ALL GENRES

BACK CATALOGUE - G

Generation X

Your Generation (Winstanley Mix)

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

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

    Green River

    Olympia, Tropicana, 1984

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

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

      Ginger Johnson & And His African Messengers

      Witchdoctor

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

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

      Greg Dulli

      A Ghost / North Country Girl

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


        ìA Ghostî, the A-Side is from Greg Dulliís debut solo album ìRandom Desireî The b-side is exclusive to this limited Record Store Day release and is a cover of the Bob Dylan classic ìGirl From the North Countryî. The recording features Mark Lanegan (The Gutter Twins, Screaming Trees) as guest vocalist.

        Galaxie 500

        Copenhagen

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


          3-sided double LP (side 4 is custom etching) Limited edition of 2000 black vinyl copies. For the first time ever on vinyl, a special limited edition of Galaxie 500ís only live recording, Copenhagen. An official Record Store Day release, co-sponsored by Dogfish Head Craft Brewed Ales, who are releasing a limited edition Danish-style beer to enjoy alongside, and staging a RSD 2020 live tribute to Galaxie 500 at Brooklynís Rough Trade Records featuring Magnetic Fields, Xiu Xiu, Surfer Blood and others. Galaxie 500ís last show of their last European tour was captured to 24-track tape by Danish National Radio on December 1, 1990, and first released (on CD only) by Rykodisc in 1997, following the success of their 1996 box set reissue of all Galaxie 500ís studio albums. Copenhagen ìis a bullet to the head of those who maintain that the band was best heard on record,î as critic/sage Byron Coley has written. ìIt is abundantly clear, as the trio spirals through an inspired set of covers and originals, that the introverted disengagement of their early live work has been replaced by a unique, powerful and controlled presence that allows them to deliver the goods emotionally as well as sonically. The blend of heart and hand is stunning.î Mark Richardson wrote in Pitchfork: "The live album, Copenhagen, which is heavy on songs from This Is Our Music and in almost every case improves upon them, turns out to be the ideal closing chapter. During the 1990 show in Denmark, Galaxie 500 play magnificently to what sounds like a pretty small crowd. But that small crowd is into it. Sometimes bands work like that. They never made it big, but during their short run, Galaxie 500's often quiet and always beautifully rendered music had a profound impact on a few people, including this writer. It needs to stay out there, where it has a chance of finding a few more.î

          Gaston

          My Queen

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


            Soul Brother Records are delighted to reissue on vinyl for the first time one of the most in demand and best 'Holy Grail' Soul and Funk albums for RSD 2020.'My Queen' by self contained band Gaston was recorded in North Carolina in 1978 for the independent Hotlanta label and has been in demand for the last 30 years.The album consists of seven excellent Soul and Funk tracks including 'Clap Song' sampled by Sporty Thievz in 1998 and the also sampled two stepper 'My Dreams'. Original copies are rarely seen and command £500 on ebay.This limited edition of 1500 hand numbered copies is likely to be very popular with Soul collectors and sell out fast. LTD 1k RSD 2020 release.Machine Numbered Sleeve

            Gene

            Rising For Sunset - 20th Anniversary Edition

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


              Available exclusively to RSD2020, the much loved and respected UK indie band Gene reissue the classic live album "Rising For Sunset" for the first time on vinyl. Recorded in 2000 at LA's The Troubadour, the recording has the band in their prime performing stand out tracks "London, Can You Wait?", "As Good As It Gets", "For The Dead" and signature track "Olympian" Pressed on three sided 180g Orange and Yellow heavyweight vinyl, including an etched fourth side.

              Girl Band

              Vicar Street Live

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


                In November 2019, Girl Band played back to back sold out shows at Dublin's iconic Vicar street, this was following the release of long awaited second album 'The Talkies' hailed as 'more abstract and more focused than their debut' and a sold out East coast U.S & European tour.Recognised for their ferocious live shows which have been described as chaotic, electrifying and 'genuinely dangerous, like one last rave before the apocalypse', these shows were highly intimate and intensely sought after creating an air of 'you had to be there'.This is their first ever Live vinyl and features tracks from their whole repertoire, some of which have only been performed a handful of times.1.Pears for Lunch ñ 3.35 2.Fucking Butter ñ 7.49 3.Lawman ñ 6.14 4.Heckle The Frames ñ 1.31 5.The Last Riddler ñ 1.21 6.Laggard ñ 5.56 7.Salmon of Knowledge ñ 6.21 8.Amygdala ñ 1.43 9.The Cha Cha Cha ñ 0.29 10.Shoulderblades ñ 6.07 11.Prefab Castle ñ 7.39 12.Why they hide their bodies under my garage? 13.Going Norway ñ 4.13 14.Paul ñ 6.54

                Golden Earring

                Radar Love (7" + Golden Earring Adapter)

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


                  7" release by one of the world's best-known Dutch bands Golden Earring of one of the biggest Dutch hits ever "Radar Love".This 7 inch was never released before with this track listing, as both the original UK version as the Moontan LP version of "Radar Love" are included.Pressed on gold coloured vinyl, the package also includes an exclusive/collectable "Golden Earring" adapter.

                  Goldie Lookin Chain

                  Original Pyrite Material

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


                    Gold colour vinyl, limited edition of 500.The best hip hop group from a small town in South Wales are back .Newport's Goldie Lookin Chain's latest album on limited edition gold vinyl for RSD.Once again GLC skilfully combine beats, rhymes and swearing to create the ultimate collection of rap essentials to play loud in your car, on your boom box or just to annoy your mum.

                    Gorillaz

                    D-Sides (RSD20 EDITION)

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


                      D-Sides is a 2007 compilation album by the British virtual band Gorillaz.The album contains B-sides and remixes from singles and bonus tracks for the band's second studio album Demon Days, as well as previously unreleased tracks recorded during the same sessions.

                      Gorillaz

                      G-Sides (RSD20 EDITION)

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


                        G Sides is a B-sides collection by Gorillaz from their first studio album session, Gorillaz and the Tomorrow Comes Today EP.

                        Guided By Voices

                        Hold On Hope

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


                          20th anniversary reissue of 2000 EP, pressed on ultra clear translucent 10" vinyl

                          Giorgio Moroder Ft Kylie Minogue

                          Right Here Right Now

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


                            Limited edition 12" on grey vinyl with two unreleased Kenny Summit remixes of the huge Giorgio Moroder 'Right Here Right Now' featuring vocals from none other than Kylie Minogue.

                            FORMAT INFORMATION

                            Ltd 12" Info: *** ONE COPY FOUND ***

                            Gary Numan With The Skaparis Orchestra

                            When The Sky Came Down (Live At The Bridgewater Hall, Manchester)

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


                              The limited edition companion 3LP of Garyís sold out show with The Skaparis Orchestra at The Bridgewater Hall, Manchester. The setlist includes songs from his highly successful Savage album and classic tracks including the No.1 single ëAre ëFriendsí Electric?í. Gary Numanís previous studio album Savage: Songs From A Broken World, was released in September 2017 through BMG and earned the best reviews of Garyís career. He entered the UK charts at No.2, a fantastic achievement for the iconic and highly influential artist. The British electro pioneer was also awarded The Inspiration Award for songwriting and composition at the Ivor Novellos in 2017 and has been receiving outstanding live reviews since. In 2018, Gary performed a series of exclusive, sold out orchestral concerts taking place in Cardiff, Birmingham, Newcastle, Manchester, London and Glasgow. Gary Numanís music has always had a filmic quality, but with The Skaparis Orchestra joining his regular band, that mix of hard electronic and soaring cinematic atmosphere was truly realised in his spectacular live shows.

                              Gemma Ray

                              Lights Out Zoltar! (redux)

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


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

                                Gruff Rhys

                                (Don't) Welcome The Plague As A Blessing/ The Babelsberg Basement Files

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


                                  LP with split coloured black & white vinyl Early in 2016 Ali Chant texted me, asking if I still wanted to record some stuff at his studio - as property developers were about to knock it down.Another creative space bulldozed away for capital gain.Politically it was a shit year.The noise building for the Brexit referendum that would fuck with the future of the young was in full swing.Bowie died, and on the morning of the first recordings I had the worst migraine.I left the building and threw up in the street.I wanted to commit to the lyrics and sing live so I think I was stressed about getting them ready to sing. I had a batch of songs I wanted to record but I didn't have a record label or any plans of what to do with them. I gathered incredible musicians from my square mile in Cardiff in the van and drove to Bristol.Kliph on drums, Steve on bass and Osian on piano. I sang and played guitar - We recorded live takes for 3 days then I sat on the songs for almost 2 years.Eventually handing them to composer Stephen McNeff to work on orchestral arrangements. I called the album that was mixed by Samur Kouja; Babelsberg - and I'm very happy with it. This album meanwhile is an exploration of how it came to be - and the songs in their raw state.A companion piece rather than the definitive article. Most tracks are similar to the final work except for Selfies in The Sunset which is pre-duet and much longer. At some point it would be great to release the amazing orchestral elements too.Maybe both records could be played at once.In the meantime please enjoy the fruits of Kliph Scurlock's mixes and demo digging for (Don't) Welcome The Plague As A Blessing. I'm very grateful to Lisa Jen and Mirain Haf from the band 9 Bach for singing the background vocals.Kliph for overseeing this project, Rough Trade for their enthusiasm and thanks to the designers; thanks Uno Moralez for agreeing to have his incredible Babelsberg sleeve illustration carved up, and ace designer Mark James for this final article. Further thanks to Ali, Steve, Osian and also to Robin Turner for lending his ear at the time. 1. Frontier Man 2. The Club 3. Oh Dear! 4. Limited Edition Heart 5. Take That Call 6. Drones in the City 7. Negative Vibes 8. Same Old Song 9. Architecture of Amneisa 10. Selfies in the Sunset

                                  George S Clinton

                                  Mortal Kombat - OST

                                    THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE SEPTEMBER 26TH DROP DAY AT 6PM.
                                    LIMITED TO ONE PER PERSON.

                                    Originally released on cd only in 1995, this score to the first film ever developed for the massive gaming franchise will get the lp treatment in conjunction with the film’s 25th anniversary. side a features the iconic mortal kombat logo, while side b features goro, a fan favourite from the game and film who is generally considered by gamers to be one of the most memorable and difficult bosses in gaming culture. in fact, the four-armed fighter did not lose a battle for 500 years before a first ever loss to mortal kombat hero, lui kang. the music was composed by george s. clinton with a heavy assist from the guitarist, buckethead, who appears on 10 of the 26 tracks.

                                    Glen Adams

                                    A Beat For You

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

                                      STAFF COMMENTS

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

                                      FORMAT INFORMATION

                                      12" Info: One copy available

                                      Fresh from touring with Hugh Masekela (“The Boy’s Doin’ It”), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.

                                      “I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with
                                      Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh
                                      sound which was mostly percussion oriented. Yes I knew about Hugh’s music before I met him. Infact when we started playing
                                      together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments,
                                      but Hugh and myself shared the same 3 bedroom apartment”.

                                      “We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was
                                      a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use.
                                      We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the
                                      Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie
                                      Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US.”

                                      Gyedu Blay Ambolley And Zantoda Mark III

                                      Control

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

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

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

                                      Genevieve Artadi

                                      Dizzy Strange Summer

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

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

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

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

                                        Greg Ashley & The Western Playboys

                                        Greg Ashley & The Western Playboys

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

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

                                          Greg Ashley

                                          Pictures Of Saint Paul Street

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

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

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




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

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

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

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

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

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

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

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

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

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


                                            STAFF COMMENTS

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

                                            FORMAT INFORMATION

                                            Ltd 12" Info: Strictly limited edition. 250 copies worldwide.

                                            Five years after his critically acclaimed debut album Throwback, Glenn Astro returns with his deeply personal album Homespun.

                                            Marking a change in course from his first release on Tartelet Records, Glenn Astro is set to showcase his sophomore album Homespun, a testament to a visionary artist who has come into his own. Made up of ten tracks spanning 45 minutes, the record twists and turns between electronic meditations, soulful vocals by Ajnascnet, and futuristic electro, carving out a world of spacey eclecticism that is as nostalgic as it is experimental.

                                            “This album is in all facets different from the first one, which was a deliberate decision. No vintage sounds and references, no sampling, combined with futuristic sound design and song structures.I tried to keep it as current and intuitive as possible,” he says.

                                            Known for his chunky beats and fuzzy textures, Glenn Astro has released on labels such as Ninja Tune and Apollo, leaving a distinctive signature on everything he touches.

                                            But Glenn Astro has quietly been crafting a new sound for himself. Sometimes taking detours – morphing into his dark alter ego and experimenting with artist collaborations.

                                            The sound of Homespun is a culmination of several years of reflection and artistic development – however, the album itself was produced in less than three months. “I set myself an ultimatum to finish the album within three months. If I didn’t make it, I’d
                                            have to rethink my career path and keep music as a hobby, he says.

                                            On the introspective first single and album title track “Homespun,” Ajnascent’s vocals lend a sincerity to the melancholic production. “It’s about the regret of not taking chances and giving in too much, but also about taking responsibility and being honest with yourself. Homespun is a nod to nostalgia and a desire for simplicity and prudence, being equally the culprit and the cure,” elaborates Ajnascent.

                                            On “The Yancey,” an homage to J Dilla, Glenn Astro paints his vision of contemporary dance music with shimmering melodies, deep ambient soundscapes, and advanced drum programming. “Moreira” and “Look at You” feel like spaced-out electronic funk hybrids, while “Taking Care of Business” goes back to the future with Glenn Astro’s take on jungle. Other tracks such as “Mezzanine,” “Slow Poke Flange,” and “Viktor’s Meditation” provide the finest dubby electronics.


                                            Geoff Barrow & Ben Salisbury

                                            Free Fire: Original Motion Picture Soundtrack

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

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

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

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

                                              FORMAT INFORMATION

                                              CD includes MP3 Download Code.

                                              Geoff Barrow, Ben Salisbury & Various Artists

                                              HANNA: Season 1 (Music From The Amazon Original Series)

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

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

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

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

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

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

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

                                                FORMAT INFORMATION

                                                2xColoured LP Info: Pressed on white coloured vinyl.

                                                Gary Bartz & Maisha

                                                Night Dreamer Direct-to-Disc Sessions

                                                  The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration.

                                                  Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike.

                                                  Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz.

                                                  Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame.

                                                  Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques.

                                                  This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

                                                  Music From Memory’s latest release sees the reissue of G.B. Beckers' 'Walkman' album from 1982.
                                                  A painter and musician from Aachen, Germany, Günther Beckers created his third album ’Walkman' to coincide with an exhibition of his latest body of artwork in 1982. Released on his very own 'Milky Music' label with a run of just 500 copies and original pieces of artwork included with some copies, most copies of the album however remained amongst art collectors and with the painter himself. Rediscovered a few years ago through a friend of Music From Memory in the archives of a local radio station where all but one of the stations copies had been destroyed, it has been an album the label have been in love with since the first listen.
                                                  Touring as a guitarist with ECM affiliated Jazz musicians such as Alex De Grassi, William Ackerman, Ralph Towner & Larry Coryell to name but a few, Günther Beckers also would record on a number of releases of Klaus Schulze’s cult electronic music label ‘Innovative Communication’.
                                                  Always exploring new ideas and the possibilities of technology within his music, Günther would record the ‘Walkman’ album utilising the ‘Kunstkopf’ technique of sound recording. Kunstkopf or ‘Dummy Head’ recording is a 3D audio recording technology that enables listeners to define each source of sound as if they were in the original recording situation itself. Using two microphones which are usually mounted in the ears of a mannequin (giving it the ‘Dummy Head’ name in English) the technique exploits certain basic principles of human spatial hearing.
                                                  Listeners to ‘Kunstkopf’ recordings are in fact encouraged to listen to such recordings on headphones, as the 3D perception is often greatly diminished on speakers. With the title ‘Walkman’ G.B. Beckers was very much hoping the album would be enjoyed on headphones, even portably through a Walkman. Minimalist variations around an acoustic guitar, guitar synth, rhythm box and with wordless female vocals, G.B. Beckers' 'Walkman' drifts in and out of moods; it is a unique and at times hauntingly beautiful album, which the Kunstkopf recording technique further adds to the albums at times often otherworldly feeling.

                                                  STAFF COMMENTS

                                                  says: Music From Memory visit the evocative sounds of Gunther Beckers for their new release, bringing us a ten track excursion into rainsoaked windows, introspective guitar and bedroom beauty. Folk-meets-Balearic with a twist of ambience...

                                                  A beautiful, dreamlike expression of spiritual jazz recorded at a time when the idiom was completely out of vogue, Gary Bias' East 101 remains little known even by cult-classic standards, but its free-flowing approach demands attention from listeners who believe this kind of LP ceased to exist somewhere around the late 1970s. Recorded with a stellar supporting cast including vibist Rickey Kelly, bassist Roberto Miranda, and pianist David Tillman, Bias unspools a suite of deeply soulful and profoundly far-reaching original compositions that vividly evoke the blue skies of the record's Los Angeles origins. His flute and soprano saxophone somehow divine gravitas from weightlessness, creating music that challenges as much as it comforts.
                                                  Jason Ankeny/AMG

                                                  Sao Paulo’s Gui Boratto has been an innovator and leading member Brazil's dance music community for some time. His versatility to cross genres and remain faithful to the floor has been proven time and time again. Be it from “Beautiful Life” to “Azzura” or “No Turning Back”, his influence has struck a permanent chord in melodic dance music.

                                                  "Pentagram" sees Boratto expand and diversify his catalogue. It opens with the sublime, electrified beauty of "The Walker" before dropping to the drum-kit guided chaos of "The Black Bookshell". Beautiful Life vocalist Luciana Villanova sings on "Overload", a fast paced and evocative track that's ridiculously now, whilst "The Phoenix", featuring another guest vocalist - Nathan Berger - sees more emotive moods contrasted against Boratto's impressive electronic underlay.

                                                  Through his signature kaleidoscopic approach, Boratto has delivered a far-reaching, all-encompassing album that's wonderfully accessible. At once able to soundtrack a cocktail party on the beach, a night out on the town with the ladies / lads as well as the Sunday afternoon chores; it's radio crossover potential is also painfully apparent from the very first track with the Brazilian producer embracing a pop-like charm and songwriting style throughout.

                                                  Whereas "Spur" (a field-tested 808 and 909-heavy 'purist track', 'very, very old school' Boratto insists) and "Alcazar" are sheer smooth-edged 4/4 epics, the album also has some surprising, startling moments up it's sleeve: the John Barry-esque "Scene 2" (with a hint of Amon Tobin, "Easy Muffin" style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence; or with "Hallucination" (feat B.T.) and the further James Holden-ish title-track "Pentagram" (think 'The Idiots Are Winning'); 'one of those exercises I did when I got my Buchla modular synth', Boratto analyses, 'I think I’ve used more than 30 different snares, with different delays and reverbs. The whole song is alive'. And so is "Pentagram" in its entirety: alive and definitely just as manifold and hopeful as its architectonics are; the stuff of science and dreams all at once. 


                                                  FORMAT INFORMATION

                                                  2xLtd LP includes MP3 Download Code.

                                                  Gary Bredow

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

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

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

                                                    George Washington Brown

                                                    On The Night Plain

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

                                                    FORMAT INFORMATION

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

                                                    Gavin Bryars

                                                    A Portrait

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

                                                    When acclaimed South African musician Guy Buttery first sought out Dr. Kanada Narahari in late 2016, it was as his patient.

                                                    “It was a dark time.” Buttery recalls, “I had been bedridden for months and had been suffering from debilitating bouts of fatigue which no diagnosis or medication could help me get to the bottom of. When I first met Kanada, I was at the stage where even picking up my guitar to make music had become a joyless and taxing exercise.”

                                                    As Buttery’s searched for a cure, a family member recommended he see Kanada an Ayurvedic doctor who had relocated to South Africa from India and set up a practice in Durban. It was during this consultation, that the musician first experienced how Narahari infused the healing properties of Indian Classical music into his practice. Rather than treating him with a smorgasbord of pharmaceuticals, Narahari played his sitar and set Buttery on a strict daily diet of Raga’s to fast track his recovery.

                                                    Buttery was not only struck by his doctor’s musical talents but by the powerful healing properties inherent in his sitar compositions. When he left Narahari’s doctors room that afternoon, he asserts he was feeling decidedly clearer, lighter and stronger.

                                                    “Diving into Kanada’s music was definitely one of the reasons I'm still here today.” he admits. “The consistent tonal centre at the heart of Indian Classical Music, literally became my support pillar over this period. A central core of sorts in which to fall back on, strengthen and discover.”

                                                    Narahari as it turned out, was not only a prominent music therapist (and one of the only Ayurvedic doctors practicing in South Africa) but like Buttery, a highly accomplished musician with a devoted following back in his homeland.

                                                    Born in a small village along the Western Ghats in Karnataka, India, Narahari, at the age of nine, had enrolled to study Carnatic classical vocal and developed an interest in Hindustani Classical music with a particular passion for the sitar. While Buttery had secured his reputation as one of South Africa’s musical treasures, a multi-instrumentalist who commands sold-out performances both locally and internationally and more recently had been awarded the prestigious 2018 Standard Bank Young Artist for Music.
                                                    From this consultation, a friendship developed between the two musicians with Buttery soon inviting Narahari to join him in his studio. But it wasn’t all plain sailing in the beginning. While Buttery and Narahari’s sensibilities were very much aligned, there were a range of cultural and musical influences, nuances and inflections that first needed to be navigated and understood.
                                                    “I suppose we had to find a common ground.” Buttery says, before adding, “Which in the end turned out to be pretty "uncommon ground" for the both of us.”
                                                    It was after a few intensive sessions together that something exhilarating began to emerge. What began as a few idle improvisations soon evolved into feverish and lengthier jams. Whenever time permitted, the musicians would meet, descending deeper into the emerging sounds, while reimagining the realms that existed between their African and Indian heritages.
                                                    Over the next few months, the duo would rack up over fifteen hours of recordings in studio, and it was up to Buttery to shape the material into an album which they collectively titled Nāḍī, which Narahari translates from the Sanskrit as "The Channel" or "An Internal River".

                                                    During this period, Narahari bestowed upon Buttery, the moniker Guruji while Guy would refer to him, in affectionate return, as Panditji. Each time the musicians would meet, the studio space would be cleared by an impromptu ritual, with Guruji burning African Imphepho while Panditji would chant a Sanskrit mantra dusting Indian Agarbatti clouds over their instruments.

                                                    Once the room had been made hazy with this aromatic alchemy (with the ancestors welcomed in) the musicians would pick up their instruments and plunge into shimmering tides of sound. Reflecting on these sessions, Narahari recalls the immense creative freedom he felt throughout: “Guy and I tried to wander as much as possible, without any speculative, preoccupied ideologies or limitations. Love remained at the forefront of our journey together.”

                                                    “Those evenings we spent together in the studio” adds Buttery, “felt incredibly rich with purpose and a profound sense of freedom. While improvising, anything could happen and mostly did.”

                                                    On a first listen, the tracks on Nāḍī emerge as salty, humid invocations to the inscrutable depths and misty myths of the Indian ocean-- that vast body of water that stretches between, and laps the shorelines, of the artists’ respective homelands.

                                                    When asked to describe the sound him and Narahari refined, Buttery prefers to relay a series of evocative images.

                                                    “For me” he explains, “Nāḍī is a lighthouse, a beacon that resides at the bottom of the ocean.” As Buttery envisions it, “what once offered light to guide ships to safety, has been submerged and re-purposed by marine life as a coral-reef temple. Similarly, this sunken lighthouse exists as a concealed cenotaph, memorializing the ancient sea-routes and passages that once connected the two distant lands.”

                                                    On paper this may sound obscure but listening to the songs, it serves as an apt metaphor.

                                                    Across each meditative movement, listeners are able to relive the journey, immersing themselves in a series of incantations, replete with high dynamics, delicate African-Indian inflections and virtuoso string playing of an entirely new order. Further complimenting the fusion of musical dialects are a range of guest artists including Shane Cooper on bass, Thandi Ntuli on vocals, Chris Letcher on organ, Ronan Skillen on tabla and percussion and Julian Redpath on guitar, synth and backing vocals.

                                                    Now like the submerged lighthouse, the recordings stand as a monument, a marker and snapshot of this fortuitous meeting, a tribute to the healing gifts of Guruji and Panditji in performance. It’s a process that already, both musicians look back on with reverence and nostalgia.

                                                    Buttery ruminates in closing, that when he first met Kanada his illness correlated with the biggest drought South Africa had experienced in many years “…for whatever reason, whenever we would connect and make music together, the sky would tend to open. Even if it was just a few drops. This went on for months, until finally the drought dissipated and my health had been restored.”

                                                    By the time the heavens did open across the East Coast, a deep friendship had been forged and with it abundant musical offerings poured down. A treasured sample of which we able to share in every time we press play and immerse ourselves in the sacrosanct musical universe that is Nāḍī.

                                                    Gene Chandler

                                                    I'll Make The Living (If You Make The Loving Worthwhile) / All About The Paper

                                                    Funk and soul at its finest here as two Chicago classics from the Gene Chandler vault get an official remastered, reissue exactly as they deserve to be.  On the A side, ‘I'll Make The Living If You Make The Loving Worthwhile’ combines heavenly orchestral flair with Chandler’s sweeter than sweet vocals. That early 80’s influence weaves it’s way throughout with a healthy dose of slap bass bringing a flavour of funk to the fore. Take to the B side and Chandler offers up a more disco focused track, complete with a killer boogie tinged bassline, sensuous keys and strings of stratospheric proportions. Those silky-smooth trademark Gene Chandler tones keep the iconic soul running deeply through the veins of this 1980 number. Any self-respecting music lover deserves this remastered version nestled in their collection.

                                                    Gerry Cinnamon

                                                    The Bonny

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

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

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

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies exclusive red vinyl.

                                                      Gary Clail Sound System

                                                      Electric Skies / Twisted Love (Dub)

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

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

                                                        Gene Clark

                                                        No Other - Reissue

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

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

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

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

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

                                                          STAFF COMMENTS

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

                                                          FORMAT INFORMATION

                                                          LP Info: The original album Remastered and pressed on black vinyl.

                                                          2xDeluxe CD Info: Hardbound book cover.
                                                          The original album remastered & bonus disc of new session mixes.

                                                          CD Info: The original album Rremastered.

                                                          Take it away Ariel...

                                                          "In 2018 I landed in Amsterdam to start a Europe Tour. The venue could not find a hotel for me, so I asked Gilbert, who invited me to stay in his guest room. I felt at home when I saw what was on Gilbert's table/mind. The book 'Shantaram', a double reed flute photo, Saravah... (as a friend of Pierre Barouh, I had visited Saravah where I met Jacques Higelin in the 70s). Gilbert and I exchanged many ideas, and I invited him to record at my place in Australia. He did, and here is the result! I am thrilled that the words issued from my Head Voices are highlighted by the arrangements co-created with Gilbert - also the sheer genius of I:Cube to polish our gems has a lot to do with that!

                                                          Enjoy your listening experience!"


                                                          STAFF COMMENTS

                                                          says: A meeting of kindred spirits if ever I've seen one, this is the mind expanding, hair raising deep space collaboration between Versatile boss Gilb'r and experimental / new age hero Ariel Kalma. Imagine Kalma's cosmic meditations merged with Gilb'r's clubby chug - sounds pretty dope to me.

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

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

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

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

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

                                                          Gabriella Cohen

                                                          Pink Is The Colour Of Unconditional Love

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

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

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

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

                                                            Gilbert Cohen & Ariel Kalma

                                                            Head Voices Remixes

                                                              Versatile presents a series of remixes of tracks from Head Voices, the late long format from Ariel Kalma & Gilbert Cohen: through dub manipulations, downtempo lazy atmospheres or electronic profusion of bleeps and kicks, each one opens a new interpretation of this crossover project.

                                                              On A Side, Australian producer Leo James turned indeed « De Luscious » into an epic 12 minutes monster dub version, in the vein of Moritz von Oswald & Mark Ernestus’ Rhythm & Sound. On The flip, Canadian producer Priori who recently released the great On A Nimbus, gives here a deeper and minimal interpretation of « Tu Ne Peux Pas Savoir ». Finally, Versatile’s boss Gilb’R remixes an exclusive version of « Tribu Sauvage », previously only released on digital.

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

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

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

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

                                                              Graham Coxon / Luke Daniel

                                                              Falling

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

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

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


                                                                Boogie and proto-house are the flavours of the day for Star Creature's latest 7", spinning the usual gamut of 80s dancefloor vibrations. Regular contributor Giovanni Damico heads up the plate - dropping a double A-side of original productions.

                                                                "Try It Out" has galvanized slap bass, vocodored vox, slick guitar licks and a vintage drum box cleverly programmed to keep us bouncing throughout it's west coast funk flecked journey. Darting leads and fizzy stabs add to the experience as we're taken deep into the funkmosphere...

                                                                "Out Of Control" feels like a lost '86-'87 number, when house music was just finding its feat and still looked to disco and boogie for inspiration. Primitive sampling, seductive voc and those frenetic, 4/4 rhythms guiding it forward. Lovely stuff. 


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


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

                                                                FORMAT INFORMATION

                                                                Ltd LP includes MP3 Download Code.

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

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

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

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

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

                                                                STAFF COMMENTS

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

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: RSD stores exclusive coloured vinyl.

                                                                George Earnest & Der Opium Queen

                                                                Time Heals All Wounds

                                                                Echovolt have proven themselves excellent exponents of high grade house music. Through some expertly timed re-issues and ingenious originals they've become a fully established tour de force on the modern landscape.

                                                                "Time Heals All Wounds" is a new EP from George Earnest & Der Opium Queen containing three tracks that perfectly encapsulate the deep, epic and euphoric sides of house music that seem to epitomize Echovolt's ethos.

                                                                "Ultralush" kicks off with swirling pads, ascending arps and evocative bird song; it's that hi-def deep house sound with rainforest inflections that we go absolutely ape shit for here at Picc HQ.

                                                                "Rainy Day" blends wistful pad lines, dewy-eyed keys and beautifully formulated sfx with a smooth and simple broken beat for a moment of dreamlike relaxation with just enough thrust for you to bob your head to it.

                                                                Finally, "Time Heals All Wounds" ends the journey on a heavenly high note, a meandering organ part highlighting all that is good in the world as it travels through shuffled house drums, woozy synth riffs and a raise-your-sprits-to-the-sky chord progression. Add that impeccably timed, incredibly evocative spoken word vocal part (that appears just at the right time) and you have, my friends, a slice of deep house perfection few will rival all year! Form an orderly queue please!




                                                                STAFF COMMENTS

                                                                says: The title track, "Time Heals All Wounds" is a beautiful and blissful house track that's gonna be in my box all Summer and probably all Autumn. I suggest you check it out!

                                                                George Ezra

                                                                Cassy O

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

                                                                  4 Track EP on limited double gatefold 7" vinyl.

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





                                                                  Greg Foat

                                                                  Symphonie Pacifique

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

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

                                                                    FORMAT INFORMATION

                                                                    2xLP includes MP3 Download Code.

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

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

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




                                                                    STAFF COMMENTS

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

                                                                    Though they don't seem close to the 6Music playlist, Tax Free have been turning out some seriously cool music for a couple of years now, and the return of Gerry Franke is welcome in my world. Last time out on 'Ulam Spiral', Gerry wove a wiggy spell between tribal percussion, jazzy guitar and disjointed dub, and 'Morphology' sticks with the palette but twists the focus into something more refined and impactful.

                                                                    There's plenty to please Balearic beards here, whether it be the reverb soaked acoustic guitar and breathy pads of opener "Una Roca" (RIYL Joan Bibiloni), or the Arthur Russell-meets-Laswell groove of "You" (seen in two versions). Rhythmic duo 'La Cabina', 'Quince', 'El Puplo' and 'Staub' dance into the fourth world, while the psychedlic 'Syria' and 'Derd' utilise traditional instruments and backwards guitar to harness Zeppelin in Morocco. Gerry gives us a little techno club-dub on "La Corona" (check the subs and grab your face mask), soundtracks a particularly dark Seagal segment on "Una Finitud". Deep musica within folks!


                                                                    A collection of bedroom-engineered rhythms, psyched out slow jams and 4-dimensional steppers by GF. Very low business risk. Brought to you by Max & Can. Fictional Background: The cinematic vision of an unfinished short film project entitled ULAM SPIRAL served as the main inspiration for the score composed by Gerry Franke. Farcically over-dimensioned, the film was impossible to realise from a financial and practical perspective - a psychedelic blast of visual concepts, that lead to the unique narration style in which Franke tells an exotic story of death, a madness created by obstinacy, intrigue and coincidental creation. In 1963 Stanislaw Marcin Ulam (1909-1984) discovered a remarkable spiral formation while sketching with numbers during a mathematic lesson. He drew the natural numbers starting with 1, continuing in a left spiral and highlighting all prime numbers. Soon an unexpected pattern emerged from the sketch: The Ulam Spiral. An unexperienced director, who everyone referred to only as "Stab", was determined to realize an optical idea that alledgedly came to him while being on a trip to Jordan reading about Ulam and his spiral discovery, which initiated ideas of the connection between regularity and coincidence in Stab's mind eventually leading to the abstract script for the short film in 1993. When Franke was approached by Stab to compose the score of the film, he loved the wild imagery and the complex themes and decided to record music for ULAM SPIRAL in early 1995. A few months later Stab disappeared and Franke took a break from producing the soundtrack to focus on his band. In 1998 Stab reappeared with new ideas and convinced Franke to proceed with the score for the film, only to vanish again a couple of weeks later. Fed up with the inconsistency of the project, Franke decided to finish the soundtrack for his own listening pleasure in 2001 and kept it a secret - until today.

                                                                    Garron Frith

                                                                    Garron Frith

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

                                                                    Garron Frith

                                                                    Away From The Bright Lights

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

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

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

                                                                      G&D - Georgia Anne Muldrow & Dudley Perkins

                                                                      The Message Uni Versa

                                                                      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.

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

                                                                      FORMAT INFORMATION

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

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

                                                                      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.

                                                                      The Gabrieli Consort & Paul McCreesh

                                                                      A Venetian Christmas

                                                                      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.

                                                                      Daniel Gadd

                                                                      As If In A Dream I Drifted At Sea

                                                                        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…

                                                                        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”

                                                                        FORMAT INFORMATION

                                                                        2xLP includes MP3 Download Code.

                                                                        Gailes

                                                                        Seventeen Words

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

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

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

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

                                                                          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

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

                                                                          FORMAT INFORMATION

                                                                          Vinyl comes with CD version of the album enclosed.

                                                                          Serge Gainsbourg

                                                                          In The Studio With

                                                                          Spread over 3 CDs, this collection of 59 tracks, consists of a selection of Gainsbourg tracks (including many new and exclusive versions), interpretations of songs from other performers and a volume dedicated to the music of films is the audio complement of 450 pages of the Gainsbook.

                                                                          The result of more than twenty years of investigation and sixty interviews bringing together Serge Gainsbourg's historical arrangers, sound engineers and session musicians, this book sheds new light on his phenomenal repertoire.

                                                                          Also available as a 10 track LP.

                                                                          Serge Gainsbourg

                                                                          Initials SG - The Ultimate Best Of

                                                                          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.

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

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

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

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

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

                                                                          Galactic Protector

                                                                          Evening

                                                                            Accomplished musician / producer Bryan Richie, bassist for American rock band The Sword, has announced a new solo project under the pseudonym Galactic Protector. Overflowing with bright, synthesizer melodies and blissful, melancholic IDM, the 15 track effort plays out like electronic dream pop songs, hovering between ambient introspection and more active synth pop and post-rock elements.

                                                                            Tranquil, nostalgic and melodic, 'Evening' pushes sound beyond the realms of IDM and ambient, conjuring a more kinetic, experiential expression of sound. Using an arsenal of analogue and digital synths, Richie's music as Galactic Protector blends new wave and cinematic influences with sophisticated downtempo beat patterns. The tracks initially took shape at Richie's home studio as well as in the Portland studio of producer Tucker Martine (Neko Case, Modest Mouse) during recording sessions for The Sword's 2018 release 'Used Future'.

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Limited edition pressing on “galactic” yellow 180g heavyweight vinyl. Includes insert print and download card

                                                                            Brand new album from Galaxians.
                                                                            Essential for fans of classic Prelude like Gwen Guthrie, Sharron Red and Britfunk legends like David Joseph, John Rocca etc

                                                                            For their sophomore album, Chemical Reaction, Galaxians have stripped back the music and pumped up the vocals. Emma Mason's unstoppable voice elevates the group to a fully-formed musical act. This new LP is all about her voice.

                                                                            Mason's powerhouse vocal on the West End Records-inspired Chemical Reaction beckons you onto the dancefloor. Jed Skinner's bright and breezy synth melodies allow the song to really breathe, whilst Sam Bell's front-and-centre conga groove (straight out of Double Exposure's My Love Is Free) and Matt Woodward's intricate rolls ramp up the track's energy and momentum. The shorter Mama Ghetto Vogue Edit is brought to life by Darren Pritchard, vogue dancer and mother of Manchester's House of Ghetto, who meets a neon wonderland in the electrifying video.

                                                                            Elsewhere on the album, Heartbreaker champions female empowerment and personal freedom over a pounding boogie groove. It's a tight arrangement which drops into a delay-drenched Levanesque drum break before crescendoing back into a final chorus via one of Skinner's trademark JX-3P synth solos.

                                                                            On the proto-house funk of Fight For Love, where Emma flexes her vocal chords to jaw-dropping effect, a failing relationship is thrust into the spotlight over a punchy Linn Drum groove. On the silky shuffle of after-hours jam Work It Out, which brings to mind the classic Sly & Robbie Compass Point productions, Emma croons about a lover, her voice cast in a softer, more subdued glow. Heat of the City sizzles with the essence of an urban summer, and is peppered with heart-stopping hand claps.

                                                                            Third single Horizon sees the band in more reflective low-key mode, and could be their minor hit of the summer. There's some neat drum programming here, intertwined with Woodward's intricate fills and hi-hat playing.

                                                                            On Not The Money, Mason's vocal shifts to a lower register in the mid-section, bringing to mind Grace Jones at her most commanding.

                                                                            All in all it's a life-affirming experience, one born out of a sense of community and collaboration. Seven years on from their early explorations Chemical Reaction sees Galaxians retain sight of the principles that make their output, and dance music as a whole, so vital - commonality of experience, singular moments shared by a crowd, and rhythm as the best medicine.

                                                                            Galaxie 500

                                                                            On Fire

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

                                                                              Galaxie 500

                                                                              This Is Our Music

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

                                                                                STAFF COMMENTS

                                                                                says: Galaxie 500's third and final album felt bolder and more dynamic than their previous work. Such an amazing band!

                                                                                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.

                                                                                STAFF COMMENTS

                                                                                says: "Today" hit in 1988 and blew everyone's minds with its echoey, minimal, slow rock. Something for The Longing...

                                                                                Galaxy II Orchestra

                                                                                Acid Rain

                                                                                  Forgotten side project production from 1986, by Grammy award winning sound engineer Chris Lord Alge. Two versions of an oddball leftfield electro downtempo chugger and one previously unreleased patriotic monologue acompanied by heroic emotional piano - to be served with a sense of sarcasm. 

                                                                                  Noel Gallagher's High Flying Birds

                                                                                  Lock All The Doors

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

                                                                                    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.

                                                                                    Liam Gallagher

                                                                                    MTV Unplugged

                                                                                      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.

                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: Very limited two colour splatter vinyl.
                                                                                      Includes exclusive poster.

                                                                                      LP Info: Includes exclusive poster.

                                                                                      Liam Gallagher

                                                                                      Shockwave

                                                                                        Liam is back, following his debut solo album "As You Were", which stormed to the top of the charts, selling over 100,000 copies week one, to become one of the best selling albums of that year.

                                                                                        "Shockwave" is the brand new single from Liam's forthcoming album.

                                                                                        STAFF COMMENTS

                                                                                        says: Everything you'd want from a Liam Gallagher single. Swash-buckling, glam-stomping, life-affirming fun!

                                                                                        Liam Gallagher

                                                                                        Why Me? Why Not.

                                                                                          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

                                                                                          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.

                                                                                          FORMAT INFORMATION

                                                                                          LP Info: 140 gram black vinyl housed in a gatefold sleeve.

                                                                                          Deluxe CD Info: Deluxe CD with 3 bonus tracks (14 in total).

                                                                                          Noel Gallagher takes some time out from feuding with shirty brother, Liam to put together a brand new full-length album with his High-Flying Bird cohorts. We kick things off with the decidedly 'D'You Know What I Mean'-y percussive scree, backed with distant shouting, thundering bass and growing shadowy reverbs on 'Fort Knox', obviously setting up a grand and extended entrance piece. From there we move into the stabbing horns and distorted bass of 'Holy Mountain', perfectly displaying his keen ear for melody, and almost irritating ability for penning a ruthless earworm. From there we move into the sleazy rock and roll of 'Keep On Reaching', owing as much to classic rock as it does disco with the harmonising backing vox and effervescent synth-brass. 

                                                                                          'She Taught Me How To Fly' presents a truly diverse set of influences, from dreamy synths to the airy ducked bass and dusty snappy percussives, providing a perfect balance between Noel's brilliantly robust compositional techniques and the more avant construction of mesmeric Krautrock or psychedelia. 'Black & White Sunshine' couldn't possibly be any more geared towards Oasis' fans, with that legendary vocal harmony NG does so well making an appearance, as well as the three-chord progressive lift we've heard once or twice before. 

                                                                                          What is most impressive is that the High Flying Birds have managed to step away from the considerable shadow that Oasis cast, whilst still retaining the melodic elements that made it resonate with so many people.   




                                                                                          FORMAT INFORMATION

                                                                                          LP Info: Includes download code for the album and bonus track ‘dead in the water (live at RTÉ 2FM studios, Dublin)’.

                                                                                          Noel Gallagher's High Flying Birds

                                                                                          This Is The Place EP

                                                                                            Limited 12" exclusive to RSD stores.

                                                                                            FORMAT INFORMATION

                                                                                            Ltd 12" Info: Coloured vinyl 12".

                                                                                            Noel's second studio album finds his song-writing in supremely fine fettle, but then you'd expect that from the master-craftsman. This time he has self-produced and included a song which actually pre-dates Oasis, and one from the aborted Amorphous Androgynous sessions. There' a slightly funky vibe left-over from said collaboration and whilst most of the album is choc-full of Noel's classic sounding melodies (albeit with some fairly obvious cribbing) "The  Right Stuff"and opener "Riverman" are the most unusual cuts here, one a spacejazz freakout , the other a seventies acoustic groover inspired by a night out with Morrissey (namecheckin' fact fans!) The remainder of the LP isn't too dissimilar to Noel's debut, but perhaps with a more discernable bottom-end as  gloriously displayed on Noel-by-Numbers  (and therefore superb!) lead single "In The Heat Of The Moment", and the one-of-the-best-things-he's-ever-done follow-up "Ballad Of The Mighty I". All in all, a splendid record.

                                                                                            STAFF COMMENTS

                                                                                            says: He's still got it!

                                                                                            The Galleria (Morgan Geist)

                                                                                            Stop & Go

                                                                                              The Galleria is a project from Morgan Geist (Storm Queen, Metro Area) that ripples with echoes of the indigenous music of long-dead suburban New Jersey shopping malls and NYC radio stations: bombastic freestyle, club dubs, razor-edits and bubblegum-pop R&B. The newest single, Stop & Go, is the second release since the 2015 debut, Calling Card/Mezzanine. Vocals are once again provided by Jessy Lanza, whose two solo albums on Hyperdub were met with critical acclaim and were both shortlisted for the Polaris Prize. Stop & Go features a drum-a-pella for creative mixing, plus an extended, dancefloor-friendly dub.

                                                                                              STAFF COMMENTS

                                                                                              says: A brilliantly thumping, neon tinged synthy hit from Geist here in his Galleria moniker, swimming with rich percussive bass and soaring FM keys, all topped with the sweetest of bubblegum vox from the superb Jesyy Lanza. Ace.

                                                                                              Side one 'A Thousand Years' represents the angry energy of the album 'The Road Gets Darker From Here' full of menace, fury and guitar eruptions. James Johnston‘s voice expressing rage and desperation, the music propelled forward by incessant slide guitar, sax, and the powerhouse drumming of Ian White. That same voice is breathing and whispering in a duet with German musical icon Dirk von Lowtzow, lead singer of goldselling group Tocotronic, in 'Close The Blinds' on side two.

                                                                                              Gallon Drunk

                                                                                              The Dumb Room

                                                                                              First single taken from the forthcoming new album "The Soul Of The Hour" - includes the "The Dumb Room Mono Mix" ! Gallon Drunk unleash a raw, ragged, and uncompromising blast of literate rock and roll. A joyous explosion of a song, The Dumb Room celebrates it's cast of misfits in a full-throated roar, erupting into a powerhouse band performance full of passion and carefree abandon. "The Dumb Room" is the single release from the album "The Soul Of The Hour" including The Dumb Room Mono Mix.

                                                                                              Slow Motion’s 38th (!!) release comes courtesy of Berlin-based Gallo who you may know as part of Balearic Gabba Soundsystem. Joining the family for his debut solo release Gallo drops the tempo for three deep-cuts of blissful Balearica. First up, "Faron" delivers emotional synth tones, percolating sequences and hazy electronics, then the titular "Orange Stripe" hits us with suspended animation pads, glistening keys and a killer Italian house rhythm section. "Winging" the final OG on offer slips into Mario's flying cap, drops the tempo to a gentle groove and heads skywards with dreamy melodies and subtle percussion. All this comes backed up with an acidic, chugging re-rub of ‘Faron’ from Fabrizio Mammarella which is perfect when the sun goes down, Orange Stripe arrives just in time for Summer. How to get the most of this track: combine it with blissful and dreamy beach-excursions or with a sunset aperitivo. 

                                                                                              STAFF COMMENTS

                                                                                              says: Highly recommended tackle here from Balearic Gabba Soundsystem's Gallo, who hooks us up with a trio of sundowner serenades. Refreshingly different to the run-of-the-mill Balearica, this electronic set should sound perfect in the sunshine.

                                                                                              Modern Times is the third album from the British creative spirit Elliot Galvin. If his previous trio album, The Influencing Machine was a more involved and produced album, then Modern Times completely redresses the balance. This is an album so immediate and instantaneous, it takes the same time to listen to as it did to make. Primarily produced for vinyl, each side was recorded in one complete sitting, with no break in between tracks, recorded direct to vinyl.

                                                                                              As Elliot explains: ‘I had been making music with a lot of electronic instruments and becoming a bit disengaged with making acoustic music. Then I saw a solo piano concert by Jason Moran when I was in Montreux and I was so inspired. It reminded me why I loved making jazz and acoustic music. It was so immediate and human. I wanted to make a record like this. I remember a chat I had a while back with a friend of mine Jorg who mentioned he was putting together this studio where you could record direct to vinyl and it seemed like the perfect way to capture a totally acoustic record”.

                                                                                              Modern Times is yet another confirmation of a musician who is able to play with real adventurousness and inventiveness. He has created a unique identity as one of the foremost European pianists and improvisors. He challenges himself, never allowing himself to sit on his laurels, inspires the musicians who play with him and pushes the boundaries of what we’ve come to know as contemporary Jazz. It’s unpredictable, inventive, but above all, it’s brilliant. Elliot Galvin is growing a formidable reputation: with Modern Times taking flight, a wave of international acclaim and plaudits for The Influencing Machine (including being named by Downbeat and Jazzwise as one of the best albums of 2018) and growing international audiences. He also has a solo piano album planned and recorded, Live in Paris at Fondation Louis Vuitton, due in early 2020. His output is prolific yet remains of the highest quality. There’s no stopping his endlessly creative spirit and his carving out of a career of deep foundation and longevity.

                                                                                              Asher Gamedze

                                                                                              Dialectic Soul

                                                                                                On The Corner Records is delighted to announce the release of Dialectic Soul, the debut album from one of Cape Town's most cuttingedge, 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 colonialism, the teachings of Coltrane, Steve Biko, Makeba and Malcom X and 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."

                                                                                                Gameface

                                                                                                Feels A Lot Better

                                                                                                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.


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