train Leaves Here This Morning (Version 2)
6. Lady Of The North (Version 2)
7. The True One (Version 2)
8. Strength Of Strings (Version 2)
9. No Other (Version 2)

No Other (Sessions 2)
1. From A Silver Phial (Version 1)
2. Life’s Greatest Fool (Version 1)
3. No Other (Version 1)
4. Lady Of The North (Version 1)
5. Some Misunderstanding (Version 1)
6. Silver Raven (Version 1)
7. Train Leaves Here This Morning (Version 1)
8. The True One (Version 1)
9. Strength Of Strings (Version 1)
10. Life’s Greatest Fool (Single Version)
11. Silver Raven (Single Edit)

Exclusive 7”
A. Life’s Greatest Fool (Single Version)
AA. Train Leaves Here This Morning (Version 1)

Documentary
The Byrd Who Flew Alone: The Making Of No Other By Paul Kendall
No Other (Alternate Audio Versions)
No Other (HD Audio Remaster)
No Other (5.1 Surround Mix)
No Other (1974 Vinyl Master)
No Other (2019 Stereo Remix

80 Page Hardbound Book
Extensive Liner Notes
Lyrics
Previously Unpublished Photographs
Essays By Andrew Perry, Jon Einarson, Johnny Rogan, Martin Aston & Sid Griffin.

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

TRACK LISTING

Beachs
I Don’t Feel So Alive
Sever The Walls
Yesterday
Piano Song
Feelin’ Fine
Downtown
Dream Song
This Could Be Love
Alien Anthem

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

TRACK LISTING

1. Music Machine
2. Baby
3. I Feel So Lonely
4. Miserable Baby
5. Mercy
6. Change
7. Neil Young Goes Crazy
8. Recognise My Fate
9. Morning Light
10. Hi Fidelity
11. Sky Rico

Since its release in 1969 on Fontana, 'Down Another Road' has become a cornerstone of British jazz, with the LP now a much sought-after rarity that regularly exchanges hands for over £200. It's considered the revered composer Collier's greatest album by many of its fans, thanks to its highly melodic, almost pop-like themes and irresistible '60s groove, spurred on by the on-point drumming of Soft Machine/Nucleus drummer John Marshall.

To make 'Down Another Road @ Stockholm Jazz Days '69' even more special, the abstract track "Danish Blue" has been replaced by the similarly epic free jazz composition "Burblings for Bob", which is released here for the first time. All the other tracks that everyone loves are present and correct - "Lullaby for a Lonely Child", "Aberdeen Angus", "Molewrench" etc. but with a rawer live feel to them, longer arrangements and more soloing - with the band in scintillating form.

Remastered from the original tapes by Caspar Sutton-Jones @ Gearbox Records.

TRACK LISTING

1. Burblings For Bob
2. Molewrench - Intro
3. Molewrench
4. Lullaby For A Lonely Child - Intro
5. Lullaby For A Lonely Child
6. Down Another Road - Intro
7. Down Another Road
8. The Barley Mow - Intro
9. The Barley Mow
10. Aberdeen Angus - Intro
11. Aberdeen Angus

A sense of space permeates every second of Matador’s thirty-nine minutes. From the astral gorgeousness of ‘The Girl Who Fell To Earth’ to the dream-like cadences of ‘Oscillate’, it’s the sound of a songwriter melting musical boundaries like snow; merging elements of Neu!, Disney musicals, Swedish psychedelicists Goat, Gyorgy Ligeti and Eno in a glacial soundscape as ambitious as it is beautiful. The result is an album in the classic sense. Matador is the sound of one of Britain’s greatest songwriters facing the future with a flourish.

Gaz Coombes’ second solo album – Matador - is due for release on January 26th 2015. The self-produced follow up to 2012’s Here Come The Bombs was recorded in Gaz’s home studio and Courtyard Studios in Oxfordshire. Everything on the record was played by Gaz (except drums on four tracks by Loz Colbert, synths on ‘Buffalo’ by Charly Coombes; backing vocals across the record come from Beverlei Brown and Faith Simpson). The album features the 2013 single ‘Buffalo’.

TRACK LISTING

1. Buffalo
2. 20/20
3. The English Ruse
4. The Girl Who Fell To Earth
5. Detroit
6. Needle’s Eye
7. Seven Walls
8. Oscillate
9. To The Wire
10. Is It On?
11. Matador

‘Turn The Car Around’ is a record that I’ve been building up to for the last seven years,” says Coombes. It’s a record of feeling, an album that captures the ups and downs of modern life and all the small print in between. Written and recorded by Coombes in his gloriously ramshackle Oxfordshire outhouse Studio, he has emerged with the best work of his illustrious career. It’s an album that both taps into the sonic palettes and lyrical themes of its predecessors and marks the third and final part of a trilogy of records alongside 2015’s Mercury and Ivor Novello nominated sophomore album Matador and 2018’s World’s Strongest Man. At the same time it carves a bold new way forward for one of the UK’s most gifted and cherished singer-songwriters. “There’s a lot of subject matter in there that I’ve played with and maybe not managed to see through in the past. I’ve evolved and I feel like I’ve got better at what I do”.

‘Turn The Car Around’ features additional instrumentation from members of Gaz’s live band, Garo Nahoulakian, Nick Fowler and Piney Gir. The album also sees Coombes reuniting with his live band’s vocal trio ‘The Roxys’ (a nickname given to them by Nile Rodgers when they shared the bill at a Later with Jools show) to create a rich and nuanced sonic tapestry. Cameo performances appear courtesy of Willie J Healey and Ride’s Loz Colbert, and Coombes shares co-production duties with long-term collaborator Ian Davenport.

As he celebrates 10 years of his lauded solo career since the release of his debut ‘Here Come the Bombs’, and riding a crest of the Supergrass reunion, the announcement of ‘Turn The Car Around’ solidifies Coombes status as one of the UK’s most interesting, enduring and effortlessly classy artists.

STAFF COMMENTS

Laura says: I'm really loving this album at the moment. It feels like his previous solo albums have been building up to this and he's absolutely nailed it. An album about coming to terms with modern life with all it's ups and downs, it feels deeply personal but at the same time tapping into a lot of peoples hopes and fears. Stylistically it covers a lot of ground, from the soulful "Don't Say It's Over", the glammy stomp of "Long Live The Strange", the gentle guitar strum of "Not The Only Things" and the Bowie-esque "Dance On".

TRACK LISTING

1. Overnight Trains
2. Don’t Say It’s Over
3. Feel Loop (Lizard Dream)
4. Long Live The Strange
5. Not The Only Things
6. Turn The Car Around
7. This Love
8. Sonny The Strong
9. Dance On

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. From the deep soul purge of the title track’ to the coruscating Fripp-goes-motorik sprint of Deep Pockets via the gorgeous cyclonic ballad Slow Motion Life and Vanishing Act’s raw-as-hell stream of consciousness panic attack, World’s Strongest Man is a bold, ambitious, free-thinking, future-facing rock‘n’roll record.

World’s Strongest Man is the follow up to 2015’s Matador – a record pretty much conceived, recorded and mixed in the studio equivalent of solitary confinement. Following its release, Gaz evolved from ‘the former Supergrass frontman’ to hugely respected Mercury nominated solo artist in the space of just ten months. That album spawned five singles and was described by Q as “his masterpiece”. Like Matador, World’s Strongest Man was written, recorded and produced by Gaz Coombes at his home studio and at Oxford’s Courtyard Studios (with co-production from long time studio partner Ian Davenport in a working process Gaz compares to what it must be like “editing a novel”).

TRACK LISTING

Side 1
1. World’s Strongest Man
2. Deep Pockets
3. Walk The Walk
4. Shit (I’ve Done It Again)
5. Slow Motion Life
6. Wounded Egos
Side 2
1. Oxygen Mask
2. In Waves
3. The Oaks
4. Vanishing Act
5. Weird Dreams

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.

Without question, Gal Gosta is one of the all-time greats

An inspirational, iconic figurehead in Brazilian music, her outstanding career ran from 1967 up until 2022 when we sadly lost her. Making her mark initially as one of the principal figures in the Tropicalia movement of the 60s, she remained a trailblazing beacon that lit the way for decades to come. Gal continued to record and play live throughout her life, influencing and collaborating with the current cream of the Brazilian music world, such as Ze Ibarra, Rubel and Tim Bernardes.

'India' is a post-Tropicalia masterpiece that was originally released in 1973 on the Philips record label. It features a stellar line-up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogerio Duprat and Tenorio Jr. amongst others.

The album's iconic, controversial cover art was banned by the Brazilian military dictatorship upon its release, which resulted in it being covered up and wrapped in a blue plastic bag when sold in record shops. It is one of Gal's strongest albums, consistently exceptional throughout and the perfect starting point for those unfamiliar with her rich catalogue. It includes the incredible 'Pontos De Luz', one of our favourite Brazilian songs of all time, and famously sampled by Kaytranada on 'Lite Spots'. There's also the accordion- led scorcher 'Relance', which still rocks discerning dancefloors to this day. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.

For its 50th anniversary, we knew we had to do something special, so we enlisted the sensational mastering and lacquer- cutting engineer Miles Showell from Abbey Road to cut a half-speed master for a beautiful spacious sound. The album is housed in its original replica gatefold cover with an OBI. There is also an insert with an interview, and an A2 poster exclusive to this release.

RIP Gal Maria da Graca Penna Burgos Costa, your light shines on.

TRACK LISTING

India
Milho Verde
Presente Cotidiano
Volta
Relance
Da Maior Importancia
Passarinho
Pontos De Luz
Desafinado

We are proud to present the Mr Bongo pressing of Guilherme Coutinho E O Grupo Stalo's self-titled mythical album.

Blending lo- fi, Brazilian tropicalia, jazz, funk and MPB with a unique aroma, this record is pure perfection.It was originally released in 1978 on Erla - Estudio Rauland, an obscure record label from Belém in Brazil, that only released 7" singles, with this album being one of two exceptions. During the 1970s, Belém had a thriving nightclub scene, but it is thousands of miles away from the music industry hubs of Rio de Janeiro and São Paulo, making this record insanely difficult to find, even in Brazil. Added to the scarcity factor is the magical nature of the recording, which has naturally resulted in a hefty price tag to match. Original copies have become a prized, collector's item.

The elusive Brazilian band leader and keyboard player, Guilherme Coutinho is a true cult artist. He passed away in 1983, at the age of just 41, and during his career he only seems to have appeared on a handful of marvellous records, which makes them all the more special. This album feels individualistic and distinctive from other albums of the day. Listening back to vocalist Elinho's (aka Hélio Rubens de Oliveira) delivery, it sounds not too dissimilar to some of Belle & Sebastian's songs. 'Guilherme Coutinho E O Grupo Stalo' is rich in charm, quirky and playful. It feels cinematic, soothing and benefits from being heard in its entirety. A proper album experience.

A mythical album from 1978, blending Lo-Fi Brazilian tropicalia, jazz, funk and MPB to unique perfection.

A prized, collector's item.

TRACK LISTING

Atalaia
As Feras
Foicera
Rio Corrente
Macareu
Fuga
Flauta de Bambu
Tema Pro Alvarito

"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.

As is my taste for the tardy, I was a couple of weeks late to this particular party, belatedly tipped to “that goth disco LP” through an overheard conversation between Mine and Matt. As a first class graduate of the “indie dance” era, I was naturally intrigued and promptly took the plunge into this monochrome masterpiece.

While her Sink Ya Teeth project with Maria Uzor takes a bite out of the Big Apple’s no-wave and post-punk era, Cullingford’s solo-debut splits its time between the steely synth-pop of Sheffield, Chicago’s house heritage and the unapologetic electroclash of Millennial Berlin. This travelogue translates to a sleek set of taut techno pop, topped with zero-fucks speak singing and utterly arch asides. A lesser LP would sink under the stature of single “Wide Boys”, a fleet-footed and flute-led floor burner, but Let Me Speak is made from only the finest ingredients – pass the biscuits please.

STAFF COMMENTS

Barry says: While Sink Ya Teeth definitely took influence from the dancefloor, it's Cullingford's solo output that really pays homage to the sweaty peak of industrial and techno clubgoing with it's own particular brand of momentous rhythm and rich, chest shaking bass hits. Wildly immersive and wonderfully satisfying,

TRACK LISTING

Side A
1 The Lizard
2 Sight For Sore Eyes
3 Wide Boys
4 Racer
5 Let Me Speak

Side B
6 Queen Bee
7 Chase The Beat
8 I Like You
9 Ode To Billy Joe
10 Fatal Embrace

Raised on a diet of Throbbing Gristle, Depeche Mode, New Order, Fad Gadget and A Certain Ratio, Gemma Cullingford's own trajectory has been equally impressive – from playing bass with Blast First/Mute signings Kaito, and more recently as one half of post-punk electronic dance duo Sink Ya Teeth. This solo offering further adds to her fine body of work.

2020 saw Sink Ya Teeth having to abandon many live gigs and promotion for their second album, so during the band's downtime Gemma worked purposefully in her home studio on solo works of a more personal nature, the first fruits being this double A sided single. An album entitled "Let Me Speak" will follow in the summer of 2021.

"Wide Boys" is a menacing disco call to action; "It's a message to the average man and woman on the street, many of whom seems to have been brainwashed by both those in power and by the far right. It's saying that every single one of us are being controlled as part of a big, sinister game. This is a response to my own awakening to that" she explains.

"104" is an instrumental electronic jam for feet, limbs and loose minds. "The idea behind 104 came from wanting to start off with real sounding drums that subtly evolve into pure electro over 3 or 4 minutes".

‘Tongue Tied’ is the sophomore album from Gemma Cullingford (Sink Ya Teeth). Written and produced from Gemma's humble home studio in Norfolk, ‘Tongue Tied’ blends many styles of electronica from 70's experimental and new wave, early 80's electro, acid house and techno to noughties electro clash, topped with her own vocal style to produce a unique and fresh sound. It explores relationships and the different emotions they can bring, from paranoia, yearning and helplessness to lust, shyness and just downright wanting to dance.

‘Tongue Tied’ is a progressive follow up to her debut ‘Let Me Speak’ which garnered support from the likes of Steve Lamacq, Amy Lame, Nemone, Chris Hawkins, Jamz Supernova, John Kennedy and James Endeacott, plus glowing reviews in Mojo, Uncut and Electronic Sound.

For the cover artwork on ‘Tongue Tied’, Gemma has collaborated with visual artist Kelda Storm who shares Gemma's love for bright, contrasting neon colours and minimal bold designs. She uses the iconography of feminine lips across her work as a symbol of speech and voice.

RIYL: Sink Ya Teeth, Lonelady, A Certain Ratio.

TRACK LISTING

Side A
1. Accessory
2. Tongue Tied
3. Bass Face
4. Holding Dreams
5. Mechanical
Side B
6. New Day
7. No Fail
8. Chronicle Of Sound
9. Red Room
10. Daisy

Grace Cummings is an actor and musician from Melbourne, Australia.Grace learned piano as a child and took up the guitar as a young adult, but only began to write and perform music in 2018.

She went from a debut gig at Melbourne’s Old Bar to a breakthrough performance at Boogie Festival in the space of six months, pickingup support slots with J Mascis and Evan Dando along the way. With buzz building around her powerhouse live show, Grace grabbed the attention of Flightless Records (King Gizzard and The Lizard Wizard), who released her debut album, Refuge Cove, in late 2019.

Refuge Cove won praise from publications around the world, including Pitchfork and All Music, and Grace was tapped for support slots with Weyes Blood, Cash Savage, Teskey Brothers and Allah-Lahs. In 2020, Grace recorded the single Sweet Matilda for Mexican Summer’s Through the Looking Glass series before landing a worldwide deal with indie powerhouse ATO Records (Alabama Shakes, My Morning Jacket, King Gizzard and the Lizard Wizard) and a distribution deal with Caroline Australia.

Her sophomore album, Storm Queen, is set for release early in 2022.

STAFF COMMENTS

Barry says: Part way between widescreen Americana or electric country and soulful lounge music, Grace Cummings presents a distinctive and evocative suite both confident and athletic. Her vocals shine with emotion and skilfully dominate the beautifully laid backdrop. An exciting and bracing journey.

TRACK LISTING

1 Heaven
2 Always New Days Always
3 Dreams
4 Up In Flames
5 Freak
6 Here Is The Rose
7 Raglan
8 Two Little Birds
9 This Day In May
10 Storm Queen
11 Fly A Kite

Brazilian-born, LA-based Gabriel da Rosa is a bossa nova and samba artist who puts his own twist on traditional Brazilian music.

Gabriel currently DJs across a variety of venues in Los Angeles and is consistently introducing Brazilian music to wider audiences. ‘É o que a casa oferece’ was made in collaboration with producer Pedro Dom (Rodrigo Amarante, Seu Jorge) and mix engineer Mario C (best known for his work with Beastie Boys).

Gabriel travelled around the world before landing in LA where he met Peanut Butter Wolf. The two bonded over their shared love for Brazilian music, and this led Gabriel to start writing more songs inspired by his heritage.

‘É o que a casa oferece’ is Gabriel’s debut album on Stones Throw. It pays homage to his Brazilian roots, but also brings a contemporary edge to the music Gabriel grew up listening to.

TRACK LISTING

1. Bandida
2. Indiossincrasia
3. Jasmim Parte 1
4. Interlude (That’s A Shame)
5. Jasmim Parte 2
6. Batuque
7. So You Can See Me
8. Dona Chica
9. Cachaça

Star Creature's Italian boogie buffalo Giovanni Damico comes fresh for the label with, I have to say, a pretty tantalizing new sound. Though still rooted in that vintage boogie sound (Linn drums and slap bass a plenty...) "Watch Out" jolts out with a confident urgency. Dazzling keyboard licks, meticulously programmed drums and a frenetic b-line combining perfectly with Damico's empowered vocal. "Nowhere" is a creeping synth disco track, reminiscent of Sylvester's more electronic and sultry numbers. "Night Time" opens with bright synth bursts before dropping into a raw boogie groove littered with space echo detritus. Then the fun loving vocal drops urging you into party mode. "Voodoo" irreverently cruises into full on space disco moods - recalling Arpadys & Sauver Mallia's soaring epics. Finally, "Cowbell (Eeh Aah Eeh)" is a tropical disco flavoured beast that has end-of-night qualities written all over it. Majestic flute, fluttering muted Strat licks, galloping percussion, this baby got it all...

Brilliantly diverse modern boogie flavours for the discerning dancer and jock! Highly recommended! 

STAFF COMMENTS

Matt says: One of my favourite signings of the Star Creature camp, Giovanni Damico can always be relied upon for summat fresh. "Watch Out" takes the boogie template into dazzling new territories - a highly syncopated offering with space-age sfx but with that vintage drum programming and untreated soulful vox that's synonymous with the genre. Sure to be a true classic of the scene that's so far undiscovered.

TRACK LISTING

Side 1
1. Watch Out (4:54)
2. Nowhere (5:49)
Side 2
1. Night Time (5:04)
2. Voodoo (5:07)
3. Cowbell (Eeh Aah Eeh) (4:31)

Yet another bedroom boogie bonanza from the good folks at Star Creature who've enlisted the Italian stalion, Gionvanni Damico for their latest 7". The well decorated producer has already graced labels such as Lumberjacks In Hell, Bordello A Parigi, Kalakuta Soul and Faces with his slick and star-studded, fresh boogie sound!

Lead track, "Ashes" rev's outta off the grid with ruged vintage drum hits, picked guitar lines, Strat chops and plucked bassline. Cue Damico with an inspired vocal, sung in half Italian, half English and a catchy as covid chorus synth refrain. It's stripped back, it's quirky, it's sexy; it's everything your late nite disco needs!

"Milky Way" unpacks reverb heavy drums, vocodered vox and retro-future sci-fi leads for a cosmic funk system meltdown with lashings of Italo flavour!

Full picture sleeve, limited import copies. Move quick!

STAFF COMMENTS

Matt says: Really strong release from the perma-funkin' Star Creature mob. Inspired city pop stylings with 'nuff Italo / boogie references for extra pleasure. You know what to do!

TRACK LISTING

1. Ashes
2. Milky Way

Acid Jazz subsidiary Countdown Records presents a new release from Graham Day: ‘Master Of None’

The former Prisoners front man emerged in the Bill Childish / Medway scene. While not enjoying the recognition and commercial success of some of his contemporaries at the time, he has emerged as one of the most enduring and prolific songwriters of the era.

‘Master of None’ is a unique addition to the Graham Day canon, featuring 12 new songs, with all instruments recorded entirely by the man himself - a measure of the depth of talent on display and his continuing creative vision.

Time is a beguiling, indistinct entity...sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars.

The duo’s partnership is an effortless merge, yet it’s the steady presence of de Oliveira’s vocals that endows the record with itssense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself... a process that ties us all to the universal. The Danish philosopher Søren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer.

Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira’s vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner.

Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly...

TRACK LISTING

1. Intro
2. I’m Nebel
3. Ashore Of The Cosmic
4. Seven Summits
5. Something To Behold
6. Hanging Gardens
7. Eyes Within
8. All Flowers In Time
9. Astral Bodies
10. In The Tenth Year Of
11. Picture Of A Picture
12. Further Than The Stars

No shortage of colorful characters emerged from Cameroon’s bikutsi scene in the 1980’s and early 90’s. Gibraltar Drakus is one of the most enduring and enigmatic of the artists who helped transform bikutsi into a beautifully endless fabric of triplet rhythms that eventually reached ears around the world.

Following the advent of Cameroon Radio Television in 1987, bikutsi began to supplant makossa and soukous for domination of the local airwaves and the attention of cosmopolitan, thrill-seeking residents of Cameroon’s capital Yaoundé and beyond. Biktusi perfectly fused Beti traditional music and increasingly electronic, highly rhythmic guitarbased bikutsi. Mimicking the sound of village-based xylophone music by rigging a mute to electric guitar strings, bikutsi artists provided a relentlessly energetic dance format for those with a taste for music steeped in their hometown sensibility (countering the popular makossa that many felt sounded less indigenous).

By the early 1990’s, Les Tetes Brûlées were indisputably the most famous and influential artists in bikutsi, due in part to the innovations of their incendiary guitarist Théodore Zanzibar Epeme. Following their first European tour in 1987, the band blew up internationally but Zanzibar tragically, and mysteriously, passed away, which nearly brought an end to the band completely. In hindsight, the consensus among most Cameroonians is Zanzibar’s contributions to biktusi were transformational and immeasurable.

“Zanzibar is the one who taught me how to compose a song, and I learned a lot from Zanzibar musically. We spent whole nights working on methods and other approaches to compose beautiful songs. I owe half of everything I have today to Zanzibar!”

Swept up in all this was Gibraltar Drakus, who was the youngest member of Les Têtes Brûlées and was also the protégé of his biggest supporter, Zanzibar. So it was fitting that he dedicate his 1989 debut to their groundbreaking late guitarist who had meant so much to him. Drakus literally exploded from his first album Hommage A Zanzibar (1989), which sold over 100,000 copies despite rampant piracy. For the recording, Drakus made sure he engaged prolific producer Mystic Jim to record and mix the album. The innovation musically rests both within the guitar interplay and the discipline in the orchestration, which result in a mind-bending clockwork of cross-rhythmic harmony.

TRACK LISTING

1. N'nom Wom (Mon Époux)
2. Exode Rural
3. O Zanzibar
4. Mekeya A Dzal (Retour Au Village)

For the last 30 years, Greg Dulli, frontman of The Afghan Whigs and The Twilight Singers, has been the poet laureate of the bizarre whims and cruel tangents of desire. A foremost authority on the sell-your-soul rewards of carnal lust, the high voltage epiphanies of chemical enhancement, and the serotonin lows left in their wake.Therein lies Random Desire, the first solo album under Dulli’s own name.

Random Desire started in the aftermath of the last Whigs record, 2017’s In Spades, which Pitchfork named one of the best rock records of the year, hailing it as a “heavy, menacing work of indie rock majesty…thrilling and unsettling.” Drummer Patrick Keeler was about to take a short sabbatical to record and tour with his other band, The Raconteurs. Dulli’s longtime collaborator, bassist John Curley went back to school, and there was the tragic death of the band’s guitarist, Dave Rosser.

In response, Dulli returned to his teenage bedroom roots, finding musical inspiration via the model of one-man-band visionaries Prince and Todd Rundgren. The Los Angeles-by-way-of-Hamilton Ohio native wrote nearly every part of the record from piano lines to drums to bass riffs. As always, the music came first and the lyrics were completed later. Recording and writing way stations included his home in Silver Lake, the village of Crestline high up in the mountains above San Bernardino, and New Orleans. But the bulk was finished amidst the arid beauty and stark isolation of Joshua Tree (at the studio of engineer Christopher Thorne). Dulli handled most instrumentation, but an all-star cast of characters appear across the track-listing including The Whigs’ guitarist Jon Skibic and multi-instrumentalist Rick G. Nelson, Mathias Schneeberger (Twilight Singers), pedal steel wizard, upright bassist, and physician Dr. Stephen Patt, and drummer Jon Theodore (Queens of the Stone Age, The Mars Volta).

Clocking in at a lean 37 minutes, Random Desire is a clinic put on by a veteran master operating at the height of his powers, offering evidence of the hard-fought and weary wisdom learned from setbacks and victories alike. A lucid, confident and self-assured document of the songs of experience, the perils of existence, and the possibilities that offer themselves anew with each breath. Another death and rebirth from an outlaw who has seen it all and somehow lived to tell.

STAFF COMMENTS

Barry says: A wonderfully immersive mix of rich, hearty synths, industrial percussion and the heartfelt vocal outpourings of the great Greg Dulli. Veering from post-rock instrumentals and electronic percussion into more longing stadium rock pieces, this is a perfectly balanced and enthralling listen from one of the UK's most beloved guitarists. Superb.

TRACK LISTING

Side A
1. Pantomima
2. Sempre
3. Marry Me
4. The Tide
5. Scorpio

Side B
1. It Falls Apart
2. A Ghost
3. Lockless
4. Black Moon
5. Slow Pan

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

4 Track EP on limited double gatefold 7" vinyl.

2021 saw the release of 'The Globefower Masters Vol.1' An album released on Mr Bongo and born from the fruitful collaboration between Glenn Fallows (The Impellers / Andres y Xavi) and Mark Treffel (Blue States / The Soul Steppers).Taking inspiration from classic 60s and 70s soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean- Claude Vannier and Piero Umiliani, the album was very well received upon its release and struck a chord with the scene's connoisseurs.

The next logical step was to make their music available on 45 too. The release features an album track 'Fear Me Now' on the A-side and is paired on the B-side with two new tracks that channel the sound of library music giants such as Hawkshaw and Bennett. Three lush, warm and timeless productions.Inspired by classic 60s and 70s soundtrack composers such as Axelrod and Morricone, and library music giants including Hawkshaw and Bennett.

TRACK LISTING

Fear Me Now
All So Simple
Slurred And Blurred

Created during Summer 2020, this album is the product of a fruitful collaboration between Brighton-based musicians Glenn Fallows (The Impellers/Andres y Xavi) and Mark Treffel (Blue States/The Soul Steppers). These seasoned performing and recording artists have put their abundance of experience and skilful musicianship into effect with aplomb on this album. This is as accomplished a debut release as you will ever hear, and dare we say, a future classic in the making. The Globeflower Masters project was borne from an idea Glenn had to create an album that leant on the influence of soundtrack and library composers - particularly of the late 60s and early 70s. This rich sonic palette had previously been innate in his writing and composition but, for this album, the direct inspiration was placed front and centre. After penning several sketches, Glenn contacted Mark to fulfil the vision he had for a complete sound. Mark had an arsenal of vintage synths, pianos and other fun toys which could supplement the drums, guitars and bass that Glenn had been working on.

As the album progressed, the pair worked increasingly collaboratively, with each of them starting and sharing ideas to curate the final eight finished tracks. The results are an album of lush, warm, timeless productions that are drenched in strings and classical instrumentation. Awash with atmospheric excursions, it is a listening experience that moves you through moods whilst transporting you to a world of deeply evocative settings and imagined scenarios. The Globeflower Masters Vol. 1 resonates equally as well on a dark melancholic Winter's day as it does sound-tracking a halcyon Summer day. Though influenced by 60s and 70s productions the record is not a simple pastiche, feeling both simultaneously brand new as well as authentically retro.

STAFF COMMENTS

Barry says: The Globeflower Masters mix the perfect ratio of slo-mo funk and lounge jazz with wonderful organic percussion and library synth business. It's woozy and hazy, while being both immediate and intoxicatingly atmospheric.

TRACK LISTING

1. Faith In Time
2. Scene In Roma
3. Who Knows When
4. Hidden In The Pampas
5. Fear Me Now
6. How It Shimmers
7. El Ejido
8. Arise

Glenn Fallows and Mark Treffel released their frst album, 'The Globefower Master Volume 1', on Mr Bongo in September 2021.With its lush, warm and timeless productions paying homage to classic 60s and 70s soundtrack composers, it was very well received and struck a chord with the scene's connoisseurs Louder Than War emphatically stated, "It's impossible not to like The Globefower Masters Vol. 1.", with Gigwise echoing that praise "slickly compelling retro vibes". The Globefower Master Vol. 2 is the slightly edgier and more grown-up sequel to Mark and Glenn's 2021 debut album. For this excursion, the Brighton-based duo wanted to lean a little further into their European flm soundtrack infuences, with particular inspiration mined from the works of Stefano Torossi, David Shire, and Roger Webb. This expansion of their sound builds upon the rich tapestry of cinematic funk a la David Axelrod, Serge Gainsbourg and Morricone that fashioned Vol. 1.Here, the arrangements, melodies, and harmonies have been refned; only what is needed is left. Pulled into its vortex for the ride. This record doesn't pull any punches. The recordings are drenched in visual imagery; they stimulate the senses and invite the imagination to roam. Ethereal, hazy memories of lost summers are triggered; the beauty of listening to music when driving along a deserted road in the Italian countryside lined with cypress trees heading towards the sun, and beyond. As the musical journey progresses, we even take a voyage to another planet. Whether these memories are real or constructed recollections of scenes from flm and television, the tracks evoke a feeling of nostalgia and comfort. Like all the best music, 'The Globefower Masters Vol. 2' takes us out of ourselves even if it's only temporarily. To consolidate the shape of the sound, drummers Timmy Rickard and Ollie Boorman (who also featured on Vol. 1) and John Maiden (Tricky collaborator) sprinkled their magic and forged their stamps onto the recordings. Collaborating with other talented musicians contributed to the picture Mark and Glenn wanted to paint. The 'Globefower Master Vol. 2' is a ftting tribute to the music they love and care deeply about and a glorious addition to their musical world.

TRACK LISTING

1.  Vibe Sharp 
2.  Echo The Oread 
3.  Remember Empathy 
4.  Calico Suite 
5.  Ely To Chi 
6.  Orquesta Es Vedr 
7.  A Voyage North
8.  Moogs Over Jupiter 
9.  Convention IV 
10.  Darkness Beneath 
11.  Walked For Days

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.

TRACK LISTING

Two Moons Under
Frieda
Burns
Roll Back (+ Lil Silva)
Siren Calls
Nobody But You (+ Hudson Scott)
Outgrown (+ Bonobo)
Half-Light (Night Version) (+ Tracey Thorn)
The Echo Forgets
Passing Trains

Not As I is a collection of four new tracks by the preeminent UK electronic musician, George FitzGerald. The EP sees George exploring the expanses within his production, featuring recent Lana Del Rey collaborator SYML, the solo project of American artist Brian Fennell, on the track “Mother”, the EP showcases his continued evolution as a producer, and his ability to reframe his work through new collaborations.

TRACK LISTING

1. Mother Ft. SYML
2. Venera
3. Not As I
4. All Roads

Stellar Drifting is 10 tracks of widescreen, futuristic electronic music. With features from the likes of SOAK, London Grammar and Domino’s own Panda Bear, Stellar Drifting is George’s most ambitious project to date. George keeps his roots deep within the electronic music scene, bringing in pop melodies, club rhythms and other UK dance music elements whilst pushing the boundaries of his sound.

Thematically the record incorporates intergalactic utopian narratives; escapism, outer space and utopian vision of the future feature. The term ‘stellar drift’ refers to the movement of stars - far from being static and eternal, space is constantly in motion, and celestial bodies are changing over time. The album title hints at an otherworldly serenity that might be found within this continual flux.

The visual elements for Stellar Drifting have been created by designer, David Rudnick in collaboration with digital developer, Chris Shier. 

A brand new cut and remaster for 2023 of the multi genre-busting release 'Don't Send Me Away', that transcended most dance scenes from Modern Soul, Rare Groove, Crossover and Boogie to become perhaps the most in-demand '80s record on the current collectors scene.

A certified classic from a Philly soul legend, Garfield Fleming, that never fails to hit you right in the heart. Already one of the most sought after 12 inches out there, the popularity of 'Don't Send Me Away' was cemented when a video of Garfield himself signing the track at a Paris record stall in late 2018, went viral with nearly 3,000,000 views to date.

With original 12 Inch copies trading hands for £300+ it was high time a remastered reissue hit the shelves, giving a whole new generation of listeners the chance to bask in the glory of this unquestionable anthem.

TRACK LISTING

A1. Don’t Send Me Away
B1. You Got Dat Right

Recorded remotely during 2021-2022 the album took shape in the form of mutual compositions, gradually developed and embellished online. Final recording sessions took place at the majestic Chale Abbey Studios on the Isle Of Wight with Moses Boyd (drums), Tom Herbert (bass) and Siobhan Cosgrove (flute, clarinet) adding elements to several pieces. Tracks include the reflective, wistful single ‘VientoCalido’ and drifting ambient piece ‘Sabena’, a beautiful tribute to Gigi’s wife who sadly passed away during 2022.

Greg Foat has recorded prolifically in recent years including acclaimed albums Symphonie Pacifique (2020) and The Mage (2019).
Best known for his 1986 ambient masterpiece Wind and as a member of Gaussian Curve, Gigi Masin has enjoyed a revival in recent years through his Calypso album on R&S’s Apollo label and renewed touring. Dolphin represents Greg and Gigi’s first landmark recording collaboration together. “I first heard Gigi’s album Wind in 2016,” remembers Greg. “I was living in Miami and I heard it playing one Summer evening. Since then, it has always been in my mind to be able to record together.”

"This album is a tribute to the joy of playing together and creating something beautiful and exciting. A sincere hymn to life"(Gigi Masin)

STAFF COMMENTS

Barry says: Two of the greatest forces in ambient music here, presenting a laid-back suite of shimmering aquatic melodies and deft pad swells, lightened with a deft touch of loungey jazz keys and swimming Balearic groove. Every bit as wonderful as you'd expect from such legendary musicians.

TRACK LISTING

1 / A1 Lee
2 / A2 London Nights
3 / A3 Love Theme
4 / B1 Dolphin
5 / B2 Sabena
6 / B3 Leo Theo
7 / B4 Viento Calido
8. Your Move

Part two of our nod to the world of library from Athens of the North introduce Greg Foat journeys into the world of synthesis with good friend James Thorpe. This new LP was recorded in the old Bees Studio on the Isle of Wight earlier this year, a special, different piece of work which I was delighted to receive on ¼ inch tape without warning. Greg's output continues to be prolific without ever tiring, he never plays it safe and is always looking forward whilst having an ear for our musical-heritage.

TRACK LISTING

1. Elementary Physiology, Pt. 1
2. Elementary Physiology, Pt. 2
3. Balloon Ride
4. Circadian Rhythms
5. Diametrically Opposed
6. Grockle Box
7. Living The Dream
8. Platform Game
9. Stacey's Theme
10. Photosynthesis
11. Chronobiology 

Greg Foat has always had a great reverence for the musicians that featured on the records he has collected over the years. Whether they were players from the great European library catalogs, Italian soundtracks, American Jazz but most of all British Jazz. One of his all-time favourites being the beautiful tone of Art Themens Saxophone…

After Art had played on a few sessions for Greg both were keen to record an LP together. Plans were hatched during lockdown and everyone headed to Edinburgh as soon as allowed, to an unassuming metal door that leads to a renowned studio with a large live room with a stunning Neve desk. Chamber Studio has a long Edinburgh heritage, known for recordings from Mogwai to everyone's favourite The Vaselines.


Greg & Art wanted to do something experimental so they brought in an interesting and challenging mix of new musicians along with a large pile of synthesizers and effects pedals. The result is a fantastic melting pot of melodic, harmonic and rhythmic ideas and motifs. 'Off-Pisté' is a masterpiece!

TRACK LISTING

1. Fresh Snow
2. La Partida
3. Off Piste
4. Yrsno
5. Sis No Hyp
6. Apres Ski

A concept album of Analogue Electronic Sci Fi Library Grooves for Synthesisers and Percussion. Commissioned by Sonoton and inspired by the 70's & 80's Sonoton music Library Catalogue. Featuring Ayo Salawu on Drums (Kokoroko) and Greg Foat with his impressive collection of vintage Synthesisers. File under Library Music

TRACK LISTING

1. Interstellar Fantasy
2. Journey To Arcturus
3. Solar Pirates
4. Mines Of Andromeda
5. Stasis Loop
6. The Lonely Robot
7. Cruising Home

The prolific Greg Foat returns with a new Synthesiser soundscape double album. Recorded during the 2020 Lockdown. This is the follow up to 'Photosynthesis' this time featuring drummer Morgan Simpson (Black Midi)

TRACK LISTING

1. Baby Boy
2. Tropical Love
3. Above The Clouds
4. Underwater Fantasy
5. Psychosynthesis Part 1
6. Artic Cavern
7. Psychosynthesis Part 2
8. The Green Odyssey
9. Riding Into Battle
10. The Investigation
11. World Of Tiers
12. Subterranean Lake
13. Fatherhood
14. Crystal Gardens

Foat has become a versatile mainstay in UK jazz through an acclaimed series of albums on Jazzman and Athens Of The North, moving from soul-jazz workouts to library music to cinematic, haunting compositions and pastoral acid folk. ‘Symphonie Pacifique’ goes expansive and widescreen, building a lush soundscape using choral textures, harp and tubular bells on the atmospheric ‘After The Storm’ alongside sensual groove-based tracks like the undulating ‘Anticipation’, the album title track and Groove Merchant-channelling ‘Nikinakinu’, all driven by Phil Achille on bass, Eric Young on congas and Moses Boyd’s crisp, flowing breakbeats. Other tracks include a moving tribute to KPM library legend Duncan Lamont on the reflective ‘Lament For Lamont’ and the languid, simmering ‘Island Life’.

The album is a truly international collaboration, recorded analogue and produced by Greg Foat at London’s Fish Factory studios with strings recorded in Edinburgh and choir in Gothenburg. The album was mixed by Mattias Glava at Kungsten Studios in Gothenburg. Cover artwork is based on a painting by early 20th Century Algerian / Parisian artist Henry Valensi.

STAFF COMMENTS

Barry says: Greg Foat has always had a firm place on the shop stereo, and 'Symphonie Pacifique' cements that likelihood with a swaying, filmic mash-up of syncopated hooks, frenetic percussion and effortless, jazzy cool. As perfectly redolent of the genre's past as it is it's future.

TRACK LISTING

A1. Prelude
A2. Symphonie Pacifique
A3. Undulation
A4. Anticipation
A5. Mu
A6. Yonaguni
B1. Island Life
B2. Nikinakinu
B3. Man Vs. Machine
C1. Before The Storm
C2. After The Storm
C3. Meditation On A Pedal Steel
C4. Lament For Lamont
D1. Pointe-Vénus
D2. Mother’S Love
D3. Epilogue: Three Tenors

Recording at Malcom Catto's analogue studio has been an ambition of Greg's for a long time, not only for the studio itself but for Malcolm's skill using this vintage equipment, very few people can achieve such an incredibly big sound.

Earlier this year we grabbed the chance to get the full Greg Foat group joined by Binker Golding (Binker and Moses) on Tenor Saxophone, Malcolm Catto on drums and Hugh Harris (The Kooks) on Guitar on the session.

Moving to a more rhythmic space, you could call it Jazz funk or Fusion, but labels suck so just listen and appreciate the pure sense of space Malcom achieves with this recording. Instruments float in space, aided by the Vintage EMI desk and a host of valve equipment which has taken Malcolm a lifetime to collect. In amongst the more rhythmic pieces we also have some classic Foat style compositions; 'Lake Kussharo' and 'The Dreaming Jewels' as emotive and personal as ever, a feeling that can only be expressed and articulated in music. These past few years will no doubt be looked back on with great favour in musical history, with prolific and high quality output in all his various projects this LP is his crowning achievement of 2019. A strong year indeed!

STAFF COMMENTS

Matt says: Foat without Hampshire? Still a delectable prospect I assure you, as the esteemed UK jazz luminerie moves through fusion and funk with a confident stride. Warmed through some classic vintage equipment this is raw Foat!

TRACK LISTING

1. Sapphire Dreams
2. Eric's Breakdown
3. The Door Into Summer
4. Not That It Makes Any Difference
5. Lake Kussharo
6. Kushiro River
7. This Is Not Necessarily My Answer, But
8. The Dreaming Jewels 

Garron Frith is a singer/ Songwriter from the North West. After playing a gig for Nick Georgia at Popart Garron met producer, musician and one time member of The Willard Grant Conspiracy, Simon Alpin (Devendra Banhart, Teenage Fanclub, Badly Drawn Boy). The result was the making of this debut album. It's acoustic based with some great musicians adding a delicate backdrop to the ten tracks. The debut album features members of Grand Drive, The Willard Grant Conspiracy and Green on Reds Chuck Prophet. If you like early Adams/Damien Rice/Ray Lamontagne/Joe Purdy etc you won't go far wrong with this one.

"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

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.

Mixing old school blues and folk with new school hip-hop and funk, G. Love’s electrifying new album, Philadelphia Mississippi, brings together both sides of the genre-bending pioneer’s eclectic career in a wildly innovative and deeply reverent sonic pilgrimage to the heart of the South. Produced by North Mississippi All-Stars’ Luther Dickinson, the collection is loose and spontaneous, full of joyful, improvised performances and freewheeling collaborations with a slew of special guests including blues torchbearers like Alvin Youngblood Hart and Christone “Kingfish” Ingram and rap icons like Schoolly D and Speech. It would have been easy for G. Love to play it safe coming off his GRAMMY-nominated 2020 release, The Juice, but Philadelphia Mississippi is perhaps his most adventurous collection to date, ditching all the rules as it experiments with form and function in an ecstatic celebration of music’s power to connect across genres and generations. Born Garrett Dutton in Philadelphia, PA, G. Love first broke out in the early ’90s with his band, Special Sauce, on their strength of their Gold-selling self-titled debut. Over the next three decades, he would go on to release seven more critically acclaimed albums with Special Sauce (plus five on his own), become a fixture on festival lineups from Bonnaroo to Lollapalooza, and collaborate on the road and in the studio with artists as diverse as Lucinda Williams, Dave Matthews, The Avett Brothers, Jack Johnson, Keb’ Mo’, and DJ Logic.

TRACK LISTING

1. Love From Philly (feat. Schoolly D & Chuck Treece)
2. Mississippi (feat. Alvin Youngblood Hart, R.L. Boyce & Speech)
3. My Ball (feat. Freddie Foxxx & Jontavious Willis)
4. Guitar Man (feat. Christone "Kingfish" Ingram)
5. Kickin' (feat. Chuck Treece & Lady Alma)
6. HipHopHarpin' (feat. Alvin Youngblood Hart)
7. Laughing In The Sunshine
8. I Ain't Living (feat. Tikyra Jackson)
9. Lemonades (feat. Cam Kimbrough, Luther Dickinson & Chuck Treece)
10. If My Mind Don't Change (feat. Sharde Thomas)
11. Sauce Up! (feat. Trenton Ayers)
12. The Philly Sound
13. Shouts Out (feat. Trenton Ayers & R.L. Boyce)

One of life's most difficult arts is learning to let go. You can try to cling to control in the face of a turbulent world, but the only constant we can count on is change—the tendrils of cleansing fire wiping away the old, new life springing forth from the dust and ash. So what's the point? Give yourself over to the depths. Surrender to the flow.

G.S. Schray's new solo album The Changing Account is an appropriate soundtrack for learning to cope with a world we can't count on. Each piece is full of elliptical melodies that swirl with the unstable logic of dreams. Flurries of piano, guitar lines, and other more alien instrumentation shimmer delicately, but before they coalesce into familiar shapes or rhythms they change, then change, then change again. Listening is a bit like falling asleep on a long road—with each passing song you're waking up somewhere new, trying to get your bearings in another strange world. How did I get here? Where are we going? It doesn't matter. Close your eyes, drift away again.

TRACK LISTING

1. In Select Everlight
2. Two Clouds Each
3. Diverted By Faint Pathway
4. Sated By The Plum
5. Two Pals Glowing
6. Still, Puzzled
7. Dome That Was Nothing
8. Eye On The Menace

For Fans Of : The Black Keys, Otis Rush, J.B. Lenoir, The Ramones, Hound Dog Taylor, Christone Kingfish Ingram, Magic Sam.

GA-20 clearly is on to something big. It’s a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the place where traditional blues, country and rock ‘n’ roll intersect. “We make records that we would want to listen to,” says guitarist Matt Stubbs. “It’s our take on the song-based traditional electric blues we love.” Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018.

It’s no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, “Since we started the band we’ve focused on the story, the melody, and on creating a mood. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is. Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not.” With their new Colemine album, Crackdown, and an intensive tour schedule, that’s all about to change.

On Crackdown, GA-20’s third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019’s Lonely Soul and 2021’s Try It…You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock ‘n’ roll. The album’s nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

TRACK LISTING

1. Fairweather Friend
2. Dry Run
3. Easy On The Eyes
4. Crackdown
5. Just Because
6. By My Lonesome
7. I Let Someone In
8. Double Gettin'
9. Gone For Good
10. Fairweather Friend (Final Goodbye)

For Fans Of The Buffalo Killers, The Black Keys, Neil Young, Crazy Horse, Michael Nau, Wilco, The Flying Burrito Brothers, The Byrds, Gene Clark. From the ashes of the acclaimed Ohio rock band Buffalo Killers, singers / songwriters/siblings Zachary and Andrew Gabbard have re-emerged as The Gabbard Brothers. And while there are still similarities to their previous band - with nods to greats like Neil Young, James Gang and Buffalo Springfield - there's a hazier, organic, earthy-psych vibe running through the brothers' new music. Debut LP as The Gabbard Brothers. Formerly known as Buffalo Killers with strong following, "Get It" by Buffalo Killers has 2 million streams on Spotify. Staple tour members of The Black Keys' band.

TRACK LISTING

1. Hang On, Mama
2. Feel Better Love Better
3. Pockets Of Your Mind
4. Little Mama
5. Said Too Much
6. Hazard KY Bluegrass Grandma
7. Early Pages
8. Lovin' Arms
9. Yer A Rockstar
10. Gimme Some Of That
11. Easter's Child
12. Lay Down

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.

TRACK LISTING

1. Trial (Instrumental)
2. Sour Mango (Instrumental)
3. Fruitflies (Instrumental)
4. The Game (Instrumental)
5. Long Ears (Instrumental)
6. Crawl (Instrumental)
7. Bombo Fabrika (Instrumental)
8. Cantiga (Instrumental)
9. My Balloon (Instrumental)
10. Lullaby (Instrumental)

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most senior member of the legendary Preservation Hall Band, “I never did anything in my life but play music. I’ve been blessed with that gift that God gave me, and I’ve tried to nurse it the best way I knew how.” While he’s faced plenty of challenges nursing that gift for more than 78 years, none likely rank with last winter’s passing of his brother and last living sibling, Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn despondency broken now and then by regular chess matches in the studio kitchen of Hall leader Ben Jaffe, working overtime to bring his friend some light. One such afternoon also included Joshua Starkman, sitting off in a corner playing his guitar and half-watching the chess from a distance. When Charlie returned the next day, he brought his saxophone. “I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”

That day was to be the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he’s also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader.

Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That’s It, So It Is, and Tuba to Cuba. 89 was different, and not simply due to a smaller ensemble. “We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation,” Charlie says, further musing, “Musical conversations cancel out complications.” 89 includes six standards and three newer pieces on which Gabriel is a writer: “Yellow Moon,” “The Darker It Gets” and “I Get Jealous.” The record also marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The clarinet is the mother of the saxophone,” he says. “I started playing clarinet early in life, and this [taught me] the saxophone.”

Finally, 89 includes three tracks of Charlie singing. “I always sung, but it wasn’t my forte to become a singer,” he says. “The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them.”

TRACK LISTING

Memories Of You
Chelsea Bridge
I'm Confessin'
The Darker It Gets
Stardust
Three Little Words
Yellow Moon
I Get Jealous

The album has been Half-Speed Remastered and cut to lacquers at 33RPM, on 1x heavyweight black LP, to deliver maximum dynamic range in the sound.

Vinyl cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis. The album is true to the original LP design, but all images are newly re-scanned.

The album comes with a download card with a choice of digital download (Hi-Res 24bit or 16bit)

Recorded in 1984, and originally released in March 1985, Birdy marks the first occasion that Peter worked with French-Canadian producer and multi-instrumentalist Daniel Lanois who went onto co-produce both Peter’s So and US albums. The soundtrack to the Alan Parker movie of the same name – the tale of a Vietnam vet who harbours Icarus-like ambitions to fly – it finds Peter flexing his creative muscles free of any commercial pressures and has a number of tracks build out of elements of existing tracks from Peter’s third and fourth solo albums.

TRACK LISTING

SIDE A
A1 At Night
A2 Floating Dogs
A3 Quiet And Alone
A4 Close Up (from Family Snapshot)
A5 Slow Water
A6 Dressing The Wound
SIDE B
B1 Birdy's Flight (from Not One Of Us)
B2 Slow Marimbas
B3 The Heat (from The Rhythm Of The Heat)
B4 Sketchpad With Trumpet And Voice
B5 Under Lock And Key (from Wallflower)
B6 Powerhouse At The Foot Of The Mountain (from San Jacinto)

More than 20 years in the making, this December finally sees the release of i/o, Peter Gabriel’s first album of new material since 2002’s Up.

During 2023, Peter has been releasing a new song from the album on the occasion of every full moon. Being revealed roughly every four weeks, each track has been allowed to find its own time and space, to enjoy its own orbit. “It’s a little like getting a Lego piece each month,” Peter explains. Now it’s time to stand back and admire the final, completed creation.

And what a creation – 12 tracks of grace, gravity and great beauty that provide welcome confirmation of not only Peter’s ongoing ability to write stop-you-in-your-tracks songs but also of that thrilling voice, still perfectly, delightfully intact. Throughout the album the intelligent and thoughtful – often thought-provoking – songs tackle life and the universe. Our connection to the world around us – ‘I’m just a part of everything’ Peter sings on title track i/o – is a recurring motif, but so too the passing of time, mortality and grief, alongside such themes as injustice, surveillance and the roots of terrorism. But this is not a solemn record. While reflective, the mood is never despondent; i/o is musically adventurous, often joyous and ultimately full of hope, topped off as it is, by the rousingly optimistic closing song, Live and Let Live.

Always looking to push the boundaries, i/o is not simply a collection of a dozen songs. All 12 tracks are subject to two stereo mixes: the Bright-Side Mix, handled by Mark ‘Spike’ Stent, and the Dark-Side Mix, as reshaped by Tchad Blake. “We have two of the greatest mixers in the world in Tchad and Spike and they definitely bring different characters to the songs. Tchad is very much a sculptor building a journey with sound and drama, Spike loves sound and assembling these pictures, so he’s more of a painter.” Both versions are included on the double-CD package, and are also available separately as double vinyl albums. And that’s not all. A third version – the In-Side Mix, in Dolby Atmos, comes courtesy of Hans-Martin Buff “doing a wonderful job generating these much more three-dimensional mixes” and is included in three-disc set, including Blu-ray.

Peter has kept his trusty inner circle of musicians close to hand, which means guitarist David Rhodes, bassist Tony Levin and drummer Manu Katché are sterling presences throughout. Several songs bear the fingerprints of long-time associate Brian Eno, whilst there are notable contributions from the likes of Richard Russell, pianist Tom Cawley, trumpeters Josh Shpak and Paolo Fresu, cellist Linnea Olsson and keyboard player Don E. Peter’s daughter Melanie contributes warm backing vocals, as does Ríoghnach Connolly of The Breath. Soweto Gospel Choir and Swedish all-male choir Oprhei Drängar lend their magnificent harmonies and the mass strings of the New Blood Orchestra, led by John Metcalfe, both soothe and soar.

Peter has also invited a range of visual artists to contribute a piece of art to accompany each track. The dozen artists make an exceedingly impressive team of collaborators: Ai Weiwei, Nick Cave, Olafur Eliasson, Henry Hudson, Annette Messager, Antony Micallef, David Moreno, Cornelia Parker, Megan Rooney, Tim Shaw, David Spriggs and Barthélémy Toguo. Having handpicked the artists, Peter recognises that “They have the same obsessive attention to their visual work that we musicians have in sound.”

STAFF COMMENTS

Barry says: I don't get why everyone is going on about it, it's only been 30 years and the result more than makes up for the *slightly* longer gestation time of I/O. It's a wonderfully rich, beautifully refined work that sings with influence from all of Gabriel's work since he started recording it, and coming together beautifully despite it's disparate elements.

TRACK LISTING

CD Tracklisting:
CD1 – Bright-Side Mix
1 Panopticom
2 The Court
3 Playing For Time
4 I/o
5 Four Kinds Of Horses
6 Road To Joy
7 So Much
8 Olive Tree
9 Love Can Heal
10 This Is Home
11 And Still
12 Live And Let Live

CD2 – Dark-Side Mix
1 Panopticom
2 The Court
3 Playing For Time
4 I/o
5 Four Kinds Of Horses
6 Road To Joy
7 So Much
8 Olive Tree
9 Love Can Heal
10 This Is Home
11 And Still
12 Live And Let Live

Blu-Ray – In-Side Mix (Dolby Atmos)
1 Panopticom
2 The Court
3 Playing For Time
4 I/o
5 Four Kinds Of Horses
6 Road To Joy
7 So Much
8 Olive Tree
9 Love Can Heal
10 This Is Home
11 And Still
12 Live And Let Live

Vinyl Tracklisting:
Bright-Side Mix & Dark-Side Mix
Side A
1 Panopticom
2 Playing For Time
3 The Court
Side B
4 Four Kinds Of Horses
5 I/o
6 Love Can Heal
Side C
7 Road To Joy
8 So Much
9 Olive Tree
Side D
10 This Is Home
11 And Still
12 Live And Let Live

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.

Released in 1999, ‘Rise’ is the third studio album by Singer/Songwriter Gabrielle.

Having achieved major commercial success, the pop-soul classic spent three weeks at Number 1 on the UK Albums Chart, and is certified 4x platinum.

This release comes as a Limited Edition Yellow Vinyl. 

TRACK LISTING

Side A
Sunshine
Rise
When A Woman
Tell Me What You Dream
5 O'Clock
Should I Stay
Side B
Over You
Falling
If You Love Me
Independence Day
Gonna Get Better
Out Of Reach

Angels & Queens - Part I was released back in September, picking up widespread acclaim across the globe. Its release was governed by the band’s desire to push through the release of new recordings this year, and release the record in two distinct chapters. The second chapter now concludes the full album’s tracklisting for a Spring 2023 release.

Angels & Queens incorporates a brand new recording of the band’s seminal debut single, Love & Hate In A Different Time, and songs that have already become staples of the band’s live set; Offering, Glory, and Great Wind.

A Deluxe CD version will also be made available with eight additional recordings, featuring four tracks from the band’s seminal Glastonbury set earlier in the Summer, a BBC Maida Vale session recording of Spanish Harlem, and a Greg Wilson and Che Wilson remix of Love and Hate in A Different Time.

TRACK LISTING

CD / Vinyl
1. Offering
2. The Blind
3. Angels & Queens
4. Taboo
5. To The Moon And Back
6. Professional
7. We Will Remember
8. Remember Me
9. If You Only Knew
10. Love And Hate In A Different Time
11. Glory
12. Great Wind
13.Mama

Deluxe CD Additional Tracks:
14.Love And Hate In A Different Time (Greg Wilson & Che Wilson Remix)
15. Blame (Live At Glastonbury)
16. Great Wind (Live At Glastonbury)
17. Professional (Live At Glastonbury)
18. We Will Remember (Live At Glastonbury)
19. Spanish Harlem (Live From Maida Vale)
20. Bloodline
21. Loyalty Ft. Ashley Sade

Grammy nominated DJ and production mastermind Paul Woolford steps up to deliver a timeless house reworking of Gabriels 'Angels & Queens'.

The title track from the trio's debut album (part 1) that took 2022 by storm. Endeared by the masses and critically acclaimed Gabriels set out a refreshing new take on soul that the world was subconsciously crying out for - an antidote to over produced pop - providing a deeper, more meaningful and heartfelt cause at its centre.

Tantalising from the outset, Woolford steps up to the plate with a hard-hitting remix that drives in straight to your centre. Punchy TR-909 drums combine with thundering bass tones and his archetypal, rising piano hooks. A combination that brings Jacob Lusk's inimitable vocals to new heights.

After a feverish reception to Paul's Instagram tease of the track, we've been itching to release this remix into the wild. It's a big one, don't miss it!

'Three supremely talented artists simply excelling at what they do' - Paul Woolford

Gerd Janson - 'Gabriels!!! - Total madness at Panorama Bar. Like it was made for the room'

TRACK LISTING

A1. Paul Woolford's Special Request Mix
B1. Original Version
B2. Paul Woolford's Special Request Radio Edit

A previously unreleased remix of Gabriels' seminal track ‘Love & Hate In A Different Time’ lands from Greg Wilson and Ché Wilson.

Perfectly encapsulating the Wilson’s revered fusion of nu-disco and 80s electro, the duo gives new life to a somewhat untouchable classic; recontextualizing the lauded original into an authentic, funk-driven builder suited for any dancefloor. A mastery in respectable yet individual remixing.

Highly anticipated release - better get those orders in quick! 

STAFF COMMENTS

Matt says: It was only a matter of time before Greg Wilson got his grubby mitts on what is arguably one of the biggest modern soul tracks of recent times. Thankfully he does the track plenty of justice with a transparent, well-mannered brush up that extends the fun long enough for maximum 'floor enjoyment, plus just enough time for the DJ to grab a 'cig / toilet break - winner!

TRACK LISTING

A1. Greg Wilson & Che Remix (Full Length)
B1. Greg Wilson & Che Original Extended Mix
B2. Acapella

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…

TRACK LISTING

1 Siri Linn
2 Some Time Ago (On A Cold Winter Night)
3 Rolling On
4 Sleep Turns Her Face
5 The Trail I'm Tracking 
6 Just Like The Road
7 So Long Old Friend
8 Someways Down A Highway 

Imposter is a collection of songs by Dave Gahan & Soulsavers. Dave & Soulsavers didn’t write these songs, but they listened to them, studied them & gave them new life.

Recorded at the legendary Shangri-La Studio in Malibu, these versions of songs you know & some you may not, range from sparse to lush, sombre to joyful. The choices and the sequencing were deliberate & meaningful. It shines a light on the enduring strength of poignant lyrics and well executed melodies.

Imposter is a reflection of Dave’s life, a story told by others, but in his own distinct voice. 

TRACK LISTING

The Dark End Of The Street
Strange Religion
Lilac Wine
I Held My Baby Last Night
A Man Needs A Maid
Metal Heart
Shut Me Down
Where My Love Lies Asleep
Smile
The Desperate Kingdom Of Love
Not Dark Yet
Always On My Mind

Gaika presents his debut album, "Basic Volume" after captivating listeners with a blistering pair of acclaimed, self-released mixtapes "Machine" and "Security" and the Warp-released EPs "Spaghetto" and "The Spectacular Empire". The 15 track collection is co-produced by Gaika, with additional production from similarly forward thinking contemporaries, including SOPHIE, Dutch E Germ, Dre Skull and DADRAS, Aart as well as previous collaborators including Jam City, Nick Leon and Frank Ocean’s "Blonde" and "Endless" collaborator Buddy Ross. Speaking about the album, Gaika says, “Basic Volume" is collection of alchemical parables for all the Immigrants who wander the earth in search of themselves”

TRACK LISTING

Basic Volume
Hackers & Jackers
Seven Churches For St.
Jude
Ruby
Born Thieves
36 Oaths
Black Empire (Killmonger
Riddim)
Grip
Clouds, Chemists And
The Angel Gabriel
Immigrant Sons (Pesos
And Gas)
Close To The Root
Crown & Key
Warlord Shoes
Spectacular Anthem

Drift is non-conforming and genre blending. Whilst hard to neatly fit in a box, the record feels like an avant garde blend of Electronic, Hip-Hop, Punk and Grunge music featuring soundscapes recorded from GAIKA's travels abroad. Shapeshifting and cinematic in style, GAIKA draws inspiration from musical greats; Prince, Wu Tang Clan, Massive Attack, and John Coltrane, with his approach akin to the Pink Siifus, A$AP Rockys, and Dean Blunts of this world.

GAIKA’s sound spans from grime, dancehall, R&B, electronic, and beyond, often weaving in political commentary through his lyricism. New album Drift is an ensemble record with GAIKA as the central writer working with collaborators BbyMutha, KIDÄ, Azekel, Charlie Stacey, Chamber 45, Brbko, The Narrator (Amber Joy), SAMANTHA, and more. 

TRACK LISTING

1. Drift On
2. Piñata
3. Gunz
4. First Among Misfits (Ft The Narrator)
5. La Vacanza (Ft Kidä)
6. Sublime
7. Exit To Cisco
8. Lady (Ft Bbymutha)
9. O Vampiro
10. Bonehead Behavior
11. Vicious Chambers
12. Ultra Scuro
13. And There Goes The Challenger
14. Less Burners Bigger Hearts (Ft The Narrator, Azekel)

Since selling out the Concert Hall at the Sydney Opera House in 2010, Neil Gaiman and Four Play String Quartet have been firm friends and collaborators. They have toured the world together, released a New York Times best-selling book & record together, sold out Carnegie Hall together and most importantly, recorded a new album together, Signs of Life. Reflecting the fact that Gaiman and FourPlay have each, always refused to be pigeon-holed in their creativity - together, they have created something remarkable and unique.

Signs of Life is a gorgeous, ground-breaking and genre-bending collaboration between an iconic author and a unique musical ensemble. Part songwriting, part poetry, part story-telling; allencompassing, all-engaging, all beautiful.

TRACK LISTING

SIDE A
1. Clock
2. Möbius Strip
3. Bloody Sunrise
4. The Wreckers
5. Song Of The Song
6. Credo
SIDE B
7. Neverwhere
8. Poeb First Read On January 26th, 2011 At The
Sydney Opera House
9. The Problem With Saints
10. In Transit
11. Sings Of Life
12. Oceanic (CD ONLY)

Air's Jean-Benoit Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's 'Wonder Milky Bitch') wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. Produced by Nigel Godrich.

‘It's a genuinely delightful album’ - 4/5 The Guardian.

Originally released in 2006,..even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlo[e for Ever, which was release in 1986, when she was 15), it’s her first solo album as an adult and, with the help of a dream team of collaborators , it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it.

This mingling of French and English influences is mirrored in Charlotte Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery.

TRACK LISTING

A1. 5:55
A2. AF607105
B1. The Operation
B2. Tel Que Tu Es
B3. The Songs That We Sing
C1. Beauty Mark
C2. Little Monsters
C3. Jamais
D1. Night-Time Intermission
D2. Everything I Cannot See

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.

TRACK LISTING

1. Ring-A-Ring O' Roses 
2. Lying With You
3. Kate 
4. Deadly Valentine  
5. I'm A Lie 
6. Rest 
7. Sylvia Says  
8. Songbird In A Cage 
9. Dans Vos Airs  
10. Les Crocodiles  
11. Les Oxalis 

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.

TRACK LISTING

Les Chemins De Katmandou (Titles)
The Pleasure Pit
Colin-Maillard
Le Roi Des Phlébotomes
Flower Child
Cache Cache
Opium Den
Overdose
Oliver
Fallen Rainbow
Colin-Maillard (Vox)
Les Chemins De Katmandou