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.

THIS IS A BLACK FRIDAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 29TH 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 30TH).

G. Love & Special Sauce’s legendary self-titled debut album has been remastered and newly expanded for its 30th anniversary. Along with the classic x14 trk original album, this expanded edition boasts a fourth side of rare versions & live tracks on Light Blue x2 LP Vinyl for the first time. 

This double LP yellow vinyl 20th anniversary release of G. Love's "Lemonade" celebrates one of his most beloved and successful records. The release accentuates G. Love’s unmistakable blend of blues grit, hip-hop cadence, and sun-kissed songwriting and captured a creative peak that welcomed an all-star cast of collaborators including Jack Johnson, Ben Harper, Marc Broussard, Blackalicious and more. Critics praised its warmth and ease, often calling it one of G. Love’s most effortlessly joyful projects, and fans have carried its songs with them for two decades.

TRACK LISTING

1. Ride
2. Ain't That Right
3. Hot Cookin'
4. Can't Go Back To Jersey
5. Missing My Baby
6. Holla!
7. Banger
8. Thanks And Praise
9. Let The Music Play
10. Free
11. Beautiful
12. Rainbow
13. Breakin' Up
14. Still Hangin' Around
15. Sneakster

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)

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)

One of the more defining features of Blues upstarts GA-20’s approach to traditional Blues music is their unwavering dedication to playing the songs they love, or as bandleader Matthew Stubbs puts it, “we play the music we would want to hear.” Those in the know have been captivated by the visceral energy the band brings to the heavy Blues arena, and the songs they choose to perform. With 'ORPHANS', the band has assembled a collection of Blues and Bluesadjacent tracks that fit handily within that parameter. The songs found on 'ORPHANS' are just that – singular tunes heard only at live shows, singles released between albums, and simple favorites that the band (Stubbs, Cody Nilsen & Josh Kiggans) have been itching to lay down. And just as Blues is a tradition of borrowing, sharing and transformation, these melodies and words are similarly reinterpreted and reimagined, orphans and strays lovingly adopted and given new breath. The fan demand for a proper full length release of these songs, along with the mandate to showcase Nilsen’s vocals and auxiliary guitar mastery, are realized here in physical form.

TRACK LISTING

1. Cryin' & Pleadin'
2. I Love You, I Need You
3. I Don't Mind
4. Stranger Blues
5. Hold On, I'm Coming
6. My Baby Sweeter
7. Just One More Time
8. Chicken Pickin'

Though "Nevermind" was Nirvana's most commercially successful album, and the record that broke them - and the grunge phenomenon - internationally, "In Utero" has increasingly become regarded as the band's best album, both by the critics and the band members themselves. Instead of sticking to the "grunge pop" formula that made Nevermind so palatable to the mainstream, Nirvana chose instead to challenge their audience, producing an album that the band's creative force, Kurt Cobain, said truly matched his vision of what he had always wanted his band to sound like. Here, the full story behind the creation of "In Utero" is told for the first time.

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

'Ramble & Rave On!', Andrew’s third solo LP, sounds like the kind of weathered tattoo you'd see etched on a barfly’s forearm as he slams another drink in a dive. Like its title, the record feels like something that’s always been around; a trusty mixtape that everyone can agree on.

Andrew comes to this collection of songs with something that very much feels like a ‘studio’ record, the kind of album a 60s rock star feels like they've built the confidence to make, to shake off arawness for something fuller and more realized. The fact that this record was yet again a homemade effort, with Andrew playing everything {apart from Sven Kahns’ pedal steel), gives you an idea of how devoted and studied he is to creating that perfect song.

‘Ramble & Rave On!’ is Andrew’s most personal album yet, it finds him journeying between his worlds as a decadesong touring & studio musician/vocalist for the Black Keys, as a songwriter with his head-in-the-stars, and as the man in his home with the people he holds dearest and with the studio where he brings it all together. It is clear that Andrew finds himself at this prolific point in his career completely beholden to songs, to their absolute power, and to their otherworldly ability to connect.

He has mastered his craft, and proves throughout the course of this album that he can truly make a pitstop stop at every genre.

TRACK LISTING

1. Just Like Magic
2. If | Could Show You
3. Ramble & Rave On!
4. Magic Taxi
5. Barstool Blues
6. Everywhere | GolDon'tBelong
7. All Right Mama
8. Good Boy
9. Again Again
10. Donna-Lou
11. I'm Bound To Ride
12. Mulberry Rock

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

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

'In The Big Room' captures Peter Gabriel and band recorded live in the Big Room at Real World Studios on 23 November, 2003.

"I’d not really taken advantage of the big room as a performance space myself and when, in 2003, the opportunity came up, we grabbed it and offered the small number of seats to members of the Full Moon club. It was not part of a big tour so we weren’t as polished and rehearsed as we might have been while on tour, but it made for a more awake and edgy performance, as we were fully concentrating on what we were doing. There was no elaborate visual show, the whole focus was about making it sound good. I had pretty much forgotten how these songs sounded but listening back to these mixes I was pleasantly surprised how alive they were. I hope you enjoy this as much as we did." - Peter Gabriel

The 14-song set draws on material from both the Growing Up Live tour of 2002/2003 - Gabriel’s first in 10 years that accompanied the release of his album 'UP' - and the subsequent Still Growing Up Live tour that ran through much of 2004. Notable additions to the Growing Up Live set include 'Burn You Up', 'Burn You Down', 'Games Without Frontiers' and 'The Tower That Ate People'.

For the performance Peter is joined by his touring band from this period of Tony Levin (bass), David Rhodes (guitar), Ged Lynch (drums), Richard Evans (guitar, whistle, mandolin), Rachel Z (keyboard and backing vox) and Melanie Gabriel (backing vox).

TRACK LISTING

1. Burn You Up, Burn You Down
2. More Than This
3. Games Without Frontiers
4. Downside Up
5. Mercy Street
6. Darkness
7. Digging In The Dirt
8. The Tower That Ate People
9. San Jacinto
10. Shock The Monkey
11. Signal To Noise
12. Secret World
13. Father, Son
14. In Your Eyes

It was a simple idea; to create a festival out of all the brilliant music and art made all over the world, stuff made outside of the mainstream – music that wasn’t getting on the radio and was even harder to find in record stores… the very first WOMAD Festival took place at the 240-acre Bath and West Showground, Somerset, UK over the weekend of 16–18 July, 1982. With the dream ‘not to sprinkle world music around a rock festival, but to prove that these great artists could be headliners in their own right’.

Across the three days ‘an evening concert series’ took place in the Showering Pavilion on the festival site. On the Friday night that concert featured Tian Jin (a song and dance troupe from China), Simple Minds and, with a ‘special festival set of non-album material’, Peter Gabriel.

'Live at WOMAD 1982' is a recording of that Friday night concert. The non-album material in question are seven of the eight songs that would make up the album 'Peter Gabriel 4' (Security). An album that wouldn’t be released for a further two months.

On-stage, Peter is joined by David Rhodes (guitar), John Giblin (bass), Larry Fast (synthesisers). Jerry Marotta (drums), Peter Hammill (vocals) and “the wonderful Bristol-based drum and dance group,” Ekomé (drums, percussion).

“I remember this gig well. We played a mix of old and brand-new material. I would normally be very nervous about playing some of this stuff for the first time, however my mind was very preoccupied with the running of our very first WOMAD festival and the potential financial disaster that it was heading towards.

"Because WOMAD was unique in its focus on music and art from around the world, and mixing it with up with rock and jazz, no-one knew how many people might turn up and we had seriously overestimated our appeal. But those that had decided to check out WOMAD and its weird and wonderful lineup were open-minded, bold and curious - a great audience. It was a landmark and edgy gig for me both personally and musically and brings back lots of memories.”- Peter Gabriel

Peter Gabriel’s 'Live a WOMAD 1982' takes us back to not only the birth of a festival – one that has now hosted more than 160 editions in 27 countries - but also to the premiere of an album with songs, like The Rhythm of the Heat, San Jacinto and Shock the Monkey, that have become central to the Gabriel canon. More than just a live album, Live at WOMAD 1982 is a pivotal moment..

TRACK LISTING

1. San Jacinto
2. The Family And The Fishing Net
3. I Have The Touch
4. Lay Your Hands On Me
5. Shock The Monkey
6. I Go Swimming
7. The Rhythm Of The Heat
8. Kiss Of Life
9. Biko

Rami Gabriel’s second LP 'Tunderizer' focuses the harsh experimentalism of post-punk industrial upon the intimate sphere of home. Like shadows crossing through mirrors, a mesh of lo-fi noise art and field recordings obscures expertly tuned songwriting. 'Tunderizer' fires in all registers, from irrepressible melody to deconstructive static, from country to tarab, skronk to delta blues.

Born in Beirut, Rami Gabriel is a composer and songwriter who plays Oud, Buzuq, and Guitar. He learned blues and jazz performing with legendary Chicago musicians and integrating it with Arabic traditions. Rami performs widely across North America and internationally including in Europe, India, Turkey, Lebanon and Ghana. He recently performed at the Portland Jazz Festival, the NYC Arab Festival, and the Festival International De Louisiane.

Rami leads Chicago favorites The Arab Blues and the R&B quartet Rami & the Reliables. He has shared bills with roots luminaries including Buddy Guy, Zakir Hussein, Bela Fleck, Edgar Meyers, and Rakesh Chaurasia. He opened for British songwriter Nick Lowe, and records regularly with members of American rock legends NRBQ. He also shared bills with Prostitute, Marvin Tate, and other punk and noise artists. His music has been remixed by experimental artists including Fire-Toolz, Beau Wanzer, Sen Morimoto, Lynyn, k-rAd, and Alex Hall of Chicago’s Reliable Recorders.

TRACK LISTING

1. Majesty And Misery
2. Tunderizer
3. Out Of Our Bed
4. Waiting For The Drugs
5. 680
6. Ain’t I Worth That
7. Whiskey On The Rocks
8. Greece Without The Greeks 9. Chennai
10. Nothome
11. Select A Room
12. Approaching Ramp
13. Money And Blood

Compassion combines ethereal pop with ‘80s synth textures, and slacker-rock charm. It's got a bit of Matthew E. White, chilled out BC Camplight and Conor Oberst.

The inviting and perceptive songs on Rui Gabriel’s debut LP Compassion all tackle growing up. It’s about how the older you get, your priorities shift, friendships evolve, and responsibilities become inescapable. For Gabriel, the Indiana-based, Venezuela-born artist and co-founder of the acclaimed band Lawn, the changes in his own life inspired him to write a solo full-length that sounds like nothing the indie rock journeyman has done before. Across 10 vibrant tracks that combine ethereal pop with slacker-rock and piano-driven dance music, it’s a galvanizing showcase of personal growth and the grace you give yourself to push forward.

Work on Compassion started in 2018 when Gabriel was living in New Orleans. “I was living a pretty teenage life in many ways,” says Gabriel. “I worked at a pizza restaurant and would just go to shows or parties. I wasn’t doing anything other than music. I didn't have many responsibilities.” The songs he was working on at the time—tracks that didn’t fit Lawn but Gabriel still liked—initially went unfinished. But as Gabriel’s life changed, so did his songwriting and his desire to see his ideas through. “When I was writing lyrics, I was settling down with my partner and about to become a dad,” says Gabriel. “I was making choices about my life that contradicted the existence I had before. I had a different set of priorities.”

The songs on Compassion deal with youthful carelessness ("Dreamy Boys") and coming face-to-face with newfound responsibilities ("Change Your Mind"). It's consistently a biting, observant look at getting older thanks to Gabriel's unique perspective as a South American immigrant who's lived across the United States for the past 13 years. “When you are Hispanic, English isn't your first language, and you're in a music scene with a bunch of white people, you're going to stand out a little bit,” he says. On “Church of Nashville,” “Hey, Leonard Cohen is singing poems by the gentrified alley” he humorously aims at scene pretension and industry gatekeepers.

Compared to Gabriel’s work with Lawn, where he writes frenetic post-punk songs and yells, for Compassion he explores more straightforward pop sensibilities and showcases his singing voice. “I wanted to do a solo record to prove to myself that I could sing,” says Gabriel. Take the meditative, piano-based lead single “Target,” which is inspired by Dido and finds Gabriel gorgeously harmonizing with singer Kate Teague. He reaches similar infectiousness on the sunny rocker “Summertime Tiger,” which guests Stef Chura. Co-produced by Gabriel and Nicholas Corson (The Convenience, Video Age), Compassion is consistently warm, generous, colorful, and adventurous.

“Compassion is a record about change,” says Gabriel. “It's a coming-of-age record but for somebody who's coming of age into their thirties.”

TRACK LISTING

Side A
1. Dreamy Boys
2. Target
3. Church Of Nashville
4. Hunting Knife
5. Summertime Tiger

Side B
6. If You Want It
7. Change Your Mind
8. Eyes Only
9. End Of My Rope
10. Money

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.

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

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 

All Black Everything, the debut EP by UK-based, Parisian bassist, vocalist and composer Amy Gadiaga, is an expansive, boundary-pushing 5-track collection showcasing prodigious bass playing and a voice brimming with power and emotion. It's a profound exploration of self-acceptance that presents both a celebration and acknowledgement of Gadiaga's deep-seated darkness.

Inspired by the 2020 Black Lives Matter movement All Black Everything confronts racial identity complexities and the challenges of being a societal 'black sheep' and sees Gadiaga courageously transform her insecurities into a narrative of self-empowerment.

Born to parents of Senegalese, Gambian, and Malian descent, and hailing from the outskirts of Paris, the multitalented Gadiaga has been making waves in the UK music industry since she moved to London aged 18. With a fresh and unique style that bridges the old school jazz tradition of musicians such as Betty Carter and Wayne Shorter with the raw, rootsy modern sound of artists such as D'Angelo, Stevie Wonder and Twinkie Clark, Gadiaga's breadth of ambition and revitalising approach have brought early critical acclaim and ardent fans.

Signalling the arrival of a significant new voice on the London music scene, All Black Everything communicates the liberating essence of embracing individuality and presents a journey through Gadiaga's personal struggles, standing as a testament to art's transformative power and encouraging listeners to find strength in their uniqueness. "All Black Everything is very much an exploration and embracing of one of my archetypes in life which is the black bird/black sheep" she explains. "That feeling of not thinking you belong anywhere, of being misunderstood and really tending to your own. No helping hand. But it's ok sometimes because you also feel like nobody can compete with you, you're one of a kind."

TRACK LISTING

1. Paloma Negra
2. Soar When I'm Alone
3. Full Sun (해찬)
4. Petite
5. All Black Everything

French-Afropean artist Amy Gadiaga (AH-mee GAH-dee-ah-gah) is a London-based bassist, vocalist, and composer. Her debut EP 'All Black Everything' announced the arrival of a vital new voice on the London jazz scene. With her new project 'BabyGoated', Gadiaga steps boldly into color and confidence. Set for release on Psychic Hotline in early 2026, the project follows her instinct to expand beyond jazz into music that feels expansive, borderless, and true to her roots.

“'BabyGoated' encapsulates who I am,” Gadiaga explains. “Both vulnerable (baby) and bold (goated). It’s cute and endearing, but also slightly arrogant.” The title reflects the dualities that shape the record: between humility and pride, softness and strength, divine energy and human imperfection. “The whole project is a constant struggle between baby and goated, between confident and lost — but always gracious.”

While 'All Black Everything' leaned into extended jazz instrumentation, 'BabyGoated' trades that in for directness. Gadiaga’s voice is brought to the forefront, giving shape to her inner dialogue with unguarded clarity. Across the EP, her lyrics act as pep talks— “In the intro song, I am specifically in the verse addressing both my younger brother and my troubled lover. I’m taking on the role of a warm feminine presence to guide them out of their dark moments.”

Leaning into organic textures, 'BabyGoated' embraces warm piano, trumpet, and folk-tinged guitar. For the first time, she also writes in French slang. It’s a liberating turn that bridges her French and African identities. “Usually, when I write in French, it’s poetic and extra,” she says. “But this song came from the intention to make something my younger self would relate to and enjoy.”
There’s an exuberance that runs through the EP, both in its music and visuals. Working with a circle of close collaborators she affectionately calls her “African baddies,” Gadiaga drew inspiration from her African heritage to shape the world of 'BabyGoated' into a colorful vision that celebrates individuality and Pan-African pride. Ultimately, BabyGoated is a story of self-belief, transformation, and joy. It is a deeply personal record that reflects Gadiaga’s roots and serves as a reminder to those she loves of their own strength and power. “Listening to this song has given me energy on rough days,” she says. “I hope others find it just as fun, empowering, and energizing.

TRACK LISTING

1. (Intro) Imma Pick You Up
2. BabyGoated
3. Brunheau Reine Des Francs
4. Who Knows

Renowned party DJ, producer and collector The Gaff deals in all sorts of global grooves and here links up with Caleb Hart, who was born in Tobago and is now based on the west coast of Canada. They collide their vast inspirations into a global bass banger inspired by years of crate digging. 'Let's Build' is a big sound with big drums, dark synth grooves and hooky future soul as well as a sleazy vocal. Calypso, bass house and a dark piano all collide in HD colour. The instrumental is no slouch either, and both of these are sure to bring the heat this winter and beyond.

TRACK LISTING

Side 1
Let's Build (feat Caleb Hart)

Side 2
Let's Build (Instrumental)
Let's Build (Acappella)

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)

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

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 

In 1964 and 1966, when Serge Gainsbourg participated in the two public recordings at the “Maison de la Radio”, he was undoubtedly the outstanding protagonist of the evening. It was at this moment that his, according to his own words, “blue period” came to an end. This period was characterized by left-bank songs, tinged with notes of jazz and exotic rhythms.

Gainsbourg remains the master of chiaroscuro, double meaning and a true poet with caustic irony.

In these eight moving songs, Gainsbourg adopts the figure of the disappointed lover as well as the one of the cynical disillusioned man, accompanied by notes of piano or by a guitar and a double-bass. These original recordings perfectly summarize the first decade of his career.

TRACK LISTING

A1. Le Rock De Nerval
A2. La Recette De L’amour Fou
A3. Les Goémons
A4. La Javanaise
B1. Le Talkie Walkie
B2. Elaeudanla Téïtéïa
B3. Intoxicated Man
B4. Ces Petits Riens

In 2010, the French edition of Rolling Stone magazine named this album the 28th greatest French rock album...considered as "the other" masterpiece of Serge Gainsbourg's discography, alongside “Histoire de Melody Nelson”, “L'Homme à tête de chou” – a concept album about a man in his forties falling in love with a rather free-minded shampoo girl - had not yet revealed all its secrets – until now! Almost 45 years after its release, the rediscovery of the multitrack tapes recorded in London in the summer of 1976 confirms that behind Gainsbourg's virtuoso talk-over was an extraordinary musical edifice. The new mix for this 2023 release rebalances the vocal and instrumental parts while retaining its original intent. 

TRACK LISTING

mix 2023
L’homme à La Tête De Chou
Chez Max Coiffeur Pour Hommes
Marilou Reggae
Transit à Marilou
Flash Forward
Aéroplanes
Ma Lou Marilou
Premiers Symptômes
Variations Sur Marilou
Meurtre à L’extincteur
Marilou Sous La Neige
Lunatic Asylum

instrumental Versions (only On Double Lp Edition)
L’homme à La Tête De Chou
Chez Max Coiffeur Pour Hommes
Marilou Reggae
Transit à Marilou
Flash Forward
Aéroplanes
Ma Lou Marilou
Premiers Symptômes
Variations Sur Marilou
Meurtre à L’extincteur
Marilou Sous La Neige
Lunatic Asylum
Transit à Marilou = Alternative
Ma Lou Marilou Alternative
Meurtre à L’extincteur -alternative
Lunatic Asylum -alternative
Variations Sur Marilou - Alternative

The first new Diamanda Galás album in nine years.

All The Way features remarkable, radical takes on familiar tunes, including the seminal "The Thrill Is Gone" and a solo piano interpretation of Thelonious Monk's "'Round Midnight." The album's centrepiece is the American traditional "O Death," which has become a staple in live performances, and concludes with "Pardon Me I've got Someone To Kill" by country singer Johnny Paycheck.

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

Employing a vast array of advanced vocal and instrumental techniques, Broken Gargoyles is arguably Galas’ most intellectually, sonically and viscerally formidable work to date. The album finds the visionary artist deftly probing the weaving, warping transformation on the nervous systems of her post-traumatic soldiers and dying diseased.

Riding in on an eviscerating vocal alarm call and originally released in 1988 as the final installment of her Masque of the Red Death trilogy, Diamanda Galás' 'You Must Be Certain of the Devil' is as unflinching now as it was on release in 1988. It remains a swaggering, furious fuck-you to those who might cast aside the sick and dying in the name of faith and scripture.

Often misunderstood as simply dark for its subject matter, 'You Must Be Certain of the Devil' in fact shines a light of such total exposure it leaves nowhere to hide, forensically unmasking the fury and pain of real grief and the vast spectrum of emotions rendered by the AIDS epidemic. It is an album that looks you square in the eye, pins you against a wall and makes you look at and feel the horror the virus visited upon a person, the knowledge of certain death in a hostile environment, and the hypocrisy of those who claim to be Samaritans or protectors.

The album twists gospel spirituals into blistering indictments of hypocrisy, using sacred forms to expose the cruelty of churches that damned AIDS sufferers as cursed by God. From the siren-call of 'Swing Low Sweet Chariot' through 'Double-Barrel Prayer', 'Birds of Death', and the title track, she intones as apostate, reaper, and bar-room brawler, detourning spirituals into prayers to a god invented by despair. Begun in 1984 and haunted by her brothers death in 1986, the trilogy moved from anguish to political knowledge, shaped by Americas mounting AIDS epidemic - by 1988 over 46,000 dead, antivirals still years away. Dismissed as the AIDS lady and joining Act Up protests, Galás made the trilogy a work begun in 1984 and not completed until the end of the epidemic, refusing closure: for her there is no escape or reprieve. 'You Must Be Certain of the Devil' spears you in the eternal present of trauma, by an artist who calls herself a Greek orthodox atheist: a person certain of the devil with no hope in God.

TRACK LISTING

1. Swing Low Sweet Chariot
2. Double-Barrel Prayer
3. Let's Not Chat About Despair
4. Birds Of Death
5. You Must Be Certain Of The Devil
6. Let My People Go
7. Malediction
8. The Lord Is My Sheperd

GALATHEA is the new project by DJ Massimo Napoli, and the title of his first solo album. Borrowing the name from the homonymous Nereid from the Greek mythology, the album is a deep dive into dub, spiritual jazz and African surroundings. Over 12 tracks, the LP conceals a strong personality. Departing from club culture with particular emphasis on electronic dub, Galathea unfolds into many influences and styles, making it a unique listening experience. Mediterranean culture, afro and cinematic melodies, jazz, spiritual echoes, and soothing beats lead the listener into a subliminal escape, where the fluidity and the convergence of genres freely progress into a dream-like journey.

TRACK LISTING

1. Afrique (album Version)
2. Sunset Dub
3. Black Sand Feat. John Lui
4. Karma Blues Feat. John Lui
5. Spiritual Wind
6. Scirocco
7. Dune
8. Simeto
9. Sirens

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

TRACK LISTING

1. Tugboat
2. Oblivious
3. Parking Lot
4. Don’t Let Our Youth Go To Waste
5. Pictures
6. Flowers
7. It’s Getting Late
8.Temperature’s Rising

On Fire is widely recognized as the canonic pinnacle of Galaxie 500's career. The artwork conveys this, with a low-angle shot of the band, looking up towards an amber sky. This record marked the realization of their signature sound. Nowhere is it clearer than on the album opener, "Blue Thunder," the closest a song can come to waves crashing on a beach in song form. Lyrically inconsequential, with a chorus composed entirely of "la"s, the track's power lies in a systematic build and break of intensity that reaches a Spector-like climax. It is the quintessential Galaxie 500 song, encapsulating all that was great about the band.

With the Boston trio once again utilizing the bizarre genius of producer Mark Kramer, On Fire sounds like anything but. The guitars are warm blankets enwrapping Dean Wareham's vocals, percolated by the open percussion of Damon Krukowski and anchored by the emotion-laden bass of Naomi Yang. Songs like "Snowstorm," "Strange," and "Decomposing Trees" have an endless quality, without beginnings or ends, but rather frozen somewhere on a spectrum of melancholy. For the first time since its original pressing, On Fire is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

TRACK LISTING

1. Blue Thunder
2. Tell Me
3. Snowstorm
4. Strange
5. When Will You Come Home
6. Decomposing Trees
7. Another Day
8. Leave The Planet
9. Plastic Bird
10. Isn't It A Pity

When Galaxie 500's Today was released in 1988, it set off a chain reaction of quiet explosions still being felt. Never before had a record so emphasized the calming elements of rock music, transforming what at first seems like a collection of bridges into fully realized songs. And one can draw a straight line from here to the many groups they influenced,like Low, Belle & Sebastian, and Bon Iver. Today is full of idiosyncrasies. The trio of Damon Krukowski, Dean Wareham, and Naomi Yang were recent Harvard grads who intuitively eliminated any histrionic tradition to rock songs, leaving core emotion (not for nothing did they include a cover of "Don't Let Our Youth Go to Waste," by the kings of feeling, The Modern Lovers). It was produced by Mark Kramer, who was best known for his work with cataclysmic slop rock pioneers such as Bongwater, Ween, and King Missle.

The band's hometown of Boston was just coming out of its love affair with Mission of Burma and pouncing upon the spasmodic electricity of The Pixies. Despite, or perhaps because of, all these elements, Today thrived. More than 20 years after its initial release, its title is still no misnomer. The music, recorded with what many thought at the time was too much reverb, sounds present, alive, and indeed a product of today. Songs like "Flowers," "Temperature's Rising," and of course "Tugboat" (the band's debut single) stand the test of time and exist in an eternal now. For the first time since its original pressing, Today is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

TRACK LISTING

1. Flowers
2. Pictures
3. Parking Lot
4. Dont Let Our Youth Go To Waste
5. Temperatures Rising
6. Oblivious
7. It's Getting Late
8. Instrumental
9. Tugboat

The complete uncollected Noise New York studio recordings of Galaxie 500. A twenty-four track chronological journey through rarities and outtakes including never-before-heard songs, from the start of their incendiary career to their final studio session. Uncollected Noise New York ’88-’90 marks Galaxie 500’s first release of new archival material in nearly thirty years and their most comprehensive collection of unreleased and rare material ever. Produced and engineered by Kramer at Noise New York 1988-1990.

• Complete uncollected Noise New York studio recordings of iconic indie band.

• Features rarities and outtakes, plus first release of new archival material in nearly thirty years.

• Historical photos and liner notes by the band.

STAFF COMMENTS

Darryl says: Galaxie 500 specialised in chiming slowcore-sunburst guitars, smooth rolling bass, hazy psychedelia fuzz and laid back forlorn vocals. This twenty four track collection includes rarities, outtakes and previously never heard songs, all produced and engineered by Kramer at Noise New York 1988-1990. An absolute archival treat from start to finish on the wonderful Silver Current Records. Formats include a super limited UK exclusive double purple and silver coloured vinyl, double back vinyl and double digi-pack CD; all with historical photos and liner notes by the band.

TRACK LISTING

1. Shout You Down
2. See Through Glasses
3. On The Floor (Noise NY Version)
4. Can't Believe It's Me
5. Oblivious
6. King Of Spain
7. Jerome
8. Song In 3
9. Crazy
10. I Wanna Live
11. I Will Walk
12. Cold Night
13. Ceremony
14. Never Get To Heaven
15. Maracas Song
16. Victory Garden
17. Blue Thunder (w/sax)
18. Cheese And Onions
19. Fourth Of July (Video Mix)
20. Cactus
21. Moonshot
22. Them
23. Final Day
24. Here She Comes Now

One of the best boogie disco records from Nigeria repressed for the first time. Produced in 1981 by Jake Sollo and performed by himself flanked by the outstanding funky bass by Randy Taylor and the great vocal performances from the Galaxy girls. Recorded and produced in England but originally released only in Nigeria.

TRACK LISTING

1. Next To You
2. Let Love Begin
3. The Bed's Too Big Without You
4. The Groove Machine
5. Galaxy
6. Heart To Heart

HIFILOFI SCIFIWIFI is the debut solo album from Gale P, best known as the co -founder, guitarist and occasional singer of acoustic-indie stalwarts Turin Brakes.

Born in Tehran, based in Brixton, Gale Paridjanian was raised in the multicultural melting pot of South London in a family home full of musical instruments. He picked up a guitar at a young age and launched himself onto his musical arc. A lockdown break from touring provided the space to explore fresh creative directions, inspirations and collaborations. Gale brought all these into his home studio to stitch together into a compelling set of personal songs; “I’d go around London looking for inspiration, bring it back to my garden shed and create freely, attempting to turn into sound what I’d seen that day - a painting, a fight, a story overheard. But sometimes I’m just trying to make music I want to hear, like a home-made Shazam playlist.” Everything is tied together by Gales’ authentically lo-fi production, intimate vocals and sultry acoustic guitar, floating across dreamily trashy beats and subtle offbeat electronics.

Lead single ‘Thunderclouds’ is one of two collaborations with BBC 6 Music regular Eliza Shaddad. It's a tale of quiet evenings evolving into rowdy nights and ending up in full blown arguments. Eliza’s clear voice soars above a track that’s one part Bon Iver to two parts Velvet Underground. There’s fleet fingered guitar picking aplenty on ‘In The Rain’, and hushed campfire vibes to ‘Dark Clouds’, but this isn’t a folk album: ‘Zombie’ has the insistent push of 70s LA, ‘Need To Know’ drives like a Hall & Oates radio banger, and ‘There She Goes’ marries the cool of JJ Cale to the swagger of Britpop. Eliza Shaddad returns to duet with stunning effect on album standout ‘Offices’, with echoes of 90s slacker rock building to a shimmering climax.

HIFILOFI SCIFIWIFI blends together a mix of honest emotions and influences into a sound that’s genuinely homespun and heartfelt.

TRACK LISTING

1. All The Darkness
2. Mountains
3. There She Goes
4. Thunderclouds
5. In The Rain
6. Zombie Sage
7. Dark Clouds
8. Offices
9. Would You
10. Need To Know

‘Can We Do Tomorrow Another Day?’ is the debut project from Paul Simonon (The Clash, Gorillaz and The Good, The Bad and The Queen); and Galen Ayers (singer-songwriter who amongst other artistic projects released the rightly acclaimed solo album ‘Monument’).

The roots of the album began in lockdown as Simonon relocated to a remote Mallorcan fishing village, where he spent his time, painting, and writing songs. Over an 18-month period he worked with local musicians, playing and busking in the streets of Palma with his friend Ayers.

What emerged is a collection of ten uplifting songs which collectively present a snapshot of pan-European music culture - and an album that journeys across the continent, influenced by French chansons, Spanish pop and English sea shanties; evoking scenes stretching from Edgware Road to Hydra Island; and painting pictures of everything from elegant Parisian cafes to drunken tourists in Magaluf to the ghosttown chill of an out-of-season holiday destination.

‘Can We Do Tomorrow Another Day?’ features an array of top tier talent. Produced by the legendary Tony Visconti (David Bowie, T-Rex, Sparks) with a band made up of Simon Tong (The Verve, The Good, The Bad and The Queen), Sebastian Rochford (Polar Bear, David Byrne, Patti Smith), Dan Donovan (Big Audio Dynamite), and Damon Albarn (Blur, Gorillaz…) playing melodica.

Collaborations don’t get much more biblical than this. Solo star, Oasis legend and force-of-nature Liam Gallagher has teamed up with John Squire, one of the most influential guitarists and songwriters of his generation via his time with The Stone Roses. The duo will set a high watermark for 2024 when they release their first single together, ‘Just Another Rainbow’, on January 5th, on limited 7” vinyl.

There will be much more new music to come - and there could well be shows, too - but for now ‘Just Another Rainbow’ lives up to the highfalutin expectations that come with such a collaboration.

STAFF COMMENTS

Andy says: With it's loping groove, backwards guitars and classic chord changes , this could only be a John Squire song. With his trademark Lennon-inspired delivery and customary vocal swagger this could only be the (sorry!) one and only Liam Gallagher. Imagine The Beatles' Rain mixed with perhaps the Roses' Waterfall and you wouldn't be a million miles away. It's great!

Long-term friends with a mutual admiration for each other’s work, the idea of a collaboration started when John joined Liam on-stage at his biblical knebworth shows.

Song ideas were soon flowing, and the album took shape with an intuitive intensity while in Los Angeles with the revered producer Greg Kurstin. He played bass throughout the record, while drums were performed by Joey Waronker (Beck, R.E.M., Atoms For Peace).

STAFF COMMENTS

Barry says: I think about when I used to listen to Oasis and The Stone Roses back in 'The Day' and imagine how i'd feel if you told me that this would be a collaboration that could happen in the future. It's Squire's unmistakeable songwriting and playing, with Gallagher's vocals over the top. I bet he's even got his arms behind his back. Danceable, baggy psychedelic rock with vox one of the most legendary vocalists of his generation.

TRACK LISTING

1. Raise Your Hands
2. Mars To Liverpool
3. One Day At A Time
4. I’m A Wheel
5. Just Another Rainbow
6. Love You Forever
7. Make It Up As You Go Along
8. You're Not The Only One
9. I’m So Bored
10. Mother Nature's Song

Charity Partner for Single will be Action For Children.

TRACK LISTING

1. ‘All You’re Dreaming Of’

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

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

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

‘C'mon You Know’ follows the huge success of Liam’s previous studio albums ‘As You Were’ (2017) and ‘Why Me? Why Not.’ (2019), which established his iconic status for a whole new generation. His ‘MTV Unplugged’ also went straight to #1 on the Official Album Chart. Between his triumphs as a solo artist and his phenomenal success with Oasis, Liam has spent a combined total of almost six months at #1 across eleven chart-topping albums. 

Liam Gallagher is not the kind of artist who was going to be stopped by the sizeable problem of not being able to play to an audience during lockdown. So when the idea of playing a playing and filming a live stream show came up, he looked at the precedent set by the Sex Pistols and The Clash and decided to hit the River Thames, armed with a boatload of attitude, a phenomenal live band (including Bonehead) and an arsenal of classic songs.

The show has been captured in full on the new live album ‘Down By The River Thames’, which will be released ia Warner Records.

Originally streamed on December 5th 2020, the show became one of the most memorable performances of the lockdown era. From iconic Oasis favourites (‘Supersonic’, ‘Cigarettes & Alcohol’) to big hitters from his two all-conquering #1 solo albums (‘Wall of Glass’, ‘Once’), Liam’s inimitable snarl boomed across the Thames and dominated London’s gloomy winter skyline. There were plenty of welcome surprises too: debut solo performances of the Oasis songs ‘Hello’, ‘Fade Away’ and ‘Headshrinker’, and the first live version of ‘All You’re Dreaming Of’. Liam’s voice is absolutely on point throughout, with a full-throttle snarl of anger and attitude that doesn’t compromise any of the finesse of the studio recordings.

Liam commented, “So here it is, the gig they said we could never pull off! As we were in lockdown, bored and depressed, rock ‘n’ roll came to save the day once again. It was a top night and a top gig and it’s captured here on record for you to all enjoy.”

TRACK LISTING

1. ‘Hello’
2. ‘Wall Of Glass’
3. ‘Halo’
4. ‘Shockwave’
5. ‘Columbia’
6. ‘Fade Away’
7. ‘Why Me? Why Not.’
8. ‘Greedy Soul’
9. ‘The River’
10. ‘Once’
11. ‘Morning Glory’
12. ‘Cigarettes & Alcohol’
13. ‘Headshrinker’
14. ‘Supersonic’
15. ‘Champagne Supernova’
16. ‘All You’re Dreaming Of’

Liam Gallagher will document his triumphant two-night Knebworth Park shows with the release of the live album ‘Knebworth 22’ on August 11th. Returning to the scene of the era-defining Oasis gigs of the ‘90s, the huge audience stretched from fans who had been present some 26 years earlier right through to teenagers relishing the excitement of their first big gig. ‘Knebworth 22’ is a must-have live album for any fan who wants to relive the experience.

‘Knebworth 22’ is released alongside a live video of the weekend’s surprises. ‘Roll It Over’ originally featured on the Oasis album ‘Standing On The Shoulder of Giants’.

STAFF COMMENTS

Liam says: This is a lovely set from R Kid documenting his return to Knebworth last summer. Mixture of solo material and Oasis classics, this will tide us over until Liam and Noel bury the hatchet - yes, me and Andy are convinced it will happen!

TRACK LISTING

‘Hello’
‘Rock ‘n’ Roll Star’
‘Wall Of Glass’
‘Shockwave’
‘Everything’s Electric’
‘Roll It Over’
‘Slide Away’
‘More Power’
‘C’mon You Know’
‘The River’
‘Once’
‘Cigarettes & Alcohol’
‘Some Might Say’
‘Supersonic’
‘Wonderwall’
‘Champagne Supernova’

Last summer Liam Gallagher joined the list of all-time greats (Paul McCartney, Page and Plant, Nirvana and many more) who have filmed a prestigious MTV Unplugged session. Having missed Oasis’s 1996 session through illness, the show at Hull’s City Hall found Liam fulfilling some unfinished business entirely on his own terms.

Now Liam is set to release the ‘MTV Unplugged’ live album of the show on April 24th.

The show’s electrifying atmosphere is palpable from the very beginning with a phenomenal reaction as Liam takes to the stage with ‘Wall of Glass’. Material from Liam’s solo career such as his personal favourite ‘Once’ and the joyous ‘Now That I’ve Found You’ resonates in this stripped-back format, with his vocal shining alongside a trio of backing singers and string arrangements performed by the 24-piece Urban Soul Orchestra.

Oasis guitarist Bonehead features on performances of ‘Some Might Say’, ‘Stand By Me’, ‘Cast No Shadow’ and Liam’s first ever live vocal performance of the ‘Definitely Maybe’ bonus track ‘Sad Song’. The show concludes on a crowd-pleasing high with an emotive take on the classic ‘Champagne Supernova’.

Liam launches the ‘MTV Unplugged’ album by sharing the new version of ‘Gone’, which was one of the strongest performances of the night. Stripped of the force of the studio recording, ‘Gone’ instead reveals new-found bombastic dynamics and an evocative cinematic atmosphere.

TRACK LISTING

1. ‘Wall Of Glass’
2. ‘Some Might Say’
3. ‘Now That I Found You’
4. ‘One Of Us’
5. ‘Stand By Me’
6. ‘Sad Song’
7. ‘Cast No Shadow’
8. ‘Once’
9. ‘Gone’
10. ‘Champagne Supernova’

This month has seen Liam Gallagher make a typically full-throttle return. Super intimate sold-out show at Hackney Round Chapel? Biblical. Premiere and release of the long-awaited ‘As It Was’ documentary? Completed. Featured on the cover of Q, who described him as “rock’s finest frontman”? Naturally.

Liam wrote lead single ‘Shockwave’ with two of the key collaborators behind the all-conquering ‘As You Were’ album: Andrew Wyatt, who won the Academy Award for Best Original Song as co-writer of ‘Shallow’ from the film ‘A Star Is Born’, and the multiple Grammy-winner Greg Kurstin who also produced the track. It was recorded in Los Angeles.

Liam Gallagher’s debut solo album ‘As You Were’ was a critical and commercial smash. It debuted at #1, out-selling the rest of the Top 10 in the process, and was soon certified Platinum. Liam was back where he belonged, selling out huge outdoor shows and earning major awards from Q, NME and GQ.

More details regarding ‘Why Me? Why Not.’ will be revealed imminently. “It’s a better record than As You Were,” promises Liam. “Which is saying something, as that was epic, wasn’t it?”

STAFF COMMENTS

Barry says: He's back! Liam's newest album sees him co-writing with a duo of talented musician pals, and retains all the charm and momentum of his previous outing, but with more OOMPH. Why not indeed.

'Noel Gallagher's High Flying Birds' is the eponymous release from the solo project of the former Oasis legend, and the first after his acrimonious split from the aforementioned band. Working in both London and Los Angeles between 2010 and 2011, with frequent collaborator Dave Sardy serving as co-producer, Gallagher utilized the talents of now bandmates Jeremy Stacey (drums), Lenny Castro (percussion) and Mike Rowe (keyboards) for the album.

STAFF COMMENTS

Andy says: Oasis for grown-up people! Excellent songs, none of the baggage.

TRACK LISTING

1. Everybody’s On The Run
2. Dream On
3. If I Had A Gun…
4. The Death Of You And Me
5. (I Wanna Live In A Dream In My) Record Machine
6. AKA... What A Life!
7. Soldier Boys And Jesus Freaks
8. AKA... Broken Arrow
9. (Stranded On) The Wrong Beach
10. Stop The Clocks

Back The Way We Came: Vol 1 (2011-2021) is a Best Of celebrating the first decade of Noel Gallagher’s High Flying Birds.

This double album, curated and compiled entirely by Noel, includes tracks from the three Number One albums (‘Noel Gallagher’s High Flying Birds’, ‘Chasing Yesterday’ and ‘Who Built The Moon?’) and the three acclaimed EPs (‘Black Star Dancing’, ‘This Is The Place’ and ‘Blue Moon Rising’) - plus 2 previously unreleased tracks including the brand new single ‘We’re On Our Way Now’.

The album is available on limited edition deluxe formats featuring a bonus disc including previously unreleased acoustic versions, remixes, instrumentals and an unheard demo.

STAFF COMMENTS

Barry says: Though the RSD version of this one follows one day later, you can have the chance to grab this retrospective / summary of the first ten years of Noel Gallagher's High Flying Birds project on a variety of formats NOW. Including all of the releases thus far and providing a great overview for new fans and old hands alike.

TRACK LISTING

Double Vinyl Tracklisting
Disc 1
Side A
1. Everybody’s On The Run
2. The Death Of You And Me
3. AKA … What A Life!
4. If I Had A Gun …
5. In The Heat Of The Moment
Side B
1. Riverman
2. Lock All The Doors
3. The Dying Of The Light
4. Ballad Of The Mighty I
Disc 2
Side A
1. We're On Our Way Now
2. Black Star Dancing
3. Holy Mountain (Remastered)
4. A Dream Is All I Need To Get By
5. This Is The Place
Side B
1. It's A Beautiful World
2. Blue Moon Rising
3. Dead In The Water (Live At RTÉ 2FM Studios, Dublin)
4. Flying On The Ground

Double CD Tracklisting
Disc 1
1. Everybody’s On The Run
2. The Death Of You And Me
3. AKA … What A Life!
4. If I Had A Gun …
5. In The Heat Of The Moment
6. Riverman
7. Lock All The Doors
8. The Dying Of The Light
9. Ballad Of The Mighty I
10. We're On Our Way Now
Disc 2
1. Black Star Dancing
2. Holy Mountain (Remastered)
3. A Dream Is All I Need To Get By
4. This Is The Place
5. It's A Beautiful World
6. Blue Moon Rising
7. Dead In The Water (Live At RTÉ 2FM Studios, Dublin)
8. Flying On The Ground

Deluxe 3CD Tracklisting
Disc 1
1. Everybody’s On The Run
2. The Death Of You And Me
3. AKA … What A Life!
4. If I Had A Gun …
5. In The Heat Of The Moment
6. Riverman
7. Lock All The Doors
8. The Dying Of The Light
9. Ballad Of The Mighty I
10. We're On Our Way Now
Disc 2
1. Black Star Dancing
2. Holy Mountain (Remastered)
3. A Dream Is All I Need To Get By
4. This Is The Place
5. It's A Beautiful World
6. Blue Moon Rising
7. Dead In The Water (Live At RTÉ 2FM Studios, Dublin)
8. Flying On The Ground
Disc 3
1. It's A Beautiful World (Instrumental)
2. If I Had A Gun … (Acoustic Version)
3. Black Star Dancing (Skeleton Key Remix)
4. Black Star Dancing (12" Mix Instrumental)
5. The Man Who Built The Moon (Acoustic Version)
6. International Magic (Demo)
7. Blue Moon Rising (Sons Of The Desert Remix)
8. The Dying Of The Light (Acoustic Version)
9. This Is The Place (Skeleton Key Remix)
10. This Is The Place (Instrumental)
11. Black Star Dancing (The Reflex Revision)
12. Be Careful What You Wish For (Instrumental)

Deluxe Box Set Tracklisting
Standard LP
Disc 1
Side A
1. Everybody’s On The Run
2. The Death Of You And Me
3. AKA … What A Life!
4. If I Had A Gun …
5. In The Heat Of The Moment
Side B
1. Riverman
2. Lock All The Doors
3. The Dying Of The Light
4. Ballad Of The Mighty I
Disc 2
Side A
1. We're On Our Way Now
2. Black Star Dancing
3. Holy Mountain (Remastered)
4. A Dream Is All I Need To Get By
5. This Is The Place
Side B
1. It's A Beautiful World
2. Blue Moon Rising
3. Dead In The Water (Live At RTÉ 2FM Studios, Dublin)
4. Flying On The Ground

Bonus LP
Disc 1
Side A
1. It's A Beautiful World (instrumental)
2. If I Had A Gun ... (acoustic Version)
3. Black Star Dancing (skeleton Key Remix)
Side B
1. Black Star Dancing (12" Mix Instrumental)
2. The Man Who Built The Moon (acoustic Version)
3. International Magic (demo)
Disc 2
Side A
1. Blue Moon Rising (sons Of The Desert Remix)
2. The Dying Of The Light (acoustic Version)
3. This Is The Place (skeleton Key Remix)
Side B
1. This Is The Place (instrumental)
2. Black Star Dancing (the Reflex Revision)
3. Be Careful What You Wish For (instrumental)

Etched 7"
1. She Taught Me How To Fly

Deluxe 3CD
Disc 1
1. Everybody’s On The Run
2. The Death Of You And Me
3. AKA … What A Life!
4. If I Had A Gun …
5. In The Heat Of The Moment
6. Riverman
7. Lock All The Doors
8. The Dying Of The Light
9. Ballad Of The Mighty I
10. We're On Our Way Now
Disc 2
1. Black Star Dancing
2. Holy Mountain (Remastered)
3. A Dream Is All I Need To Get By
4. This Is The Place
5. It's A Beautiful World
6. Blue Moon Rising
7. Dead In The Water (Live At RTÉ 2FM Studios, Dublin)
8. Flying On The Ground
Disc 3
1. It's A Beautiful World (Instrumental)
2. If I Had A Gun … (Acoustic Version)
3. Black Star Dancing (Skeleton Key Remix)
4. Black Star Dancing (12" Mix Instrumental)
5. The Man Who Built The Moon (Acoustic Version)
6. International Magic (Demo)
7. Blue Moon Rising (Sons Of The Desert Remix)
8. The Dying Of The Light (Acoustic Version)
9. This Is The Place (Skeleton Key Remix)
10. This Is The Place (Instrumental)
11. Black Star Dancing (The Reflex Revision)
12. Be Careful What You Wish For (Instrumental)

'Council Skies' is the highly anticipated fourth studio album from Noel Gallagher’s High Flying Birds. This 10 track album includes the new singles 'Pretty Boy' and 'Easy Now'.

STAFF COMMENTS

Barry says: There's no arguing that while the Gallagher popularity preference has shifted a little more recently towards Liam, it was older brother Noel's post-Oasis work that was the most refined, with the High Flying Birds hitting the perfect balance of melody and thoughtful songwriting. 'Council Skies' is the perfect illustration of Noel's sound, beautifully produced and nicely presented INCLUDING bonus 7".

TRACK LISTING

Vinyl Tracklisting
Side 1
1. I'm Not Giving Up Tonight
2. Pretty Boy
3. Dead To The World
4. Open The Door, See What You Find
5. Trying To Find A World That's Been And Gone Pt. 1

Side 2
1. Easy Now
2. Council Skies
3. There She Blows!
4. Love Is A Rich Man
5. Think Of A Number

Bonus 7”
1. We're Gonna Get There In The End
2. Pretty Boy (Acoustic)

CD Tracklisting
1. I'm Not Giving Up Tonight
2. Pretty Boy
3. Dead To The World
4. Open The Door, See What You Find
5. Trying To Find A World That's Been And Gone Pt. 1
6. Easy Now
7. Council Skies
8. There She Blows!
9. Love Is A Rich Man
10. Think Of A Number
11. We're Gonna Get There In The End

Deluxe CD + Extra Disc Tracklisting
Disc 1
1. I'm Not Giving Up Tonight
2. Pretty Boy
3. Dead To The World
4. Open The Door, See What You Find
5. Trying To Find A World That's Been And Gone Pt. 1
6. Easy Now
7. Council Skies
8. There She Blows!
9. Love Is A Rich Man
10. Think Of A Number

Disc 2
1. Don't Stop...
2. We're Gonna Get There In The End
3. Mind Games
4. Pretty Boy (Instrumental)
5. Dead To The World (Instrumental)
6. Council Skies (Instrumental)
7. Think Of A Number (Instrumental)
8. I'm Not Giving Up Tonight (David Holmes Remix)
9. Think Of A Number (Pet Shop Boys Magic Eye 12" Remix)
10. Pretty Boy (Robert Smith Remix)
11. Council Skies (The Reflex Revision)
12. Flying On The Ground (Radio 2 Session, 08.09.21)
13. You Ain't Goin' Nowhere (Radio 2 Session, 08.09.21)
14. Live Forever (Radio 2 Session, 08.09.21) 

Defamator is the long-time-coming debut project of 24-year-old Chloe Gallardo. It tells a story of betrayal in love and friendship and the painful reality of overcoming love lost and former heartbreak. Drawing influences from artists such as Broadcast, Grouper & My Bloody Valentine Gallardo adds her own haunting, folk-style vocals and hyper-specific lyrics to create a sonic unique to her. A style that she describes in her words as “dark shoegaze bedroom indie pop”.

Album opener “Bloodline” epitomises this bittersweet modus operandi. 15 seconds into its dainty acoustic strum , Gallardo adamantly sulks “I’m fucked up” - the salvo of a lyric about feeling like a family disappointment. As the track lifts up into a cascading gaze-pop rush, recalling the likes of Bachelor and Snail Mail, we’re blessed with a pristine elegance that belies the song’s raging core. “I have always written music this way.”, she says of this fundamental contradiction. “It’s funny because I try so hard to write darker-sounding songs and they always come out way too pretty. So, I’ve resorted to writing the most gut-wrenching and intense lyrics to compensate.”

Written mostly during peak-pandemic times in Gallardo’s bedroom - (“you can hear how scared and alone I was.”) - the songs that made their way onto Defamator arose from a concerted period of healing. Drawing from the teachings of therapy, the songwriting process gave her the means to channel some deeply entrenched emotional scars.

This venting of anger is implicit throughout the record. The album’s title - Gallardo’s own neologism - uses the concepts of “defamation” and “defamatory speech” to innovate a kind of pejorative accusation. As a result, it is like we are actively listening to Gallardo forcefully take command of her past. Of the title track she explains: “The song Defamator is about someone who spoke untruthful things about me in order to manipulate me and the way people perceived me and I felt that was an underlying theme in most of the album.”

Recorded at Jazzcat Studios in Long Beach California with Jonny Bell (Hanni El Khatib, Adult Books, etc.) Defamator marks Gallardo’s first time in a “legitimate recording studio”. And it shows. Bell’s production is vital moving part here. There’s more stripped back affairs - ‘There Will Be Blood”; ”The Way’ - songs which gently seethe and purr like Grouper’s spectral dream-pop; Gallardo’s fluttering folk-ish voice gloriously pushed to forefront.

TRACK LISTING

1) Bloodline
2) God Is Dead
3) There W`ill Be Blood
4) Defamator
5) (Untitled)
6) New Jersey
7) To See You Go
8) The Way
9) Last Dance
10) New Jersey (Reprise) 

Brownswood Recordings proudly presents the fourth installment of its Remix Editions series, featuring fresh reworks of Galliano classics. This limited-edition vinyl delivers two dynamic, dancefloor-ready gems, perfect for collectors and music lovers alike.

Side A: musclecars remix
New York DJ/Producer duo musclecars bring their signature warmth and groove to Pleasure, Joy & Happiness, transforming it into a soulful, 90s NYC house-inspired anthem. Known for their genre-blending approach and a mission to unite communities through music, musclecars’ rework includes lush instrumentation and fresh vocal runs from Galliano’s Rob Gallagher and Valerie Etienne. The release also includes an instrumental version of the remix.

Speaking about the track, musclecars said:
“We wanted to give this a real 90’s NYC house feel, with additional instrumentation to really bring on that euphoric sense of pleasure, joy, and happiness that Rob & Val were singing about. Big shout out to them for being open to doing additional vocal runs for our remix. Think it really gave the track new life!”

Galliano’s Rob Gallagher shared his excitement:
“Brooklyn’s finest work over the Eddie Chacon classic to sit on the dancefloor with that New York underground stamp. Already a mainstay of the Galliano live set, this remix gives the song yet more legs to explore the outer reaches. When is a song not a song? When it’s a Millipede….”

Side B: Laroye Remix
French producer Laroye reimagines Circles Going Round The Sun through a Detroit-inspired lens, blending soulful TR-909 beats, evolving strings, and a driving bassline. This remix channels the essence of Detroit techno while honoring the emotive heart of the original, creating a powerful, genre-defying track designed for the dancefloor.

Laroye explained his inspiration:
“This remix draws on soulful Detroit techno—Underground Resistance, Carl Craig, Recloose—melding jazz, soul, and house. Galliano’s message feels timeless, and this remix bridges the past and present beautifully. Like we were somehow connected, without guessing we’d meet one day… a little bit like magic.”

Galliano’s Rob Gallagher added:
“The Laroye remix is a journey in itself. Hearing it late at We Out Here Festival, the crowd moved like one creature on waves of sound. It’s a joy that lingers every time I hear it.”

About Brownswood Remix Editions
The Brownswood Remix Editions series celebrates dancefloor culture with exclusive 12” releases featuring contemporary remixes and rediscovered classics. These limited-edition vinyl records are meticulously pressed for bass-weight perfection, catering to DJs, collectors, and music enthusiasts.

TRACK LISTING

A - Pleasure, Joy & Happiness (Musclecars Remix)
B - Circles Going Round The Sun (Laroye Remix)

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with their new LP ‘Halfway Somewhere’ which is released on Gilles Peterson’s Brownswood Recordings.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”

For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

TRACK LISTING

A1. Brownswood Rockers / Golden Shovel (Somebody Else’s Idea)
A2. Dancin' Your Own Time
A3. Limebike Getaway
A4. General Rubbish Vs The Sportswear Mystics
A5. Tottenham
B1. Crow Foot Hustling
B2. Numbers Click
B3. Circles Going Round The Sun
B4. Golden Shovel 2 (Somebody Else's Idea)
C1. Jazz
C2. Halfway Somewhere
C3. Of Peace
C4. Move As One...
C5. In The Brakes
D1. 57th Min / Power And Glory
D2. Kingsland Road
D3. Cabin Fever Dub
D4. Euston Warehouse
D5. Pleasure, Joy & Happiness

The very last day of recording the album that became checkmate, Ron Gallo wrote and recorded the title track. Which, in his words, half-jokingly, is "my first true love song that also happens to be the best love song ever written". It encapsulates the entire purpose of the album which takes his previous motto - "The world is fucked, but the universe is inside you" and changes it to "The world is ending, what can I hold on to?". After years of navigating artistic reinvention and resisting change, Ron Gallo arrives at his latest album, checkmate, with a newfound clarity and sense of purpose. Stripped down and direct, checkmate marks a reset: a shedding of old selves, old anger, and the need for introspection. Social commentary has always been a driving force behind Gallo’s music, and checkmate finds the bridge between personal inner dialogues and cultural analysis, grasping the vulnerability he once avoided. What remains here is distilled: raw thoughts about love, identity, and survival in a collapsing world. Gallo calls it “a process to kill off my old self,” a release from years of hiding, whether it’s behind a comic veil or a wall of instruments and noise. With checkmate, he finds himself aligned with a new audience who have found his music through social media riffs turned viral smashes, 7am Songs, who come with no preconceived notions—only a desire to connect. The personal vulnerability found in these songs are far more relatable than Gallo could have first imagined. Inner dialogues we all seem to be having, but struggling to find the words for, until now.

An easy stepping disco opus taken from Dee Dee’s eponymous 1980 album, ‘Easy Money’ spent a month on the Hot Dance Club Play chart as the B-side to ‘Breaking and Entering’. Here, Mr. Arps himself Todd Terje adds to his 20 years worth of reworkings, giving the tune its proper respects with deft percussive respites, subtly adding his distinct touch to this Philly classic.

STAFF COMMENTS

Matt says: An oldie but a goldie! Two legends of disco old and new converge on the high grade number: "Easy Money".

TRACK LISTING

A. Easy Money 
B. Easy Money (Todd Terje Edit)

Lee Gamble completes his ‘Flush Real Pharynx 2019-2021’ album cycle with ‘A Million Pieces Of You’, the third EP of a triptych written in a time when the subjective experience of overload came to a halt, giving way to an overbearing sense of loss, burnout and a desperate need for hope. These seven tracks feel more reflective, more human than the two preceeding EPs; the serpentine dopplers and seductive supercar engines of ‘In A Paraventral Scale’, and imploding motion sculptures of ‘Exhaust’. A deepfake of Lee’s voice appears from the chaotic slow-mo crash of ‘Balloon Lossy’, timidly telling of “[garbled]… good news”. The uncanny spectre of deep fakes, AI and deep learning models give way to the melancholic loneliness of the solo piano in ‘Empty Middle Seat’. Then glimmering, golden pads on ‘Hyperpassive’ slowly crawl into the hopeful, bright arpeggiations of ‘Balloon Copy’. ‘A Million Pieces Of You’ is a ride through a part-synthetic, part-modelled, part-imitation, part-taught, part-human, part[1]hopeful, part-reflective and paradoxically affirmative space – an involuntarily fitting finale to an album originally conceived in a world different to the one we now inhabit.

STAFF COMMENTS

Matt says: Lee Gamble continues to lead the way in terms of experimental electronics and post-everything nightclub deconstructions. A bit mellower in parts than some of his recent outings, it's nonetheless an arresting and encompassing listen throughout.

TRACK LISTING

A1. Balloon Lossy
A2. Newtown Got Folded
A3. Obsession Model
A4. Empty Middle Seat
B1. You Left A Space
B2. Hyperpassive
B3. Balloon Cop

‘Flush Real Pharynx 2019-2021’ is a three-part album from composer, producer and DJ Lee Gamble. Written over three years, and comprised of three seperate EPs, their individual releases unintentionally frame and timestamp a turbulent period. Across 77 minutes the full collection imparts a seamless tour through its three phases. File under #GullyAutomatedHyperConcrète.

“If the most widely available music is also the most easily digestible, then it is no wonder that artists like Gamble are so keen to grapple with music’s purpose beyond entertainment—to be an art form in fierce dialogue with the present.” (Pitchfork)

“This music gives form to the smart cities and networked realities of the 21st century … a thrilling meditation on the weirdness of now.” (Resident Advisor)

TRACK LISTING

01. Fata Morgana
02. Folding
03. Moscow
04. BMW Shuanghuan X5
05. Chant
06. In The Wreck Room
07. Many Gods, Many Angels
08. CREAM
09. Envenom
10. Glue
11. Naja
12. Tyre
13. Switches
14. Shards
15. Saccades
16. Balloon Lossy
17. Newtown Got Folded
18. Obsession Model
19. Empty Middle Seat
20. You Left A Space
21. Hyperpassive
22. Balloon Copy

On 'Models', Lee Gamble liberates sonic spectres to inform a suite of illusory anthems, subliming vulnerable, half-remembered fragments of dream pop, Soundcloud rap and trance in the process. Sung by cybernetic voices in an almost wordless language, his widescreen memories reverberate across the last few decades of pop history, smudging Elizabeth Frazer's surreal poetry into disembodied diva cries and Lil Uzi Vert's abstract, AutoTuned mumbles. Extracting haunted fragments of synthetic corrupted chatter and indecipherable non-words to sculpt dreamy pop simulacrums, Gamble takes the concept of the pop producer to its logical extreme; examining how intonation and language is engineered to monopolise our attention, his magical inversion of pop playing like a bewitching symphony of earworms.

TRACK LISTING

A1. Purple, Orange
A2. Juice
A3. XIth C. Spray
A4. She’s Not
B1. Phantom Limb
B2. Blurring
B3. Your Weight On My Arms

'A Semblance: Of Return' is the new album from South African drummer, composer, and bandleader Asher Gamedze. Gamedze gathers a close ensemble of longtime collaborators to explore what he calls “practices of assembly” - ways of making sound, and imagining new and old modes of freedom. Based in the independent music scenes of Cape Town and rooted in Pan-Africanism and Black Consciousness, 'Of Return' extends the political and musical commitments that have defined Gamedze’s work from 'Dialectic Soul' (On The Corner, 2020), to 'Turbulence and Pulse' (International Anthem, 2022) and 'Constitution' (International Anthem, 2024) while opening a newly collective chapter in his practice, this time on Northern Spy.

The band on the album - Ru Slayen (percussion), Nobuhle Ashanti (keys & synth), Zwide Ndwandwe (bass), and Keegan Steenkamp (trumpet), with Gamedze on drums - formed as a social unit: a group for whom music is part of a broader shared life, full of playing, thinking, laughing, and struggling. That ethos animates the music. Across the album’s two sides, 'Of Return' serves as a gathering place: a living room, a rehearsal, a shady club, a study group, a home. The music moves with a grounded, searching energy, shifting between group vocals, groove-heavy ensemble passages, and moments of stark melodic clarity. The grooves are earthy and lived-in; the improvisations feel like conversations; the lyric fragments echo the project’s probing around notions of return as integral to any forward, future-oriented motion. 'Of Return' enacts both return and departure, or more precisely, extension/elaboration. This it does through a rootedness in the traditions and politics of the Cape underground, and opening a sonic invitation to dream, to struggle together, and, fundamentally, to assemble.

TRACK LISTING

1. Stranger No Death
2. Progressive
3. Air
4. Following Up
5. Distractions
6. Of The Fire
7. War
8. Lowland
9. Extension
10. State (Of The Internation)
11. Turnin'

Sold out on release in 2020, Asher Gamedze's Dialectic Soul finally returns as a limited edition clear vinyl press ahead of On The Corner’s 10th anniversary. Dialectic Soul is the debut album from one of Cape Town's most cutting-edge, visionary artists and musicians, the drummer Asher Gamedze.

This is Jazz at its most spiritual, most progressive and most appealing form. As Asher himself says: Dialectic Soul is about motion and a refusal to remain static or stay still. It’s the commitment to be continually moving’.

Recorded live over two days at the Sound and Motion Studios in Cape Town with renowned musicians (Thembinkosi Mavimbela (bass), Buddy Wells (tenor sax), Robin Fassie-Kock (trumpet) Nono Nkoane (voc)), Dialectic Soul is breathtaking in its musical vitality and expression of soul seeking truth. By incorporating the concept of the Total Art for this project, it fits perfectly within On The Corner's aesthetic of music, art and vision for creative innovation. Label art director Victoria Topping created the sleeve design working with Asher's drawings and concept. Asher continues: "My composition "state of emergence" introduces the themes that constitute the album; free drums representing autonomous African motion, the saxophone reflecting deeply and honestly on the violence of colonialism, the teachings of Coltrane, Biko, Makeba, Malcom and others inspired the music's positive manifestations of resistance."

"Fundamentally, it is about the reclamation of the historical imperative. It is about the dialect of the soul and the spirit while it moves through history. The soul is dialectic. Motion is imperative. We keep moving." 

TRACK LISTING

1. Movement One: Thesis
2. Movement Two: Antithesis
3. Movement Three: Synthesis
4. Siyabulela
5. Interregnum
6. Eternality
7. Hope In Azania
8. The Speculative Fourth

Cape Town, South Africa-based drummer Asher Gamedze explores relationships of time between music and history on his new album Turbulence and Pulse, out on International Anthem in collaboration with Johannesburg-based label Mushroom Hour Half Hour.

Though this is Gamedze's first record with International Anthem as a leader, fans of AngelBat Dawids' debut, The Oracle, might recognize his name from their epic first-meeting-turned-song: Capetown or from his drumming on Angel & Tha Brothahoods LIVE. Close followers of free music may also know Asher from last year's offering on Astral Spirits, Out Side Work (which features scorching duets with fellow Brothahood member Xristian Espino: Sun City GirlsA l a n Bishop), or from his ZUZU debut album Dialectic Soul, which was ranked in the New York Times' Top Ten Jazz Albums of the Year.

Turbulence andPulse comes as a reset and a reintroduction, even while Gamedze is again joined by his core quartet from Dialectic Soul -South African musicians Thembinkosi Mavimbela (bass), Robin Fassie (trumpet), and Buddy Wells (tenor sax).

The album opener "Turbulence's Pulse" serves as a manifesto to inform the album that follows: a multi-rhythmic groove exploration of a collection of pieces initially composed by Gamedze on piano. The result is his most soulful and accessible album yet, and a sweet-vet-energetic addition to the South African jazz cannon. 

STAFF COMMENTS

Matt says: A new rising jazz artist from Cape Town lays down his musical manifesto and boy is it impressive. Brimming with complex poly rhythms, highly eloquent sax and sentiment rich piano and vocal contributions its a top drawer addition to the South African jazz cannon.

TRACK LISTING

1. Turbulence's Pulse
2. Wynter Time
3. Locomotion
4. If It Rains. To Pursue Truth
5. Melancholia
6. Alibama
7. Can't See The Sun
8. Sometimes I Think To Myself
9. Out Stepped Zim
10. Underground Formation

Gameface have been making quality emocore records for ten years now and this little EP is an exclusive UK release on Firefly to coincide with their forthcoming UK tour and it will satiate the many Gameface junkies out there whilst they wait for the next LP. The lead track is a cover of Elvis Costello's "Everyday I Write the Book" given the inimitable Gameface treatment.

Very few bands have been able to combine the best elements of punk,hardcore, emo and pop to make something simpler, something all of their own. Gameface are one of the few. Ten tracks of their trademark emocore. "Always On" shows undoubted maturity. A band that improves with each release. Produced by Jim Monroe, some of the tunes on the album show the band branching out in slightly new directions. This is definitely the most well-rounded Gameface record yet. Some things do get better with age!

Edinburgh’s Hobbes Music label drops its first album release, a debut, from Gaming, a fresh new braindance electronica project straight outta Glasgow.

Gaming is a new solo outing that brings together a lifelong love of music and technology and creating leftfield, rhythmic electronica. It’s the sound of IDM, nineties techno and mensch maschine computer music that is as spontaneous as it is programmed.

This is DIY electronica from Glasgow - it was made on a growing collection of digital and analogue synths and FX units, including a bunch of modular racks, each with its own idiosyncrasies and character that belies the assumption of the binary.

The studio where it was recorded - an abandoned, and often very cold, school building reclaimed by the community some twenty years ago - offered up stories of resilience, giving the recording process a subconscious context and alternative environment

'This album is ultimately about my changing relationship with Glasgow, a city I’ve lived in for more than 25 years. It’s about how I feel now about the increasing sense of urban decay and how the city can be a very isolating place. It’s about how I reflect on my younger creative self trying to find a direction but mainly feeling a sense of dislocation and not fitting in. And it’s about the questions I have about how that relationship is changing, how it will be forced to move forward.

The result is a soundtrack for walking home on your own, in that headphone bubble when it’s just you focusing on that music that makes sense to you alone. It’s for early in the morning, after the night before, or going to work with the memories of that slipping and sliding inside your head. It’s about how it feels to be both elated and lonely, to be lost in the familiar, despairingly hopeful.' - Gaming.

STAFF COMMENTS

Matt says: A lost classic from the Hobbes Music catalogue gets unearthed for us to relish in all its glory once more!

TRACK LISTING

A1. Urban Decay Sale - 97 Bpm
A2. Ripples Begin - 124 Bpm
A3. Otago Lane - 105 Bpm
B1. Sodium Orange - 110 Bpm
B2. On The Corner - 105 Bpm
B3. Night Drive (Thru Govanhill) - 125 Bpm
C1. Bruised - 85 Bpm
C2. Abandoned Suburbs - 95 Bpm
C3. North Wood Encounter - 96 Bpm
D1. Deserted City - 110 Bpm
D2. Centro - 95 Bpm
D3. False Dawn - 101 Bpm

The sum to infinity of a sequence is the sum of an infinite number of terms in the sequence. It is only possible to compute this sum if the terms of a sequence converge to zero. “Sum To Infinity” is also the second release from Gamut Inc, the retro-futuristic ensemble around composers and curators Marion Wörle and Maciej Śledziecki.

This second album by Gamut Inc combines custom-built autonomous music machines with haunting classical synthesiser sounds to create a dense musical kaleidoscope.

The core of the album is formed by Risset rhythms – cyclic accelerations and decelerations, in which rhythmic layers repeatedly fade in and out, setting in motion a seemingly endless process of rhythmic movement. The motifs are taken from geometric and arithmetic series that create urgency and restlessness. The rigour of the construction is obscured by an orchestra whose timbres are reminiscent of a retro-futuristic indigenous ensemble. Gamut Inc translate strategies of electronic music like pulse-width modulation to music machines such as automated accordion, automated percussion or glockenspiels and create an intense atmosphere that is idiosyncratic, original and modern at the same time.

Gamut Inc build their music machines, play electronic music festivals internationally, curate the Aggregate festival for automated pipe organs and composes for film, radio drama, and theatre. Their first opera, “Rossums Universal Robots”, premiered in 2022. Since 2011, at the intersection of electronic club culture and experimental music, they have produced live music, music theatre, film and theatre scores (including for the Junge Staatstheater Berlin) with their specially developed musical robots. They composed for ensembles like the RIAS chamber choir or the robot orchestra Logos Foundation and received invitations and commissions from international festivals and venues such as Sónar, CTM, Berghain, Sonic Acts, Technosphärenklänge or Numusic (NO). Gamut Inc has received numerous scholarships, including the Villa Kamogawa scholarship from the Goethe Institute in Kyoto, Japan, 2022. Their first release, “Ex Machina” was produced exclusively with music robots and released in 2014 in cooperation with Bôłt Records.

Excellent works here, do not miss! TIP!

TRACK LISTING

Series A
Series B
Series C
Series D
Series E
Series F

Described by the Wall Street Journal as “one of modern music’s most compelling vocalists,” New York-born and Tamil Nadu-raised singer and multi-instrumentalist GANAVYA has announced details of her new album, "Daughter of a Temple*", set to be released on November 15, 2024. The album follows her performance at SAULT’s acclaimed live debut in London in 2023, where, according to The Guardian, her “voice had a delicate emotive heft that could turn stoics into sobbing wrecks.” Her first single for LEITER, "draw something beautiful," was released earlier this year in July.

For "Daughter of a Temple", GANAVYA invited over 30 artists from various disciplines to a ritual gathering in Houston. Consequently, the album features numerous contributors, including renowned musicians such as esperanza spalding, Vijay Iyer, Shabaka Hutchings, Immanuel Wilkins, and Peter Sellars. The results—an innovative and deeply moving blend of spiritual jazz and South Asian devotional music—were initially recorded by Ryan Renteria and then further edited and mixed by Nils Frahm at LEITER's studio in Berlin in 2024. GANAVYA is the author and singer of the first Tamil text to win a Latin Grammy. She was a vocalist in Vijay Iyer’s Ritual Quartet and the soloist on Quincy Jones-produced „Tocororo", which reached No. 1 on the Jazz Charts. Her most recent album, "like the sky I’ve been too quiet", was recorded with Shabaka Hutchings and features guests like Floating Points, Tom Herbert, Carlos Niño, and Leafcutter John.

TRACK LISTING

1. A LOVE CHANT (FEAT. ESPERANZA SPALDING)
2. OM SUPREME (FEAT. VIJAY IYER & IMMANUEL WILKINS)
3. PREMA MUDITHA (FEAT. SHABAKA HUTCHINGS)
4. ELDERS WAYNE AND CAROLINA
5. OM NAMAH SIVAYA (FEAT. CHARLES OVERTON & GANESAN DORAISWAMY)
6. JOURNEY IN SATCHIDANANDA / GHANA NILA
7. A LOVE SUPREME, PART 1: ISHMAEL WADADA LEO SMITH
8. A LOVE SUPREME, PART 2: PETER SELLARS (FEAT. PETER SELLARS)
9. A LOVE SUPREME, PART 3: ALICE COLTRANE
10. A LOVE SUPREME, PART 4: IONE (FEAT. IONE)

Listening to the remarkable 'Nilam', it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we’ll hear this year, it’s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we’ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way ‘Not A Burden’ lifts a weight off the world’s shoulders to the peaceful ‘Sees Fire’, with ‘Land’’s gentle groove full of space, ‘Nine Jeweled Prayer’ serenely precious, and, throughout, GANAVYA’s vocals like ripples on a lagoon.

Yet the truth is it owes its existence to chance – an entity, like truth, to which GANAVYA is forever faithful – and the few days between her 2024 Berlin sold out debut and another sold out performance at London’s Union Chapel. This opportunity, she was persuaded by LEITER’s co-founder Felix Grimm, could be exploited to capture at last songs she had often performed live. And so, accompanied by long-time touring companions, bassist Max Ridley and harpist Charles Overton – with whom she’s toured over a decade, describing them as “two of [her] most precious friends and teachers” – she entered the hallowed Funkhaus with Frahm behind the desk.

'Nilam’s central theme, GANAVYA confesses, is “doing what we need to do to keep carrying on.” This perhaps isn’t surprising given her touring not one but two albums in a single year. Earlier in 2024, she’d released the equally acclaimed like the sky i've been too quiet, recorded with Shabaka Hutchings, and a debut single for LEITER, ‘Draw Something Beautiful’, arrived soon after in July. “I feel like I barely made it out this past touring cycle,” she says. “Some days are good, and some days are bad. But the actual singing is always good. I realised, with every bone in my body, that unless you absolutely, absolutely want to be a musician, there's just no sense doing this professionally. And still... I wake up every day and I am certain that I want to keep singing.”

'Nilam' takes its title from “nil”, the Tamil word for ‘land’, a decision made instinctively, and not just because firm ground was what she was seeking during a difficult period of touring. “The word ‘nil’ can be a command either to move or to stay still,” GANAVYA points out. “To the person being senselessly quiet, it is a command to stand up for what is right. To the person being senselessly loud, it is a command to stand still. To me, it is balance, the heart of the true rhythm of life, of change, of land, of landing.” All the same, the word perfectly describes these songs she’s played, on and off, across the years with Ridley and Overton. “The world changes and shifts and everything becomes dizzying as the earth keeps disappearing from under you,” she concludes, “but these songs have always been a place for me to stand, a place for us to be in a way that I don't really know how to describe. Music has always been the one true land...”

TRACK LISTING

1. LAND
2. SONG FOR SAD TIMES
3. NOT A BURDEN
4. SINATHAVAR MUDIKKUM
5. NINE JEWELED PRAYER
6. PASAYADAN
7. SEES FIRE

Gang Gang Dance continue their compelling musical evolution with new album "Eye Contact", the New York based group’s first  full-length release since joining 4AD.

Although together in their current incarnation for a decade, Gang Gang Dance only really came to the public’s attention with the release of the EPs "Hilluah" and "Rawwar" and crucially, 2008’s genre-bending long-player "Saint Dymphna". The latter in particular has come to be regarded as a landmark record in forward thinking pop circles, showcasing the group’s love of improv and experimentation and drawing inspiration from the local New York art community with which the band have close ties. "Saint Dymphna" also served to highlight previously untapped talent from the UK underground with a then unknown Tinchy Stryder providing vocals for the avant-grime track "Princes". A pioneering piece of work, it – coupled with their incendiary high-octane live performances – served to establish Gang Gang Dance as one of the most exciting and innovative acts of their generation.

After a personnel change (Tim DeWit departed shortly after the release of "Saint Dymphna", allowing drummer Jesse Lee to join the band), Gang Gang Dance returned to the studio in 2010 with long-term collaborator Chris Coady (producer of "Saint Dymphna" and "Rawwar", as well as recent releases by Yeah Yeah Yeahs, Zola Jesus, Beach House and TV On The Radio) and work began on the group’s fifth album. "Eye Contact" sees the new line-up subtly build upon the melodic aspects of "Saint Dymphna". The album opens with a brief speech, 'I can hear everything. It’s everything time', then segues effortlessly into the audacious eleven-minute slow-burn "Glass Jar". It’s an ambitious beginning yet it is a coherent statement of intent. Elsewhere, "Eye Contact" features a guest appearance from Alexis Taylor of Hot Chip, whose signature vocals take centre stage on the track "Romance Layers".

“Like Arthur Russell before them, they give equal floorspace to the spiritual and the sensual.” Pitchfork

Gang Gang Dance – one of the most enduring and creatively vibrant musical acts of 21st Century New York – return with brand new album, Kazuashita.

Formed initially as an improvisational outfit in the early 2000s, Gang Gang Dance are Lizzi Bougatsos, Brian DeGraw and Josh Diamond. All independently operating artists in their own rights, they consistently blur the boundaries between music and art; as comfortable today performing at the Whitney Biennial as they are at Coachella, and count Dash Snow & Nate Lowman, Tinchy Stryder and the Boredoms as previous collaborators.

Held together by Lizzi Bougatsos and her otherworldly vocal, Kazuashita is an intoxicating mix of ethereal shoegaze and electronic ambience, self-produced by Brian DeGraw.

STAFF COMMENTS

Barry says: Seguing brilliantly between a swooning electronic swell and clicking, glitched-out histrionics, GGD manage to toe the line between downbeat post-shoegaze electronics and more driven elements without batting an eyelid. Perfectly balanced and brilliantly evocative.

TRACK LISTING

( Infirma Terrae )
J-TREE
Lotus
( Birth Canal )
Kazuashita
Young Boy (Marika In Amerika)
Snake Dub
Too Much, Too Soon
( Novae Terrae )
Salve On The Sorrow

Legendary Boston beer fuelled skate crew present their two finest pieces of work on one double album. Kicking off in the early Boston hardcore scene Gang Green's debut "Another Case Of Brewtality" really put them at the forefront of the Boston scene. Classic old skool stuff on 2xCDs.

Since their inception in 1978 with the legendary "Damaged Goods" EP and debut album "Entertainment!", Gang Of Four, have been one of the most radical and radically important groups of the last thirty years.

Gang Of Four have triumphantly defined their place on the musical landscape, influencing a wide range of bands including R.E.M., Red Hot Chili Peppers, Sonic Youth, Bloc Party, The Rapture and Franz Ferdinand.

"Content" is their first new studio album in 16 years, and is the catalyst for a year long international marketing plan in 2011, driven primarily by massive press and online interest in the band, and supported by an aggressive live performance schedule and radio and TV exposure.

Some of the most memorable music of the late-70s British new wave era came courtesy of Gang Of Four. Formed in Leeds in 1977 the band were one of the first to be inspired by punk, but come up with a something different from the usual three-chord thrash of the time. The band's 1979 debut album, "Entertainment!", poured punk, funk, and politics into a groundbreaking sound that continues to influence such worthy modern rock descendants as Hot Hot Heat, The Rapture, and !!!. Essential.

TRACK LISTING

Side 1
1. Ether
2. Natural's Not In It
3. Not Great Men
4. Damaged Goods
5. Return The Gift
6. Guns Before Butter
Side 2
1. I Found That Essence Rare
2. Glass
3. Contract
4. At Home He's A Tourist
5. 5.45
6. Love Like Anthrax

Gang of Youths say, “the album is about the life and legacy of Dave's father, indigenous identity, death, grief and God. And also the Angel, Islington.”

Despite and indeed because of frontman Dave Le’aupepe’s father’s absence, his influence permeates every talking point that the album offers. At times it’s solely focused upon the precise, personal experiences of loss: the dichotomy of intensity and peace that comes as someone passes through their final days; the overwhelming feeling in the wake of their death that life will never be the same, even if the rest of the world at large remains utterly unchanged.

Following their recent singles, ‘the angel of 8th ave.’ , telling of falling in love in a new city and making a home in another, and ‘the man himself’, a song created around a sample recording from the island of Mangaia in the Cook Islands that is about living without the guiding hand of your own father, today they release ‘tend the garden’.

Although the album is eclectic - influences range from American minimalism and contemporary classical, to drawing upon the legacy of Britain’s alternative/indie scenes, from drum ‘n’ bass to the most transcendent moments of Britpop -- it’s equally rooted in Le’aupepe’s Samoan heritage, with the majority of tracks featuring samples from David Fanshawe’s recordings of indigenous music from the Polynesian islands and the wider South Pacific. ‘angel in realtime’ also features contributions from a cast of talented Pasifika and Māori vocalists and instrumentalists.

Le’aupepe says, “I hope the record stands as a monument to the man my father was and remains long after I’m gone myself. He deserved it.”

TRACK LISTING

1 You In Everything
2 In The Wake Of Your Leave
3 The Angel Of 8th Ave.
4 Returner
5 Unison
6 Tend The Garden
7 The Kingdom Is Within You
8 Spirit Boy
9 Brothers
10 Forbearance
11 The Man Himself
12 Hand Of God
13 Goal Of The Century

With the original UK 7” of this release now as rare as hen’s teeth, and with the group having recently ‘reformed’ for one last album together, the Mr Bongo replica re-release of this 1990 masterpiece by Gang Starr couldn’t be more timely

The now-legendary duo of DJ Premier and Guru dropped this at the height of hip-hop’s sampling of jazz, which had led to a creative leap forward for the genre. Yet while others plundered in the dark, this instant classic wore its influences on its sleeve and paid verbal homage to the musicians they were sampling. The “melodious funk” of “Thelonious Monk” gets namechecked, while the track samples two of his records, including 1958’s Bop gem ‘Light Blue’.

While both versions presented here have common elements, the ‘Movie Mix’ - so-named for the song’s appearance on the soundtrack to Spike Lee’s mythic jazz biopic ‘Mo’ Better Blues’ - goes in a few different directions to the ‘Video Mix’. Rather than just drop in an instrumental for the B-side, DJ Premier instead shows his versatility by switching up the base track (Kool & The Gang’s 1971 ‘Dujii’) and layering in other samples. In more ways than one, his virtuosity here echoes the improvisation of a jazz musician, akin to Denzel Washington’s Bleak in the movie.

Of course, he’s not the only show in town. The late Guru’s voice is as mellifluous as an instrument itself here, his potted history of the genre and the artists of jazz delivered with his own unmistakable cadence. Without this record, would he have gone on to make his ‘Jazzmatazz’ projects.

TRACK LISTING

Jazz Thing (Video Mix) 
Jazz Thing (Movie Mix)

"Step in the Arena" is the second studio album by hip-hop duo Gang Starr, printed as a 1990 release and commercially released on January 15, 1991. The album received critical acclaim and was also included in the book 1001 Albums You Must Hear Before You Die.

The Source magazine stated: 'Step in the Arena stands alone on a musical level, yet it also remains true to hip-hop’s underground heritage.' In 1998, the album was selected as one of The Source’s 100 Best Hip Hop Albums. 

TRACK LISTING

Side 1
1. Name Tag (Premier & The Guru) (0:38)
2. Step In The Arena (3:33)
3. Form Of Intellect (3:42)
4. Execution Of A Chump (no More Mr Nice Guy Pt 2) (2:43)
5. Who's Gonna Take The Weight? (3:54)
Side 2
1. Beyond Comprehension (3:14)
2. Check The Technique (3:53)
3. Love Sick (3:21)
4. Here Today, Gone Tomorrow (2:19)
5. Game Plan (1:03)
Side 3
1. Take A Rest (4:17)
2. What You Want This Time?? (2:40)
3. Street Ministry (1:20)
4. Just To Get A Rep (2:39)
5. Say Your Prayers (1:20)
Side 4
1. As I Read My S-A (2:55)
2. Precisely The Right Rhymes (3:17)
3. The Meaning Of The Name (2:50)
4. Credit Is Due (4:51)
5. Check The Technique (remix) (4:21)

Seemingly out of nowhere comes this 'best of year' challenger from Sacramento's Ganglians. Fusing the unhinged avant-outer-ethereal qualities of Panda Bear with the perfect pop of the Beach Boys and a wide-eyed-dreamy surround-sound hi-gloss, this is an astonishing all encompassing album that's gonna amaze everyone that hears it. It's probably been best described by the band themselves, 'this album is pure naive headphone acid pop to drive to, at least that's what was going through our heads.' - Ganglians. Totally recommended!!!

Tracklisting
1. Something Should Be Said
2. Voodoo
3. Lost Words
4. Candy Girl
5. Valient Brave
6. The Void
7. To June
8. 100 Years
9. Crying Smoke
10. Modern African Queen
11. Try To Understand

Ganglians’ affection for a sweet melody and wistful lyrical turn was apparent on their acclaimed debut set 'Monster Head Room' and their collectable Captured Tracks 7” of 2009, ‘Blood on the Sand’ – but Still Living, predominantly produced by Robby Moncrieff (Dirty Projectors, Zach Hill), furthers the vision of Grubbs and company. Says the man himself: “It’s a double‐LP for a reason – we wanted to try many different ideas while doing everything in real time, with no metronome and mainly our own instruments. There’s a whole bunch of things tossed in, with various styles going on.”

But, brilliantly, the seams between stylistic shifts aren’t detectable – Ganglians have taken the experimental blueprints of this album’s predecessor and updated (and expanded) their designs. So, moods move from quiet introspection to boisterous merriment, chords stimulating the synapses while the toes can’t keep from twitching. Says Grubbs of the end results: “This is outsider music, but with a pop sensibility that brings everyone in.”

He’s right to highlight the non‐exclusivity of this fare – it might have been made with envelope‐pushing intent, but little on 'Still Living' will leave the listener truly perplexed; unless, of course, they choose to delve deep into the rabbit hole of Grubbs’ inspirations. It’s personal, intimate and romantic, with metaphor preferred over the matter‐of‐fact musing of some other bands riding loosely comparable rhythms. “It’s pretty honest music,” says Grubbs. “Honestly, everyone feels a great range of emotions, like awkwardness and self‐doubt, and not wanting to have to be cool to be cool. And that’s what these songs are like.”

TRACK LISTING

1. Drop The Act
2. That’s What I Want
3. Evil Weave
4. Sleep
5. Jungle
6. Bradley
7. Things To Know
8. Good Times
9. The Toad
10. California Cousins
11. Faster
12. My House

Black Twig Picker and Pelt member Mike Gangloff self released the fantastic Poplar Hollow in an edition of only 200 copies earlier this year, and upon seeing it sneak out we instantly got excited to hear it with the potential for a vinyl edition. And hell, what we heard we loved, and are real pleased to drop it on glorious vinyl for the masses! Poplar Hollow perfectly blends his other projects together, merging experimental sounds with traditional American folk and roots music. Comprising of Mike performing vocal/banjo/violin duties, he brings a new eclectic and at times psychedelic vibe to much of this record. Poplar Hollow is a record unlike any I have heard recently, Gangloff is a truly individual force in the American scene, and this record further cements that status.

Pressed in an edition of 500 copies on 180 gram vinyl including a download of the album. Packaged in a sleeve featuring the inimitable eye popping art of Jake Blanchard.

Oft overlooked for over half a century while misfiled amongst exploit bellydance records and holidaymaker souvenirs this one-off 12 track album is the only existing full-length record by the best-kept mutant musical secret of the Armenian American diaspora, oud pop maestro Charles ‘Chick’ Ganimian.

One of the earliest examples of any kind of recorded fusion between rhythm heavy pop music and traditional Turkish music, Ganimian’s developments in New York City - with his sadly unrecorded Turk jerk combo The Nor-Ikes (New Dawn) combo - ran almost simultaneously alongside the rising Anadolou pop scene in Turkey, resulting in his short lived powerhouse of Kif proto-rock under the changing names of Ganim’s Asia Minors, Ganimian & His Orientals and Ganimian & His Oriental Music Orchestra. Combining a line-up of mostly unknown musicians from his local community, Ganimian, in a short unison with ATCO records, was fortunate enough to accommodate jazz guitarist Al Schactman as part of his studio personnel as well as French born Armenian folk singer Onnik Dinkjian and reid player Steve Bogoshian as well as the esteemed Turkish raised Kanun player Ahmet Yatman. As one of the very few early American recorded authentic Middle Eastern fusion record 'Come With Me To The Casbah' has piqued a refined interest in a new generation of progressive world music collector resulting in a distinct drought in original Ganimian pressings on the collectors’ market earning Chicks name a rising placeholder on the want lists of DJs, vinyl hounds and ethno psychedelia collectors.

This LP includes all of Ganimians recordings including the rare singles for Atco and East West which sit awkwardly next to bizarre and unique takes on popular American standards enhancing the exciting freak factor of this record which simply could not be made by today’s stifling self-aware anti-standards. Aside from rare (poorly recorded) private family tapes this album is the only chance to hear the music of this lost enigma of early world music, Eastern fusion and a missing kink in the fabric of New York pop music history captured before his short stint as an exotic Herbie Mann sideman which proceeded his migration into obscurity and his well-imparted tragic struggle with alcohol dependency depriving pop culture of a forward thinking pioneer who paved the way for the more credible exponents of the cross-continental Indo fusion enigma such as John Berberian and the later well pruned hard rock efforts of The Devils Anvil.

TRACK LISTING

Oriental Jam
Over The Rainbow
The Whirling Dervish
Play Girl Play
Swingin’ The Blues
Daddy Lolo
My Funny Valentine
Come With Me To The Casbah
Hedy Lou
Hayastan Moods
Halvah
Nine-Eight

Across their upcoming debut album 'GOOD FOR THE SOUL', GANS tackles subjects of acceptance, self-destruction, and body image. Informed by a shared love of painting, literature, and poetry in particular, GANS is where all of these concepts coalesce, in the hive-mind of songwriters Euan Woodman (drums, vocals) and Thomas Rhodes (bass, vocals)

TRACK LISTING

1. A FOOL
2. IN TIME
3. IT'S JUST LIFE
4. NIGHTWALKING
5. FAR AND WIDE
6. EVERYTHING IN EXTREME
7. I THINK I LIKE YOU
8. THE KING'S HEAD
9. THIS PRODUCT
10. OH GEORGE
11. WELL DONE

The right songs, strung together, give a revitalized vision of our surroundings, as if fresh eyes can be granted by rhythm alone, find new shapes for the weathered wireframe of the world and see the shadows as they dance with the light of day. 'Animal Hospital', the new LP from Chicago art punks Ganser, is a monument to observation, a tome of stray thoughts gathered while moving through a crowd coalesced into a collective take on the absurd contradictions of lives moving past.

'Animal Hospital' is Ganser at their most dynamic, stretching the confines of their sonic boundaries into new territory, testing the elastic limits of sound. The core of the band, Alicia Gaines, Sophie Sputnik, and Brian Cundiff, remain steadfastly committed to propulsive patterns; drums that pound exacting beats on the heart, pulse quickened by bass and guitars, synths to calm the nerves. Building endless rhythm beneath feet moving in time on a dance floor, or a sidewalk masquerading as one.

What has been gathered here is a collection of observations, recollections of the minutes that turned to days spent witnessing the humanity within people shift and spin in new directions. People changed stripes and spots, or maybe they just revealed the marks they always held. Lives became held at a distance. Masks pulled tight. There’s a profundity to be found in exploring the the surreal truths lurking in our hearts, that the sad and the mundane can play so effortlessly with the absurd and beautiful to make something haunting, something striking, songs that sting and soar and beg you to dance all at once.

Recorded at Jamdek Studios by Doug Malone (with additional recording by Nick Broste at Electrical Audio) and produced in partnership with longtime collaborator Angus Andrews (Liars) between January and March of 2025, Animal Hospital is a masterwork of Ganser’s long-honed craft. Songs that began life as notes scratched as far back as 2020 (save for 'Stripe', a demo reworked from 2001) that have been honed and committed here to tape, pressed into wax. Ganser has built their sound out, constructed walls that tower to new heights, joined on the record by Charlie Landsman and Dove Hollis to shore up the foundation.

Time on the road with artists like IDLES, Mclusky and Ted Leo, alongside shows with Amyl & The Sniffers, Bikini Kill, Viagra Boys and so many more have only sharpened the indelible talent that lurks in all corners of Ganser’s work, filtering the absurd and the profound through a prism and emerging with music that refuses to believe that any one thing is true, that instead all things hold strength and secrets in their shadows, and it's only in beckoning us all to the floor and giving us purpose that we can understand the inescapable beauty of all contradictory things.

TRACK LISTING

1. Black Sand
2. Stripe
3. Ten Miles Tall
4. Dig Until I Reach The Moon
5. Grounding Exercises
6. Half Plastic
7. Speaking Of The Future
8. Creature Habits
9. Lounger
10. Discount Diamonds
11. Plato
12. Left To Chance

Growth with no reward. Finding strength in your less desirable traits. Coming up with the perfect comeback hours later in bed, glaring at the ceiling. Asking yourself: am I improving, or am I just changing into something unrecognizable? Chicago quartet Ganser probe the futility of striving for self-growth during the chaos of our times for dark comedy and jagged sounds on their potent new LP, Just Look at That Sky. Equal parts Space Odyssey and Ghost World, Ganser released their debut LP Odd Talk in 2018 to favorable coverage from The New York Times, Billboard, and Stereogum. Building on their dissociative disorder namesake, the album’s tone vacillated between frenzied and contemplative, probing on questions of communication, intimacy, and avoidance.

On Just Look at That Sky, Ganser further explores the personal inner climate of uncertain times. Opening track “Lucky” announces an explosive energy that evokes the Midwest noise-rock legacy of bands like Jesus Lizard and Shellac, while embracing a more colorful palette of post-punk and art rock influences. Nadia Garofalo and Alicia Gaines, a self-described two-headed monster who share lead vocal duties, can bring both a recalcitrant cool worthy of Kim Gordon and a booming sneer that recalls Poly Styrene; the discordant interplay of Charlie Landsman’s guitar and Brian Cundiff’s drums on standouts “Self Service” and “Bad Form” build to blistering climaxes that wouldn’t feel out of place on Red Medicine-era Fugazi. And then there’s Ganser’s lyrics: manic explorations of worry and dread mark this record, the epic messiness of daily life in our damaged times attacked with sardonic specificity as often as generalized doom. Just Look at That Sky isn’t afraid to acknowledge that we’re all Extremely Online all the time, but rather explicitly owns it.

These songs chart inner monologues of emphatic confusion, emotions already deeply felt further ratcheted up by the anxiety of always having too much information about other people, and always being just one tweet or status update away from knowing what everyone really thinks about us. This culminates in closing track “Bags for Life,” which imagines how online discourse might tackle a front-row seat for the end of the world. These are songs that never shy away from ugliness and confusion, that believe embracing the totality of the self sometimes means leaning into our dickish behavior. In the past, some listeners have had trouble reconciling non-male voices with the sorts of topics Ganser writes about, but that comes to an end with Just Look at That Sky. Co-produced with Electrelane's Mia Clarke and engineer Brian Fox, this is an assured, fully realized triumph of a record from an art-punk band that’s figured out how to focus on making great art, even if everything else around them falls apart.

TRACK LISTING

1. Lucky
2. Self Service
3. Projector
4. Emergency Equipment & Exits
5. Told You So \
6. Just Look At That Sky
7. Shadowcasting
8. Bad Form
9. [NO YES]
10. Bags For Life

RIYL: Sleater-Kinney, Bartees Strange,Liars, Shellac, Blonde Redhead, Protomartyr, Iceage, A Place To Bury Strangers, Throwing Muses, Omni, Shopping, Bikini Kill.

In the era of Ganser’s Just Look At That Sky delightfully descended on the world in July of 2020, I do admit that I mostly did find myself looking skyward, though that looking was often colored by an ever-present anxiety. My city was coming apart and maybe your city was coming apart too. Maybe atop the buildings of your downtowns there were guns, and men in fatigues. Maybe in front of the libraries, there were tanks, maybe in front of the food banks, there were army patrols. And yet, maybe you found an album or some tunes that reflected the times, which means both everything and nothing at all now, as time fractures into small, elastic shapes, some jagged, some joyful. An album of a moment must require malleability – songs that hold several songs within them.

Ganser is back with a couple of tunes that will anchor spring through fall, a project called Nothing You Do Matters (produced by Liars' Angus Andrew) and the songs are full, biting, sweet and relentlessly tongue-in-cheek. What propels Ganser as a band, for me, is what shines here: their performance of joyful apathy so often has many other moving parts underneath that suggest that they are a band of deep caring, simply unsatisfied

with the hands they’ve been dealt by the world. The dark humor seeped into the apathy is the central and most visual part of the magic trick, but it isn’t the trick itself. It is the disappearing bird or rabbit, that which returns safely to the open palm in order to distract an audience from everything else unfolding during its

disappearance. “People Watching” is almost a mini-suite of a jam, which first kicks in your door and then lulls you with what feels like comfort, before tearing your place apart on the way out. It’s a thrasher of a tune that is more deliberate than breathless, picking its spots to twist the lyrical knife of talk until the words lose meaning, which circle the drain of the song repeatedly, until it has evicted you, or you have evicted it.

“What Me Worry?” fills the space of breathlessness, a sneering romp where each line of lyric feels engaged in a mighty tug-ofwar for what comes before and after, simmering with the kind of tension that Ganser has gotten great at – a tension that pushes a listener to the edge before dragging them back to firm ground.

Survival is hard-won. For many folks, it has always been, for many more folks it feels especially hard-won now. Ganser has adjusted to the times. Yes, the lyrics are darker, seem more exhausted with the realities of having to make it to whatever is next. But there’s also real bursts of playfulness and gratitude wrestling underneath these songs. Gratitude for what winning another inch of survival, perhaps. I needed these songs, and you might, too. It’s good to feel, for a moment, that all is not lost. And even if it is, at least we can laugh our way to somemeaningless demise. - written by Hanif Abdurraqib

TRACK LISTING

01. People Watching
02. What Me Worry
03. People Watching (Liars Remix)

For Helen Ganya, entering her thirties made her question and pull away from the heteronormative social constructs that surround us. On her new album polish the machine, the Brighton-based songwriter stretches away from the suburban nightmare, seeking a cathartic reprieve that looks beyond the ordinary. “I was looking to the truth of removing any expectations that we’ve acquired along the way,” she says.

Previously performing under the moniker Dog in the Snow, Ganya’s 2017 album Consume Me (Battle Worldwide) introduced a meticulous and elegant voice, while 2019 album Vanishing Lands (Bella Union) - inspired by the striking imagery in a period of vivid dreams - utilised swirling dream-pop and haunting post-punk to present an eerie, unflinching look at the often nightmarish reality of the present world. polish the machine leans further into Ganya’s interiority, but refuses to succumb to despondency, instead pursuing a platform for community and tentative optimism. Here, the constraints of societal roles are loosened to encourage a different route: a wandering, ever-evolving path.

TRACK LISTING

1 I Will Hold That Hand For You
2 Young Girls Never Die
3 Wedding In The Night Time
4 Delicate Graffiti
5 Afterparty
6 The Crowd
7 Deep Sea
8 Devotion
9 Polish The Machine
10 Blue Fruit
11 Birdsong

In the summer of 2021, Brighton-based, Scottish-Thai songwriter Helen Ganya's grandmother passed away.

The grief hit the artist hard, not only because it marked the loss of her last remaining grandparent, but also because it felt like her links to being half-Thai were disintegrating, roots quaking and shifting in uncharted territories. Ganya grew up in Singapore, but spent her summers in the northeast of Thailand where her mum's side of the family is from, visiting her grandmother. Where would all those memories go now that the person at the centre of them was gone? What was her relationship to this place without that glue? And so, in an attempt to process it all, Ganya began to write.

"I got my diary and wrote every single memory of my time as a child in Thailand, spending time with her, my grandad, my aunts and cousins and everything," she explains, "I had these snapshots of memories that I just wrote down because I just suddenly panicked: it was like, who am I, then?"

It was for this reason that, while Helen Ganya was waiting for her acclaimed 2022 album, polish the machine,to come out, she was already working on what would become her arresting new record, 'Share Your Care'. Ganya has been releasing music since 2015 (formerly under the moniker Dog in the Snow). In the records she's put out over the years, she's shown a proclivity towards dark and artful rock and off-kilter sounds, garnering praise from the likes of the Sunday Times, Uncut, Clash, Loud & Quiet and more. But Share Your Caremarks a new era, building on Ganya's past sonic worlds and interspersing them with traditional Thai instrumentation, resulting in a plush, luminous, psych-tinged affair that is full of feeling.

The result is a triumphant, abundant record, teeming with heart and cinematic warmth.

TRACK LISTING

1. Weera
2. Share Your Care
3. Mekong
4. Interlude 1 - Sam Law
5. Fortune
6. Horizon
7. Morlam Plearn (Luk Khrueng Surprise)
8. Interlude 2 - Look That Way!
9. Barn Nork
10. Hell Money
11. Chaiyo!
12. Interlude 3 - Conversations At The Catfish Lake
13. Myna

GAPS are two old school friends, Rachel and Ed, reunited in Brighton after many years apart. Rachel sings and records her ideas into the mic on her mac and Ed then works on the production after which they reconvene to finish their songs off together seeking influence from the likes of Vashti Bunion, Kate Bush, Fleetwood Mac, Ravi Shankar, Four Tet and Jon Hopkins amongst others.

‘I Know It’s You’ (b/s new track ‘Inside Your Head’) follows debut AA single, ‘Keep You’/Cascade’. Described as "one of the strongest debut tracks we’ve heard in quite some time" by The Line Of Best Fit and “a mystical tune that’s at once wondrous and a bit haunting" by Consequence of Sound, the track garnered additional support from the likes of DIY, The Fly, Q, The Guardian and spins from XFM’s John Kennedy and Amazing Radio‘s Simon Raymonde show.

Jeremy Gara, drummer of Arcade Fire, releases his second solo album ‘Passerine Finale’ on Invada Records.

The album was mastered by Helge Sten (Deathprod, Supersilent) and composed, produced and recorded by Jeremy over the last three years. ‘Passerine Finale’ is a varied collection of songs and disparate sounds, from arranged static noise to extended melodic drones, improvised and chiselled at, ignoring form or structure, and completed the moment things ‘felt’ something.

The album comes pressed on silver vinyl and is housed in a heavyweight sleeve with digital download card included, with artwork throughout by Jeremy himself.

Jeremy explains: “‘L_06’ - the visual thing, like the song it accompanies, comes from trying to push really simple objects and figures to a place where they hopefully, somehow, become imprinted with a kind of emotional energy - attempting to entwine single note drones and simple straight lines together tightly enough that they dance a little.”

Originally from Ottawa, Canada, Jeremy has been a member of Arcade Fire since 2004. Outside of the band, he has recently collaborated with bandmate Sarah Neufeld and world-renowned dancer and choreographer Peggy Baker on composing music for a large-scale dance production called Who We Are In The Dark and performed it live at various dance festivals. He’s also been touring and performing his solo material across the world since his first album, ‘Limn’, was released in March of 2016.

STAFF COMMENTS

Barry says: invada obviously have form for this sort of soundtracky full-spectrum mayhem, but i've not heard anything quite as brilliantly punishing and heavy since Ben Frost's 'Theory Of Machines'. Passerine Finale is a gorgeous, genre straddling behemoth, and one that deserves to be absorbed at full volume.

TRACK LISTING

In, Final Note
L_06
Kelpie
Ice Towers
Watching You
CDMX
Passerine Finale
Wraith

Two LP best of collection including all the hits and classic album tracks from the bands 1993 breakthrough album Garbage to their recent 2021 release No Gods No Masters.

TRACK LISTING

CD TRACKLISTING:
DISC 1
1. Vow
2. Subhuman
3. Only Happy When It Rains
4. Queer
5. Stupid Girl
6. Milk
7. #1 Crush
8. Push It
9. I Think I'm Paranoid
10. Special
11. When I Grow Up
12. The Trick Is To Keep Breathing
13. You Look So Fine
14. The World Is Not Enough
15. Androgyny
16. Cherry Lips (Go Baby Go!)
17. Breaking Up The Girl
18. Shut Your Mouth
DISC 2
1. Why Do You Love Me
2. Bleed Like Me
3. Sex Is Not The Enemy
4. Run Baby Run
5. Tell Me Where It Hurts
6. Witness To Your Love*
7. Blood For Poppies
8. Battle In Me
9. Automatic Systematic Habit
10. Big Bright World
11. Control
12. Empty
13. Magnetized
14. Even Though Our Love Is Doomed
15. No Horses
16. The Men Who Rule The World
17. No Gods No Masters
*Rare Track

VINYL TRACKLISTING:
A1: Only Happy When It Rains
A2: Queer
A3: Stupid Girl
A4: #1 Crush
A5: Push It
B1: I Think I’m Paranoid
B2: Special
B3: The World Is Not Enough
B4: Androgyny
B5: Cherry Lips (Go Baby Go!)
B6: Why Do You Love Me
C1: Bleed Like Me
C2: Witness To Your Love*
C3: Blood For Poppies
C4: Automatic Systematic Habit
C5: Empty
D1: Even Though Our Love Is Doomed
D2: No Horses
D3: The Men Who Rule The World
D4: No Gods No Masters
*Rare Track

Beautiful Garbage is the third studio album from Garbage, initially released on October 1, 2001. Marking a departure from the sound the band had established on their first two releases, Garbage & Version 2.0, the album was written and recorded over the course of a year, when lead singer Shirley Manson chronicled their efforts weekly online, becoming one of the first high-profile musicians to keep an Internet blog. The album expanded on the band's musical variety, with stronger melodies, more direct lyrics, and sounds mixing rock with electronica, new wave, hip hop, and girl groups.

I've been a big fan of Garbage since I first heard them and while Version 2.0 was definitely my jam, I absolutely loved this self-titled LP when it came out. The frantic electronic percussion and Vig's trademark sound providing a perfect counter to Manson's snarling vocals. 

Kicking off with 'Supervixen', it was pretty clear that we were onto something special, perfectly displaying their keen juxtaposition of electronic heft and melodic indie, switching from distorted mayhem to clean and spooky in the click of the fingers. It goes without saying that the heavy-hitters here are the always-on-radio 'Only Happy When It Rains' and almost ubiquitous 'Stupid Girl', but there are very few moments that stray from excellence, with pieces like 'Vow' and 'Fix Me Now' being generally unheralded but resolutely stunning, and showing hints of what was to come on 2.0. 

STAFF COMMENTS

Barry says: Here's where it all started. 'Queer', 'Only Happens When It Rains', 'Stupid Girl' ALL sounding exactly as fresh as the first time around, this was the startling genesis of a band that never quite sounded like anyone else. A truly essential document of the late 90's grunge / indie scene.

TRACK LISTING

CD1 & 2LP Tracklist:
1. A1. Supervixen
2. A2. Queer
3. A3. Only Happy When It Rains
4. B1. As Heaven Is Wide
5. B2. Not My Idea
6. B3. A Stroke Of Luck
7. C1. Vow
8. C2. Stupid Girl
9. C3. Dog New Tricks
10. D1. My Lover's Box
11. D2. Fix Me Now
12. D3. Milk

CD2 Tracklist:
1. Subhuman
2. Girl Don’t Come
3. Sleep
4. Driving Lesson
5. Trip My Wire
6. #1 Crush
7. Butterfly Collector
8. Alien Sex Fiend
9. Kick My Ass

‘Let All That We Imagine Be The Light’ is the eighth studio record from Garbage and was recorded at Red Razor Sounds in Los Angeles, Butch Vig’s studio Grunge Is Dead, and Shirley Manson’s bedroom. The record was produced by the band and longtime engineer Billy Bush. The album is unmistakably Garbage. All the hallmarks and signatures for which they are known are present here. Big angular guitars, precise, propulsive beats and cinematic soundscapes all lurk beneath Shirley Manson’s expressive voice, her lyrics bristling with attitude. It is the sound of a group at the peak of their creative powers - characteristically harnessing sonic juxtapositions and moods to create an album that thrums equally with both light and shade.

“Going into making this record, I was determined to find a more hopeful, uplifting world to immerse myself in. The title of the album, Let All That We Imagine Be The Light is a perfect, headline statement for the record as a whole. When things feel dark it feels imperative to seek out the forces that are light, positive and beautiful in the world. It almost feels like a matter of life and death. A strategy for survival” - Shirley Manson

STAFF COMMENTS

Ashley says: I had a real soft spot for Garbage around the first two / three albums, and still consider 'Version 2.0' one of my favourite indie electronic albums of all, so I was excited to hear the new one. Fortunately, it has all of the propulsive drive and soaring, anthemic glory we've come to know and love from the STILL ORIGINAL line-up, long may they continue.

TRACK LISTING

1. There’s No Future In Optimism
2. Chinese Fire Horse
3. Hold
4. Have We Met (The Void)
5. Sisyphus
6. Radical
7. Love To Give
8. Get Out My Face AKA Bad Kitty
9. R U Happy Now
10. The Day That I Met God

Garbage return with their seventh studio album ‘No Gods No Masters’, to be released 11th June 2021.

“This is our seventh record, the significant numerology of which affected the DNA of its content: the seven virtues, the seven sorrows, and the seven deadly sins,” says Garbage frontwoman Shirley Manson of the band’s ferocious new album No Gods No Masters and its twists and turns from capitalism and lust to loss and grief. “It was our way of trying to make sense of how fucking nuts the world is and the astounding chaos we find ourselves in. It’s the record we felt that we had to make at this time.”

Since releasing their eponymous debut album in 1995, Garbage has blazed a unique sonic trail, garnering critical acclaim and amassing a passel of hits as well as seven Grammy nominations along the way to 17 million albums sold.

No Gods No Masters is a big, bold and indignant record – overtly political and socially charged in a way that the band has not been before. Its songs touch on themes ranging from global unrest and encroaching climate change (“The Men Who Rule the World”) to the Black Lives Matter movement (“Waiting For God”), to the Me Too movement, sexism and misogyny.

STAFF COMMENTS

Barry says: I've heard a few Garbage albums since 1998's 'Version 2.0', but none of them have really captured groove and intensity of that career-defining moment, until now. 'No Gods No Masters' sees Manson and co reinvigorate that quintessential late-90's sound into an entirely adjacent but wonderfully renewed take. With the electronic intensity of the early LP's punctuated by wonderful moments of pop levity, it's a superb listen all round.

TRACK LISTING

Vinyl:
SIDE A
1. The Men Who Rule The World
2. The Creeps
3. Uncomfortably Me
4. Wolves
5. Anonymous XXX
6. Waiting For God

SIDE B
1. Godhead
2. A Woman Destroyed
3. Flipping The Bird
4. No Gods No Masters
5. This City Will Kill You

Deluxe CD:
CD 1
1. The Men Who Rule The World
2. The Creeps
3. Uncomfortably Me
4. Wolves
5. Anonymous XXX
6. Waiting For God
7. Godhead
8. A Woman Destroyed
9. Flipping The Bird
10. No Gods No Masters
11. This City Will Kill You

CD 2
1. No Horses
2. Starman
3. Girls Talk Featuring Brody Dalle
4. Because The Night Featuring Screaming Females
5. On Fire
6. The Chemicals Featuring Brian Aubert
7. Destroying Angels Featuring John Doe & Exene Cervenka
8. Time Will Destroy Everything

This was for me the pinnacle of Garbage's early days. Yeah, the self titled LP had the more rawkous, uncompromising grunge of 'Stupid Girl' and 'Only Happy When It Rains' but for me, the 1-2 punch of 'I think I'm Paranoid' and 'When I Grow Up' perfectly laid the groundwork for the euphorically tender second half of the LP.  From the glitchy gothic orchestration of 'The Trick Is To Keep Breathing' to the busy quiet-loud masterpiece that is 'Sleep Together' (*that key change*, spine tingles every time), there is no mistaking that Garbage had set the scene for the electronic indie sound of the 00's. There's something unique about Vig's production here too, lurching between chaotically busy and almost still without breaking step. 

STAFF COMMENTS

Barry says: It's surprising really that the band that made Version 2.0 could be the same band that made their self-titled debut, with that ostensibly being a grunge album and this veering almost full-force into electronic indie. The tracks here hold up supremely well too, with exactly the moments I remember from the first time around sounding just as good as when I heard them in the late 90's.

TRACK LISTING

CD1 & 2LP Tracklist:
1. A1. Temptation Waits
2. A2. I Think I'm Paranoid
3. A3. When I Grow Up
4. B1. Medication
5. B2. Special
6. B3. Hammering In My Head
7. C1. Push It
8. C2. The Trick Is To Keep Breathing
9. C3. Dumb
10. D1. Sleep Together
11. D2. Wicked Ways
12. D3. You Look So Fine

CD2 Tracklist:
1. Can't Seem To Make You Mine
2. 13x Forever
3. Deadwood
4. Get Busy With The Fizzy
5. Soldier Through This
6. Thirteen
7. Lick The Pavement
8. Medication (Acoustic)
9. Tornado
10. Afterglow

Remote follow up their head turning Various Artists release with this label debut from Dusseldorf's finest dancefloor export Garben (Gerben Eden). The "What Y Feel" EP comes hot on the heels of sell out releases on Ecstacy, Lampuka and Ethereal Sound, and sees Garben push his other wordly sound all the way through the looking glass. 'Vinyl' is a bass heavy, grime influenced tech house track with haunting synth sounds and tight machine drum percussion. It's exactly the kind of thing Marcel Dettman might play early on in a set, before he declares all out war on the system. On the flip, 'What Y Feel' is a deep and dope analogue house builder, reminiscent of his Vakula collaboration. Dreaming, hazy and drifting chords wash over you while a mean kick keeps you moving. This could very be mistaken for a long lost Pepe Bradock record. Secret weapon alert!!! EP closer (confusingly classed as side C????) "Baby" is a mellow head nodder that bubbles along at sub aquatic depth. A sweet vocal loop, jazzy bassline and smudged synth sounds melt together to form a beatdown groove treading water in a lysergic sea. The A-side will do serious damage for the main room masters, but it's the B-side that's the winner for me. 

TRACK LISTING

A. Vinyl
B1. What Y Feel
B2. Baby

Gabi Garbutt is an androgynous queer artist creating lyrical alternative pop with a punk spirit. Gabi’s poetic lyrics are imbued with a magical realism; they are sensual, raw and visually expansive, reflecting their love of the poetry of Audre Lorde, Federico Garcia Lorca and Andrea Gibson, and the surrealist art of Remedios Varo, Leonora Carrington and Joan Miro.

On the new album Gabi explores how love, creativity and wonder can rupture systems of oppression and instead cultivate new connections and perspectives, releasing a radical love that brings us closer together and closer to nature. They weave this together with intensely personal themes such as queer heartbreak and inherited trauma, and they write about their experiences of manic depression in a way they hope will make others feel less alone.

Gabi’s lyrics are always rooted in a belief in the power of the human spirit and a social consciousness instilled in her at an early age, being the daughter of a Chilean refugee. Gabi’s musical choices add emotional intensity whilst also giving their lyrics space to breathe and recline in the ears of the listener. Whilst the music broadly can be described as alternative pop, depending on the theme it sonically shifts between emotive, sparkling, dreamy synths, the raw energy of punk and acoustic intimacy.

TRACK LISTING

1. Radical Love
2. New Kind Of Weather
3. Never Danced So Much
4. Red River
5. Snaggle Tooth
6. Lightning Held
7. Fire In The Well
8. Let The Tree Sing
9. Deep Sea Creatures
10. Radical Love Coda

THIS IS A BLACK FRIDAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 29TH 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 30TH).

Electric on the Eel: August 29th, 1987 brings the first Eel River show to vinyl. Co-produced by Bill Graham Presents and the Hog Farm, this show lent an air of familiarity not always present in the urban setting Jerry usually played in. With their quintessential band in tow – Gloria Jones, John Kahn, David Kemper, Jacklyn LaBranch, and Melvin Seals – fans traveled across the country to see JGB in the heart of the Emerald Triangle. Limited edition of 4,000 pressed on Orange Sunshine vinyl.

TRACK LISTING

Side A
1. How Sweet It Is (To Be Loved By You)
2. Forever Young
3. Get Out Of My Life Woman

Side B
1. Run For The Roses
2. And It Stoned Me
3. My Sisters And Brothers

Side C
1. Deal
2. The Harder They Come

Side D
1. I Shall Be Released
2. Think
3. Evangeline

Side E
1. Gomorrah
2. Let It Rock

Side F
1. That Lucky Old Sun
2. Tangled Up In Blue