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BACK CATALOGUE - I

Cover of MEAT EP / META EP by IDLES.

IDLES

MEAT EP / META EP

Balley Records

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

    This vinyl release of both MEAT EP & META EP is the first time it has been released on Vinyl. It is also the first time META EP has been released in any physical format. This will only be relased for RSD and will not be repressed. It will be on white coloured vinyl. No download code. Remixes are by David Pajo (SLINT, Yeah, Yeah, Yeah's) Thom (Alt J), Pete Robertson (The Vaccines) & Sly One.

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    Cover of An Angel Fell by Idris Ackamoor & The Pyramids.

    Idris Ackamoor & The Pyramids

    An Angel Fell

    Strut

    Strut presents the brand new album from cosmic jazz travelers The Pyramids, led by saxophonist Idris Ackamoor, "An Angel Fell". 'I wanted to use folklore, fantasy and drama as a warning bell,' explains Ackamoor. 'The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.'

    Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early ’70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting "Soliloquy For Michael Brown" and the lilting, beautiful album closer, "Sunset".

    The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a 'cultural odyssey' across Africa, the group recorded three independent albums, "Lalibela" (1973), "King Of Kings" (1974) and "Birth / Speed / Merging" (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album "Otherwordly" and in 2016, they released their first album for Strut, the acclaimed "We Be All Africans".


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    Cover of Belly Dance Disco by Ihsan Al-Munzer.

    Ihsan Al-Munzer

    Belly Dance Disco

    BBE

      The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’. In late 70s and early 80s Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold. Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer. Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’. The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene. Al-Munzer’s five titles from the 1970s and 1980s are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud. Notes by Natalie Shooter, a music journalist and researcher based in Beirut, edited by Will Sumsuch.


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      Cover of Kalba by Isaac Birituro & The Rail Abandon.

      Isaac Birituro & The Rail Abandon

      Kalba

      Wah Wah 45s

      Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer-songwriter Sonny Johns AKA The Rail Abandon.

      The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm.

      There are many differences between Isaac and Sonny, but a powerful similarity - which gives Kalba its element of relatability - is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines.

      "It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra - in fact his father, Edmund, introduced him with "He plays the modern way!" Partly dismissive, mostly proud," said Sonny. "And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence."

      There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.

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      Cover of One Day I... by Ian Britt.

      Ian Britt

      One Day I...

      Jal Recordings

        2005 debut album from the Sheffield born alternative singer songwriter. Written by one man and his guitar and produced by a duo more used to putting together breaks and beats this album has a lavish, transatlantic and timeless feel to it. The songs themselves, although based in a traditional songwriter approach, have a strong sense of individuality and self; a diverse and eclectic air about the sound, not least because it was almost three years in the making. Strong and soulful vocals and tasty guitar work interspersed with interesting, dramatic arrangements.

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        Cover of Tales Told by Ian Broudie.

        Ian Broudie

        Tales Told

        Needle Mythology

          Ian Broudie’s beautiful solo debut Tales Told becomes available for the first time ever on vinyl and vinyl replica CD. The album was recorded in Liverpool during a series of sessions with members of The Coral and The Zutons.

          On its original release in 2004, Tales Told marked a departure from Ian’s previous work with The Lightning Seeds. Instead, Ian stripped his songwriting to its bare fundaments, drawing on personal events in his life to create an album of tender, lovelorn ruminations. Ian is best known for his work with The Lightning Seeds, whose debut single Pure heralded a run of well-loved hits which included Sense, The Life of Riley, Marvellous, Lucky You, Change and You Showed Me.

          With The Lightning Seeds, Ian was also responsible for the multi-platinum single Three Lions, which in 2018 made chart history when it enjoyed its fourth spell at number one – the most enjoyed by the same artist. Ian’s role in the history of Liverpool’s music scene over the last 40 years is impossible to overestimate. Since joining the founding line-up of Big In Japan, alongside Holly Johnson, Bill Drummond, Jayne Casey and Budgie, Ian went on to work on the first three Echo & The Bunnymen albums, collaborated with The Wild Swans’ Paul Simpson in Care, produced albums by The Pale Fountains and Shack and also the first three albums by The Coral.

          FORMAT INFORMATION

          2xLtd LP Info: LP + 7".

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          Cover of The Greatest by Ian Brown.

          Ian Brown

          The Greatest

          Fiction

          Cheeky title, but what do you expect? This collects all his singles plus his two excellent collaborations with UNKLE. There's also three re-recorded, and far superior takes on a couple of B-sides and the gorgeous "Forever And A Day." As a romantic lover of the old '45' this is probably Ian's favourite LP that he's done. The photos and artwork are lush and the songs themselves are super-vibrant, catchy and groovy. If you only get one IB album then you better make it this. If you're a fan you'll be made-up with the new versions, and you can finally get to offload that dodgy second UNKLE LP!

          FORMAT INFORMATION

          2xLtd LP Info: Limited edition double vinyl.

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          Cover of First World Problems by Ian Brown.

          Ian Brown

          First World Problems

          Virgin EMI

            Ian Brown has released a brand new single, ‘First World Problems’, his first solo material in nine years. The single precedes the new album ‘Ripples’, which will be released on February1, 2019. Played mostly by Ian, but aided by two of his sons, this  return to pop bodes well for his forthcoming new LP.

            STAFF COMMENTS

            Andy says: Bouncy, baggy, uplifting vibes, a top melody and cool message make this a freed-up, groovy return for the erstwhile (but soon to be reinstated!) King Monkey.

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            Cover of Ripples by Ian Brown.

            Ian Brown

            Ripples

            Virgin EMI

              Ian Brown's comeback record is everything you'd want from the funky monkey. Care-free, breezy, uplifting vibes with words that mix the cosmic with a conscience, this record was made almost totally independently. Just Ian, his sons and his old engineer provide that unique blend of the groovy, quirky, and endlessly catchy that we've all come to love and expect.

              There's mellow, soulful, bluesy funkers, a rock reggae cover, a reggae reggae cover, a couple of slinky, bouncy, elastic shufflers, some massive, psych-tinged slowies (Syd meets Lennon!) and his most Roses sounding tune so far: evidently a ballad ABOUT The Roses (insert broken-hearted emoji here!?)

              Soundwise this is Ian's most beautifully produced record by a mile. Warm, fat and analogue, with killer basslines and a big bottom end, there's a sparseness in the textures but a depth and width in the mix that's more akin to late 70's reggae than any old 'indie' rock. Ripples is all about the SPACE. Ian's voice and words, as charismatic and enigmatic as ever, are central to it all. And he's never sounded better. Self produced, self written (bar 3 co-writes with his sons. What could be more natural?) and with zero session musicians in sight, this feels like Unfinished Monkey Business, the Second Chapter. But with way better songs, way lusher production; a glorious combo of Tunes, space and sound. The dream belongs to the dreamers!

              FORMAT INFORMATION

              Coloured LP Info: Limited edition indies only coloured vinyl. Heavyweight white vinyl, spined sleeve, printed inner sleeve.

              LP Info: Black heavyweight vinyl, spined sleeve, printed inner.

              CD Info: Jewel case, 16 page booklet.

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              Cover of Unfinished Monkey Business by Ian Brown.

              Ian Brown

              Unfinished Monkey Business

              Music On Vinyl

                Ian Brown was left high and dry when the Roses split in April '96 and rumours spread that he'd left the music industry for good. Truth is: he almost had! Ian had considered gardening or even selling Roses bootlegs, he felt so disenchanted with  what he'd described as the filthiest business in the world. Apparently it was the will of the people, fans he'd bump into on the street, that constantly encouraged him to get back to it. So it was that 18 months later, around Christmas of 97, his first single as a solo artist was riding our airwaves. It did not disappoint!

                The new tunes were superb, but the sound was a refreshing if not puzzling surprise:warm, fuzzy, ocassionally distorted, analogue even lo-fi sounds; clanking drum machines and bashed on acoustic guitars. This was the kind of groovy curio you'd be more likely to find on (Beastie Boys' cool as fuck) Grand Royale than on Ian's new major label. Apparently they begged him for a "name" producer or remixer, but ever his own man, Ian refused.

                Mani from The Roses played over a classic Reni shuffle on Can't See Me, which along with My Star (the previously mentioned debut single) and the glorious  Corpses In Their Mouths , smashed into the Uk Top 20, in the days when these things mattered! Elsewhere, the wah-wah laden What Happened To Ya (pure Roses, apparently about the Roses) and epic Ice Cold Cube (one of his greatest ever songs: heavy, dark and mega-melodic) nicely completed the Massive Tune Quota whilst the bluesy and bonkers Lions and squelchy and sleezy Deep Pile Dreams offered texture and variety to an already varied palette. Sunshine sounds like Syd, smashing a song out on an acoustic guitar, one to one in a bedroom. The title track recalls Lee Perry in its cute'n' wonky catchiness.

                All in all: a triumph, then. Not shouting from the rooftops, like in his "first band on the moon" pomp, but a small and very satisfying step in what would turn out to be a very succeesful and much loved solo career.

                STAFF COMMENTS

                Andy says: Hilariously (and aptly) christened King Monkey by the drummer of Dodgy, of all people, this was the first installment of Ian Brown solo music. Independent and original, it's still one of his best records, after all these years.

                FORMAT INFORMATION

                Ltd LP Info: 180 gram audiophile edition.
                Printed inner sleeve.

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                Cover of There Is No Other… by Isobel Campbell.

                Isobel Campbell

                There Is No Other…

                Cooking Vinyl

                  Isobel Campbell is a Scottish singer-songwriter, cellist and composer who rose to prominence in the Scottish indie pop band ‘Belle and Sebastian' before releasing 3 albums with Mark Lanegan (Mark Lanegan - ex Queens Of The Stone Age, Screaming Trees). 

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                  Cover of Don't Look Back, That's Not Where You're Going by Inga Copeland.

                  Inga Copeland

                  Don't Look Back, That's Not Where You're Going

                  World Music

                  Second solo release from Inga Copeland, and debut release on her World Music Imprint, the label shared with fellow Hype Williams collaborator Dean Blunt. The three tracker comes with co-production from DVA (Hyperdub) and 3024 boss Martyn.

                  Opener 'So Far So Clean' has Copeland delivering a deadpan vocal over a gnarled and growling post-dubstep shuffle with spooksome synth hooks. The DVA-produced 'Speak' offers broken beats and wistful vox from Inga. Lastly we get 'A&E', co-produced by Martyn. This track possits retro rave breaks (pitched down, obviously) underneath lush pads and techno textures for a dream-like quality.


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                  Cover of So This Is Permanence: Joy Division Lyrics And Notebooks by Ian Curtis.

                  Ian Curtis

                  So This Is Permanence: Joy Division Lyrics And Notebooks

                  Faber & Faber

                    So this is permanence, edited by Jon Savage with a foreword by Deborah Curtis, presents the intensely personal writings of one of the most enigmatic and influential songwriters and performers of the late twentieth century, Joy Division's Ian Curtis.

                    The songs of Joy Division, infused with the energy of punk but steeped in a resigned longing, were born of Manchester in the late seventies - a once flourishing industrial city in decline. They were the songs too of Ian Curtis's inner tragedies, as he battled depression, epilepsy and debilitating stage fright. Ian Curtis committed suicide in 1980, on the eve of the band's first American tour.

                    Interspersed with the lyrics are previously unpublished facsimile pages of Ian's notebooks, which throw his highly emotive lyrics into fascinating relief and cast light on the creative process of this singularly poetic songwriter.

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                    Cover of Do Your Thing by Isaac Hayes And The Bar-Kays.

                    Isaac Hayes And The Bar-Kays

                    Do Your Thing

                    Now Again

                      The full 33-minute, unreleased, psychedelic funk jam session by Memphis rhythm kingpins the Bar-Kays, mixed directly from the original tapes. Contains bonus rhythm section instrumental and booklet detailing the history of this never-before-heard version of one of Isaac Hayes’ most famous songs by Hayes historian Bill Dahl.

                      Hayes was already a cutting-edge funk master at Stax Records when he accepted the unprecedented assignment of creating a soundtrack for the 1971 action flick Shaft. At a time when R&B songs routinely timed out at three minutes and under, Hayes’ albums for Stax’s Enterprise imprint had been breaking new ground since 1969. His masterpiece Hot Buttered Soul consisted of only four tracks, two songs on The Isaac Hayes Movement clocked in at a hair under 12 minutes, and one selection on his …To Be Continued stretched to 15:33.

                      But his epic “Do Your Thing,” one of the cornerstones of the two-LP Shaft soundtrack, outdid them all. Occupying nearly the entire last side of the set, it concluded after 19-and-a-half grooving minutes with the overdubbed sound of a needle scratching violently across a piece of vinyl. No one knew that jarring ending masked the existence of another 13 minutes of “Do Your Thing.” Consigned to the vaults, those improvisatory extensions—somewhere in between free-jazz and psychedelic rock—were seemingly destined never to be heard. Until now.

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                      Cover of Black Moses - 2018 Remastered Edition by Isaac Hayes.

                      Isaac Hayes

                      Black Moses - 2018 Remastered Edition

                      UMC

                      Released back in 1971 as the follow up to the global smash "Shaft", the double LP "Black Moses" is a personal favourite of the late great Isaac Hayes, and for good reason. Hayes covers hits from the likes of the Jackson 5, Carpenters and Dionne Warwick here, and as per usual, makes them all his own. Cinematic, psychedlic and oh so spiritual, Hayes arrangements ooze with musicality and soul, transforming the easy listening style of some of these originals into something utterly transcendental. Adding in a handful of effortlessly funky originals, Hayes fully delivers on this LP, with short interludes like "Ike's Rap II" threatening to steal the show. Not only did this form the basis of Portishead's "Glory Box" and Tricky's "Hell Is Round The Corner" (trip hop classics both), but I heard Moodymann play it at peak time in Sankeys once, reducing the world's worst crowd into a room of slow-dancing sweethearts. Any tune with the power to pull off that transformation deserves a place in any record collection.

                      FORMAT INFORMATION

                      2xLtd LP Info: 180-gram double vinyl, includes a download card.

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                      Cover of Shaft - 2018 Remastered Edition by Isaac Hayes.

                      Isaac Hayes

                      Shaft - 2018 Remastered Edition

                      UMC

                      Even from the very first 'wikka', anyone on the planet can spot the classic theme from Shaft. Creative juices in full flow, the mighty Isaac Hayes penned a Blaxploitation theme so funky, fresh and orchestrally superior that it seized control of the collective pop consciousness with a vice-like grip. But if you look and listen beyond the ubiquitous title, Hayes delivers four sides of melodic and conscious mood music, only rivaled by Curtis Mayfield's "Superfly" for the genre's top spot. The contemplative groove of "Bumpy's Lament" found favour with Mobb Deep and Dr Dre, "Ellie's Love Theme" did the trick for Biggie Smalls while "Do Your Thing" prompted Big Daddy Kane to get super smooth. Each and every track is worth a mention, especially the breezy soul jazz sway of "Cafe Regio's", but rather than hear me wax lyrical, you should just cop a load of this wax - Black Moses in full effect!

                      FORMAT INFORMATION

                      2xLtd LP Info: 180-gram double vinyl, includes a download card.

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                      Cover of I Admit Defeat by I Admit Defeat.

                      I Admit Defeat

                      I Admit Defeat

                      IAD

                      Debut album from Manchester metalcore five piece, I Admit Defeat. They've created their own sound and style, taking influence from bands such as Underoath, Trivium, Norma Jean, Alex Is On Fire and Senses Fail.

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                      Cover of Grace Days by I Am A Robot And Proud.

                      I Am A Robot And Proud

                      Grace Days

                      Catmobile

                      Based in Canada, I Am Robot And Proud is the name Shaw-han Liem works under to create his singular brand of hypnotic, beguiling electronic pop music.

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                      Cover of Sun Comes Up Again by I Am Arrows.

                      I Am Arrows

                      Sun Comes Up Again

                      Mercury

                      A skilled multi-instrumentalist - he played every instrument on the album - and an extraordinarily talented songwriter, in Razorlight, Andy Burrows aka I Am Arrows, was an intrinsic part of the success of that band’s multi-million selling eponymous second album before his departure in 2008.
                      After a long time (literally) taking a backseat, Andy Burrows and his songs are now front and centre. Ideas, for so long stoppered up, are flooding out of him. You can hear this – the relief, the fun, the ambition, the talent – in the songs bursting all over the album.
                      Beautiful pop songs that suggest Seventies soul, modern ‘beats and bleeps’, and timeless melodies. Heartfelt songs about love, doubt, confusion, romance and, here and there, the mercurial ‘bromance’ he had with his former bandmates. The songs are small but huge, warmly fuzzy but perfectly formed, instantly appealing and naggingly unforgettable.

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                      Cover of This Town by I Am Blackbird.

                      I Am Blackbird

                      This Town

                      I Am Blackbird

                      Following a well received two tracker a few months back, local four piece I Am Blackbird release their debut EP.
                      They kick off proceedings with the fiery "This Town", despite its nice lilting intro it soon twists into an uncompromising ode to the darker side of small town life. Track two, "Setting Sun" keeps up the firey delivery and adds some great Morricone-esque guitar twangs. Third track "One Good Reason" is a gorgeous slowey with bluesy vocals over strummed guitars and percussive drumming, and finally they up the tempo with "They Don't Speak For Me", which switches tempo between a galloping drum / vocal rhythm and a choppy chorus with subtle Mariachi-trumpets.


                      STAFF COMMENTS

                      Laura says: There's an abundance of folk-tinged bands around at the moment but I Am Blackbird really stand out from their contemporaries. They write great songs delivered with a real passion and honesty. Superb stuff - grab one now while you can!

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                      Cover of I Am Kloot by I Am Kloot.

                      I Am Kloot

                      I Am Kloot

                      Music On Vinyl

                        I am Kloot is the second album of the band by the same name. Their music is haunting, melodic and smooth. This second piece yielded five singles, including the hits “Life in a Day” and “3 Feet Tall”. It’s much more than just a standard rock album as it’s expanse their dark and fractured sound. Songs like “From Your Favourite Sky” and “Proof” are just brilliant and shows how they developed after their first release from two years earlier. It’s all a bit more streamlined than before but that’s the strength of the band. John Bramwell is a fine songwriter who created this beautiful marvel.

                        I am Kloot was as one of the most interesting bands of its time. Formed from the ashes of The Mouth they stood up and released some very successful releases

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                        Cover of Chiaroscuro by I Break Horses.

                        I Break Horses

                        Chiaroscuro

                        Bella Union

                          I Break Horses is the musical project led by Maria Lindén. From her Stockholm base, the Swedish artist delivered an extraordinary debut album in the shape of ‘Hearts’, released to much acclaim in August 2011.

                          The title of ‘Chiaroscuro’ (meaning ‘light-dark’) serves as the perfect embodiment of Lindén’s sonic creations.

                          Affecting ballads such as ‘Heart To Know’ and ‘You Burn’ are wrapped in fragile beauty.

                          ‘Denial’ and ‘Medicine Brush’ are sublime synthpop odysseys, while ‘Faith’ is a dance anthem complete with hypnotic beats, swirling synths and the mesmerising looped vocals of Lindén.

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                          Cover of Hearts by I Break Horses.

                          I Break Horses

                          Hearts

                          Bella Union

                          I Break Horses is the nom de plume of Maria Lindén and her musical partner Fredrik Balck. Residing in the Swedish capital of Stockholm, the duo have been meticulously crafting the nine incredible tracks that make up debut album "Hearts" throughout stolen moments gathered up over the past two years.

                          The task of capturing the sonic density of Lindén’s compositions was painstaking, while Balck’s lyrics, constantly teasing the senses, are at times insular and cold to the touch. It’s only when interpreted by Maria’s gorgeous vocals that a warmth is added, like the first rays of sun on a winters morning. A balancing act of light vs. dark that reveals an exquisite beauty within the darkness.

                          Although heavily (and openly) influenced by My Bloody Valentine, Slowdive, Jesus & Mary Chain et al - Hearts is far from an exercise in typical shoegaze fayre. Maria, waif-like and unassuming in person, is transformed on record to sound 10 feet tall. And, perhaps where certain contemporaries would hypnotize the listener into their world by sheer volume alone, I Break Horses lock firmly onto the very thing that makes each and every one of us ‘tick’: our pulse. Our Hearts. The common thread that links the nine songs together; always present, always beating - the album's strength and presence guided entirely by it.

                          Coupled with Lindén’s vocal, a seductive Scandinavian croon that’s bathed in an ocean of reverb and tremelo, Hearts is quite the sonic experience. It can’t be defined via a few meagre adjectives or genre classifications; you have to live it, live inside it. It will soak you up, embrace you and give back what you put in… and so much more.

                          STAFF COMMENTS

                          Darryl says: Hypnotic, reverberating music that's a million miles ahead of the standard shoegazing fayre. Couple that with the seductive and velvety vocals of Maria Linden, makes this yet another winner on Bella Union.

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                          Cover of It's Me / Drive by I Ching.

                          I Ching

                          It's Me / Drive

                          Best Fit Recordings

                          I Ching is Rollo Smallcombe and Kevin Emre. The pair met at art college in London and soon after started to make music together.

                          Although writing as a duo, the band play live as a four piece, adding Andrew Ford (keys) and Tom Jones (drums) to the line up. They currently write from a home studio in Finsbury Park.

                          I Ching are influenced by pop, the avant-garde, 60s psych and Turkish garage, as well as early 80s synthesiser music. With an emphasis on colour and texture in their sound, the songs are written and produced to probe the imagination and imagery inside the listeners’ head.

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                          Cover of 1 by I Marc 4.

                          I Marc 4

                          1

                          Sevenmen

                          This rather mysterious Jazz recording, which dates back to 1971, was quickly put together in a studio session sandwiched between RAI orchestra rehearsals, film soundtrack recordings and various other projects that make up this incredible musical library, all recorded in that period by our best musicians. The unique particulars of this record are that the musicians are not named, except for a mythical “Plakoti” but also the rights and the tapes seemed tohave strangely disappeared. After a period of accurate research, thanks to Maurizio Majorana (bass player for the Marc 4) we have been able to find the original recordings and also the musicians that played on it. Even though this recording was accredited to the Marc 4, by semi-official sources of the time, strangely enough only two of them are effectively present on this record Antonello Vannucchi on the Hammond Organ, Vibraphone and Piano and Roberto Podio on the Drums. The other two musicians are Giovanni Tommaso playing his mythical “Pedrazzini” (ndr) double bass who already played together with Vannucchi as part of the famous “Lucca Quartet” and then as the bass player of the group “Perigeo” and Enzo Grillini, part of the Rai orchestra and a favorite guitar player of both Armando Trovajoli and Gianni Ferrio who, at the time, was considered one of the best Italian Jazz guitar player and who rarely recorded music outside of the RAI orchestra. The style of this record, thanks to this very particular group of musicians, contrary to many other Library recordings, is very jazzy and the very special sound reminds us of the Jazz organ of the Verve/Blue Note labels made in the Sixties. The Seven Men Label, another characteristic of this new edition, born from a partnership of 7 mysterious producers and musicians in order to produce background music, in fact, only produced four recordings and they are : “1” that you are already listening to, 2, AKA “Il Cinghialetto” directed by Gianni Ferrio and played by the very best popular and classical musicians of the day, as the soundtrack of a theatre piece written by Grazia Deledda and to conclude there are two recordings made in the 1970’s written by Bruno Canfora: “Musiche di scena n°1” and “Musiche di scena n°2”. To have been able to bring this recording out again, knowing about its ups and downs and how it was made, is even more important now, as we have been able to add yet another gem to the numerous reeditions of the “Italian Library Music“ over these past years.


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                          Cover of Thrilling Mortale by I Marc 4.

                          I Marc 4

                          Thrilling Mortale

                          Vampisoul

                          This album digs deeper into the most experimental recordings in the archives of Nelson Records. The label was founded in 1970 by the musicians Maurizio Majorana, Antonello Vannucchi and Roberto Podio (who along with Carlo Pes would be known as I MARC 4), after establishing the Telecinesound studio, right where the New Italian Library Sound was created. They recorded with Armando Trovajoli, Piero Piccioni, Ennio Morricone, Piero Umiliani, Henry Mancini and many others, and created a special sound, mixing jazz, pop, rock and psychedelic music, to produce records aiming to be used by the programmers of the Italian RAI television.

                          The music of "Thrilling Mortale" is mostly special effects, drum breaks, fast bongo rhythms and groovy Hammond background sounds inspired by cinema noise experts who did not use any musical instruments and had only a few objects to recreate the noises of the films; from horse rides to closing gates, everything was done in the traditional way. I MARC 4, instead, would recreate those sounds with bass, guitar, drums, piano and Hammond organ.

                          Many musicians, record producers and film directors still like, look for, rediscover and re-use for their work, and the music on these albums recorded by I MARC 4 between 1970-1976 have reached cult status among library music collectors.


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                          Cover of A Sucker For Your Sound by I Monster.

                          I Monster

                          A Sucker For Your Sound

                          Twins Of Evil

                          The new single, their first release since 2004's "Neveroddoreven" album, sees the I Monster duo of Dean Honer and Jarrod Gosling enlist the vocal talents of Philly, the ill wind of Michael Somerset Ward and the pounding drum cakes of Ross Orton. "A Sucker For Your Sound" comes backed with the exclusive "No Nice Strippers". The pair have been far from quiet over the last few years. In between journeying to the centre of the earth, vampire hunting and building kitchen extensions, they've co-written and produced tracks on both Finnish artist HK119's and Roisin Murphy's new albums, spent some time in the studio with queen of pop Cathy Dennis and worked on rapper Lupe Fiasco's Grammy winning "Daydreamin'" single, the track based entirely on their big hit "Daydream In Blue".

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                          Cover of La Souteneur Numeridue by I-Node.

                          I-Node

                          La Souteneur Numeridue

                          RRS

                          Valentine Records' resident bedroom-studio maverick Michael O'Connor (aka I-Node). Taking its cue from early electro and acid house records (such as 808 State's "Newbuild" and Stakker's "Eurotechno") "La Souteneur Numerique" is a 38-minute introduction to the weird and wonderful world of this self confessed "Digital Pimp".

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                          Cover of Zombies 1985 by I Speak Machine.

                          I Speak Machine

                          Zombies 1985

                          Lex Records

                          I Speak Machine are vocalist and synth nerd Tara Busch and filmmaker Maf Lewis. Together they make brooding soundtracks and horror/sci-fi films, creating the audio and visual in unison and giving both elements equal prominence. Their approach is inspired by Spaghetti Western cinema duo Ennio Morricone and Sergio Leone, who used to play with score ideas for scenes while scripts were being written. Following the release of The Silence (the score to their own sci-fi short film) in 2014, Busch and Lewis have teamed up with Benge from Wrangler/John Foxx & The Maths to work on their latest short film and album, Zombies 1985

                          * For analogue synth enthusiasts and fans of John Carpenter scores.
                          * Tara Bush has previously collaborated with John Foxx, Clint Mansell, and Bat For Lashes


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                          Cover of Phase 3 by I.A.O.

                          I.A.O

                          Phase 3

                          Left Ear

                          Left Ear have put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. "Phase III" commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.

                          The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.

                          I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout. 

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                          Cover of Celestial Soul Portrait by Iasos.

                          Iasos

                          Celestial Soul Portrait

                          The Numero Group

                          Inspired by the infinitely numbered harmonies transmitted by Vista, a benevolent being from a distant dimension, Iasos broke ground for a new age of electronic sound manipulation. His was pioneering work - done from a bohemian boat-slip home office - on some of the first commercially available synthesizers and, on stage, into the kaleidoscopic heart of psychedelic-era concert visuals.

                          As life-affirming and attuned to spirit as Iasos' soul portraits were, prestigious psychology departments heard in them the tones humans hear at the precipice between life and death. Before ambient and New Age were so named and codified, the "Paradise Music" of Iasos (represented here by 13 selections transmitted between 1975 and 1985) brought Earth - transcriptions of a vast and galactic soundhealing to a planet much in need.

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                          Cover of Doko Mien by Ibibio Sound Machine.

                          Ibibio Sound Machine

                          Doko Mien

                          Merge Records

                          Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band’s name is derived for the dazzling new album. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on "Doko Mien", the followup to "Uyai". By pulsing the mystic shapes of Williams’ lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents. Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk.

                          The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette’s drums and Derrick McIntyre’s bass funk groove bring everyone to the dance floor. 'These stories won’t be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

                          On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.


                          FORMAT INFORMATION

                          Coloured LP Info: Limited LP is matte & gloss gatefold + white vinyl (1500 only worldwide), this is for Indie stores only.

                          Coloured LP includes MP3 Download Code.

                          LP includes MP3 Download Code.

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                          Cover of Ibibio Sound Machine by Ibibio Sound Machine.

                          Ibibio Sound Machine

                          Ibibio Sound Machine

                          Soundway

                          Ibibio Sound Machine finally release their hotly anticipated debut album on the ever brilliant Soundway Records. The self-titled set sees the group effortlessly combine diverse genres with an ease I've not heard since the days of LCD Soundsystem, pulling together elements of West African highlife, disco, post-punk, psychedelic electro soul and nasty ass P-funk. On the squelchy bassed "The Talking Fish" and the 6 Music fave "Let's Dance" and the more traditional highlife cuts "I'm Running", "Uwa The Peacock" and "Woman Of Substance", Ibibio Sound Machine pack the wax with pure effusive energy. Elsewhere, "The Tortoise", "The Talking Fish" and "Prodigal Son" are bursting with raw funk power, with British / Nigerian vocalist Eno Williams in particularly fierce form. Folk stories, recounted to Eno by her family as a child in her mother's South-Eastern Nigerian Ibibio language form the creative lyrical fabric of the album, as can be seen with the natural and proverbial track titles. What I love most about this record is the fact it flows together as an album so well, with a nice progression from highlife to funk and electro disco aided by the excellent musicianship of the players. The album has soul in abundance, bookended as it is by two beautiful spiritual pieces, but will keep the dancefloor just as happy as the congregation. After all, they're pretty much the same aren't they?


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                          Reduced Cover of Avowed Slavery by Icarus Line.

                          Icarus Line

                          Avowed Slavery

                          Agitated

                          Hey, this aint no “follow up” number, this is a the other arm getting a shot; this is the Slave Vows era of the Icarus Line getting its I’s dotted. A sort of finality at play here, “Avowed Slavery” is the companion release to 2013’s well received SLAVE VOWS album, this completes the circle of fury.

                          With the video release of “City Job” at the end of 2013, and the Slave Vows album still making people talk, it was time to put these songs to wax, prepare the world for The Icarus Line's next move. Five tracks spread over the two sides, this mini album serves as aSlave Vows booster jab, the feral verocity of the last album is in spades here, maybe even more so, the fire in the band’s belly is roaring, and its only when the last track closes down do you realise quite fully, the impact.

                          Reference points take in a whole gamut of genres, styles, sounds, stances…… Cardamone leads the gang once more into the rough, the desecrated warzone that is the music industry, american culture and love , they (Cardamone, Hallet, De Guzman, Arnao) create their brand of “hellfire and brimstone” rock and roll…

                          Leeches and Seeds is a frenetic blast of noise with Hallets drums threatening to collapse your ears, driving you into live favourite Junkadelic. The bastard offspring of Clinton and Bargeld this grooves and slithers, winding its earworm abilities into your whole shuddering psyche…..

                          Raise Yer Crown closes off side one, with their LA swagger back in full effect, thump and grind from the Icarus Line, this is Los Angeles NOW…

                          Side two opens with the long awaited studio version of other live fave “Salem Slims”, first aired on the Killing Joke support tour in 2012, this fearless headrush is so adamantly an Icarus Line song, that theres no other comparison, howling stoogian vocal, building-destroying rhythms, shards of guitar gloss stunning all within range, this headrush of almost-insanity then moves into the last track, “The Father,. The Priest” , is this the calm after the storm, is this the comedown, is this the penance for the passion? Or is this the Vows era Icarus Line laying down tools to prepare for the next go?

                          Listen at full blast
                          - Joe Cardamone

                          FORMAT INFORMATION

                          LP includes MP3 Download Code.

                          [ + ]
                          [ - ]
                          Reduced Cover of Avowed Slavery by Icarus Line.

                          Icarus Line

                          Avowed Slavery

                          Agitated

                          Hey, this aint no “follow up” number, this is a the other arm getting a shot; this is the Slave Vows era of the Icarus Line getting its I’s dotted. A sort of finality at play here, “Avowed Slavery” is the companion release to 2013’s well received SLAVE VOWS album, this completes the circle of fury.

                          With the video release of “City Job” at the end of 2013, and the Slave Vows album still making people talk, it was time to put these songs to wax, prepare the world for The Icarus Line's next move. Five tracks spread over the two sides, this mini album serves as aSlave Vows booster jab, the feral verocity of the last album is in spades here, maybe even more so, the fire in the band’s belly is roaring, and its only when the last track closes down do you realise quite fully, the impact.

                          Reference points take in a whole gamut of genres, styles, sounds, stances…… Cardamone leads the gang once more into the rough, the desecrated warzone that is the music industry, american culture and love , they (Cardamone, Hallet, De Guzman, Arnao) create their brand of “hellfire and brimstone” rock and roll…

                          Leeches and Seeds is a frenetic blast of noise with Hallets drums threatening to collapse your ears, driving you into live favourite Junkadelic. The bastard offspring of Clinton and Bargeld this grooves and slithers, winding its earworm abilities into your whole shuddering psyche…..

                          Raise Yer Crown closes off side one, with their LA swagger back in full effect, thump and grind from the Icarus Line, this is Los Angeles NOW…

                          Side two opens with the long awaited studio version of other live fave “Salem Slims”, first aired on the Killing Joke support tour in 2012, this fearless headrush is so adamantly an Icarus Line song, that theres no other comparison, howling stoogian vocal, building-destroying rhythms, shards of guitar gloss stunning all within range, this headrush of almost-insanity then moves into the last track, “The Father,. The Priest” , is this the calm after the storm, is this the comedown, is this the penance for the passion? Or is this the Vows era Icarus Line laying down tools to prepare for the next go?

                          Listen at full blast
                          - Joe Cardamone

                          FORMAT INFORMATION

                          LP includes MP3 Download Code.

                          [ + ]
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                          Cover of Slave Vows by Icarus Line.

                          Icarus Line

                          Slave Vows

                          Agitated

                          Brand new album from LA hellions, the Icarus Line, is quite possibly their best album yet. Harking back to the fury of Mono, the fire of Pennance Soiree and dragging the swagger out of the Black Lives / Wild Life albums, "Slave Vows" is quite simply a fearsome vitriolic rock and roll outpouring that starts, and never lets up for every 45 minutes of Stoogian styled glory.

                          Evoking Funhouse, Everything Went Black, Goats Head Soup and Maggotbrain in one fell swoop, it could be said that the Icarus Line have finally made the album they set out on making in 2001... this is not for the fainthearted! Some of these songs were blooded on their support slot with Killing Joke on their European tour in 2012, this album also features the best rhythm section the band have had (new drummer Ben Hallett and original bassist Lance Arnao completely NAIL IT!), underpinning the white hot guitar flow from singer/leader Joe Cardamone, the songs..ebb, and flow, slash and burn...cauterizing any that stand in their way.

                          This is pure rock and roll hellfire distilled onto vinyl and CD.

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                          Cover of All Things Under Heaven by The Icarus Line.

                          The Icarus Line

                          All Things Under Heaven

                          Agitated

                          BRAND NEW album from legendary LA firestarters, The Icarus Line. Their third full length release for Agitated (their eigth album in total), following on from their imperious return to the fray in 2013 with the much lauded release of 'Slave Vows', followed up by its companion "album release" 'Avowed Slavery' in 2014.

                          Recorded and arranged live as a group in Cardamone's studio, Valley Recording Company in Burbank, the sessions "were very private and conducive to conjuring," the frontman describes. "If you are lucky, you can capture something before it dies. I feel like all great music is a fleeting inspiration. You only have so much time to capture it before it either turns into routine or it turns its back on you."

                          The album features a guest appearance from legendary outsider artist Joe Coleman who helped coin the album title. Also appearing is Bad Seed / Grinderman/ Dirty Three band leader Warren Ellis who helped pen the track "Bedlam Blue" with Cardamone.

                          Art work for All Things Under Heaven was found during the making of the record. Veteran news photographer Randy Taylor was receiving attention for some works of his that were created out of destruction. During the Sandy hurricane his archive was flooded and many of his photos were "destroyed". The pictures that would make up the record's sleeve were simply a document of a 4th of July cookout but after the waters of Sandy they became the american dream in a car crash with mother nature. The perfect visual to compliment a document about a melted american dream.

                          All Things Under Heaven packs the kind of swagger, raunch & ascent that would make Iggy Stooge and Sun Ra proud parents. It is a record that expands the vocabulary of what rock music can be without sacrificing the critical spirit that makes it Rock N Roll. The Icarus Line have summoned up the demons from the past, paid their homage and taken the sound in an entirely new direction; because this band are never ones to be caught on their knees. The album is a sprawling sonic landscape that has a timeless quality about it as it traverses between low valleys, towering skyscrapers and all the dirty alleyways that connect them. It's a record that's as sprawling as the city of Los Angeles to which The Icarus Line have always called home. It's a fuck you to the bite size society that has become music consumption. Life is bigger than that. And just like LA, this is a record that from the opening hollow echo swallowed pounding drums of "Ride Or Die" to the final free jazz funeral lullaby of "Sleep Now" is all its own world.

                          The Icarus Line have been deep in the rock 'n' roll trenches since their debut album Mono in the late 90s, yet sound more significant now than ever. Over the years The Icarus Line have proved to be one of the most exciting and unpredictable live bands around, again and again. Their performances are explosive, dangerous and sexy all at the same time.

                          "Joe Cardamone slanks in a room like some sick fuck who actually knows how to live on the street, instead of pretending that he still does," writes Permanent Midnight author Jerry Stahl. "Walking down Vulnerable Hardass Ave " the one where OG rock'n'rollers, the early eat-their-arms screamers and bar walkers that paved the way for posers and haircuts to come, first started screaming out the truth that was eating them alive."

                          For fans of all music styles American Primitive: Ayler, Patton, Howlin Wolf, Gira, Velvet Underground, Funkadelic, Sun Ra, The Psychedelic Stooges, Black Flag, Charlie Feathers, Tony Conrad.


                          STAFF COMMENTS

                          Barry says: As brash as ever, The Icarus Line return to the fore with this, their latest outing since 2013. All Things Under Heaven sees the band in a more grungy, punk-influenced mood. Snarling vocals, and screaming call-to-arms refrains atop driving distortion and thumbing kick drums. Never likely to be accused of being boring, this is a new direction from a band that can do no wrong. A Political noise-punk statement, and a righteous performance from one of the greatest post-hardcore bands of all time.

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                          Cover of As Birds We'd Be Fine by Ice Black Birds.

                          Ice Black Birds

                          As Birds We'd Be Fine

                          Laissez Faire Club

                          Debut release from Laissez Faire Club Records is the second single from Brighton based Ice Black Birds, "As Birds We’d Be Fine". It’s a slice of blues fueled, anthemic indie rock fit for the summer festival season, and has already been championed by Huw Stephens on Radio 1 as well as Steve Lamacq and Tom Robinson on 6Music.

                          The flip side is live favourite "Doors", a highly charged rock ‘n’ roll riot all over in two-and-a-half minutes – like they used to make in the good old days.

                          Fans of CCR, Kings Of Leon, White Denim and The Black Keys will love this.

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                          Cover of It Was A Good Day / You Can Do It - Feat. Mack 10 & Ms Toi by Ice Cube.

                          Ice Cube

                          It Was A Good Day / You Can Do It - Feat. Mack 10 & Ms Toi

                          Throwdown

                          Throwdown enter the vinyl arena with a top rope elbow drop here, slapping two of Ice Cube's finest moments onto one handy 7" platter. On the A-side we have the frankly fucking magnificent "It Was A Good Day", a masterpiece of West Coast street poetry which describes a day in the life of the Compton native over a killer Isley Brothers loop. Flip it for the party starting, rump shaking "You Can Do It", a pop rap, club powerhouse which no noughties underage night out could be had without. Glassy beat, sexy rap, good times!

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                          Icecross

                          Icecross

                          Dodo

                          Rare as a bass eunuch this is 1978 Icelandic prog, vinyl copies are selling for £400 and musically it's good too. A trio with Axel Einarsson proving to be a dab hand on the old fretboard.

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                          Cover of Reality by Ice.

                          Ice

                          Reality

                          Athens Of The North

                          Feeling like you’re missing a funk shaped hole in your life? Ice’s official rare reissue soul funk jam 'Reality' via Athens of the North Records is here to cure that. Super rare modern soul, this massive boogie tune is needed in every collectors’ record shelf. First played by Ian Wright and a few others on the Deepfunk scene and was then picked up by the Northern soul scene where it flourished and made its way to being an all-time favourite.

                          STAFF COMMENTS

                          Millie says: Look no further for your new favourite funk single. Ice reveals this banging reissue to solve all the searching to be halted, this is the one you need. Smooth funky grooves and impressively swooning vocals, this is a dream.

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                          Cover of Aperitiv - Selected Reworks by Ichisan.

                          Ichisan

                          Aperitiv - Selected Reworks

                          Bordello A Parigi

                          Slovenia's Ichisan always comes correct, not least on his 2017 LP "Aperitiv", which was so stupendously good that Bordello A Parigi have opted for a revisit. Four choice cuts have been selected and reworked with a specific instrument focus. The harpsicord version of “Hotel” keeps the intoxicating melody of the original but allows beats to relax as notes shine with an incandescent brilliance. Drums put their feet up for the Rhodes version of “Modri Tunel.” Deep stings and lounging lines mingle in this work of smoke swirling seduction. “Kozmetika (Trumpet Version)” dances to a different tune. Rich bass is again central but this time brash and bold brass intertwine with funk filled bars. The last waltz arrives with the piano version of “Terminal E.” Alluring notes ascend, rising and falling against heartwrenching guitar strings for a finale to end this ballroom inspired beauty.

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                          Cover of Prince by Icons Cards - Dirty Minds Series.

                          Icons Cards - Dirty Minds Series

                          Prince

                            Blank inside for your own message.

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                            Cover of Barry White - 1944-2003 by Icons Cards - Fatalities Series.

                            Icons Cards - Fatalities Series

                            Barry White - 1944-2003

                              The Icons Fatalities Series features some of our late great heroes.

                              Blank inside for your own message.

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                              Cover of Ian Curtis - 1956-1980 by Icons Cards - Fatalities Series.

                              Icons Cards - Fatalities Series

                              Ian Curtis - 1956-1980

                                The Icons Fatalities Series features some of our late great heroes.

                                Blank inside for your own message.

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                                Cover of Jim Morrison - 1943-1971 by Icons Cards - Fatalities Series.

                                Icons Cards - Fatalities Series

                                Jim Morrison - 1943-1971

                                  The Icons Fatalities Series features some of our late great heroes.

                                  Blank inside for your own message.

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                                  Cover of Kurt Cobain - 1967-1994 by Icons Cards - Fatalities Series.

                                  Icons Cards - Fatalities Series

                                  Kurt Cobain - 1967-1994

                                    The Icons Fatalities Series features some of our late great heroes.

                                    Blank inside for your own message.

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                                    Cover of Notorious BIG - 1972-1997 by Icons Cards - Fatalities Series.

                                    Icons Cards - Fatalities Series

                                    Notorious BIG - 1972-1997

                                      The Icons Fatalities Series features some of our late great heroes.

                                      Blank inside for your own message.

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                                      Cover of Shane MacGowan by Icons Cards - Living Dead Series.

                                      Icons Cards - Living Dead Series

                                      Shane MacGowan

                                        Good old Shane. His notoriety has given him an Icons series all of his own!

                                        Blank inside for your own message.


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                                        Cover of Morrissey by Icons Cards - Mancunians Series.

                                        Icons Cards - Mancunians Series

                                        Morrissey

                                          The Mancunians series features some of the coolest musicians our fine city has produced.

                                          Blank inside for your own message.

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                                          Cover of Debbie Harry by Icons Cards - Sugar & Spice.

                                          Icons Cards - Sugar & Spice

                                          Debbie Harry

                                            The Sugar & Spice series celebrates some of the lovely ladies of the music world.

                                            Blank inside for your own message.


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                                            Icons Of Filth

                                            Nostradamdus

                                            Go Kart

                                            One of the greatest anarcho-punk bands of all time has returned with a brand new album that stands up to their brilliant early releases. Simply put, Icons of Filth have grown in stature to underground punks all over the world. "Nostradamndedus" features their trademark brash guitars and in your face vocals. Their confrontational lyrics take to task capitalism, corporate greed and a gamut of social issues that are more timely and important today than ever before.

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                                            Cover of Promise To Stay by The Icypoles.

                                            The Icypoles

                                            Promise To Stay

                                            Kooky Discs

                                            ‘The Icypoles’ Story…The Icypoles grew out of a soundtrack to an experimental film. Here is the scene: a girl writes into a magazine with a problem about her teenage love life. She doesn’t know if she’s too young for love. The magazine is from a by-gone era, the music sounds something like Sixteen Candles with backing vocals to a ‘Dear Editor’ soliloquy. During the recording Isobel Knowles discovered a love for 60s girl group garage bands and film music that creates a particular dark ambience. She work-shopped some band names with her best friends Tara Shackell and Kim White and together with them created the idea of The Icypoles. Suddenly there was a new reason to write music and a small repertoire emerged. The songs featured on debut release, 'Promise To Stay' represent this first collection. Tara and Isobel were invited to join Architecture in Helsinki soon after The Icypoles started playing to audiences and there was a long pause in the development of the band while AIH toured the globe. But the idea stayed strong and more songs showed their faces over the years. The time came to take The Icypoles more seriously. The girls found a new drummer, Lani Sommer, and together went into the recording studio (a kitchen in a temporary house). The recordings were interspersed with shows around Melbourne and small tours (Sydney, Stockholm and New York City!). A cassette came out in London with Sexbeat ‘zine. Eventually some more recordings were made with producer, Haima Marriott and the mixing process began. Isobel and Haima had worked together on those first soundtrack recordings and revisited their recording experiments to come up with a sound for The Icypoles.

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                                            Cover of Hearts Of Palm by Idaho.

                                            Idaho

                                            Hearts Of Palm

                                            Talitres

                                              First time on vinyl. One of the most prolific, consistent, and unsung slowcore acts, Los Angeles, California's IDAHO is led by four-string guitarist and vocalist Jeff Martin, an unflinching songwriter who gained comparisons to Mark Eitzel (American Music Club), Mark Kozelek (Red House Painters), and Neil Young. "Hearts of Palm", Idaho's fifth studio album, was universally praised by the critics when released in 2000. It features Dan Seta on guitars and Jeff Martin playing everything else (except for a few guest appearances).

                                              FORMAT INFORMATION

                                              Ltd LP Info: Limited edition of 700. Includes MP3.

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                                              Cover of The Lone Gunman by Idaho.

                                              Idaho

                                              The Lone Gunman

                                              Idaho Music

                                              "The Lone Gunman" is Idaho's most keyboard intensive work featuring a collection of pianos, a Wurlitzer and an old Prophet 5. "The Lone Gunman" is already drawing praise as Idaho's most experimental album, 'a richly realized throwback to Eno's early work with Bowie.' Once dubbed 'the ultimate underground band', Idaho has garnered critical acclaim for 12 years, everywhere from the New Yorker to Paris's Liberation newspaper.

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                                              Reduced Cover of 1981 Extended Play EP by IDKHOW.

                                              IDKHOW

                                              1981 Extended Play EP

                                              Fearless Records

                                                Created by Dallon Weekes (ex-Panic! At The Disco), I DONT KNOW HOW BUT THEY FOUND ME is a band out of time. Their curious name comes from the film “Back To The Future” and to Weekes, it was a phrase that, on its own, always implied a greater story. One you had to create on your own. IDKhow is a musical entity outside of its own time, one that, according to Weekes, faded away into obscurity in the early 80s, and today, through the internet, sees its performances and recordings being rediscovered by a world that finally just might be ready for it. 

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                                                Cover of Up Two Sticks Road by The Idle Suite.

                                                The Idle Suite

                                                Up Two Sticks Road

                                                Last Visible Dog

                                                The Idle Suite are a six piece improv-rock group from Wellington, New Zealand. The band members come together from a variety of NZ underground acts including: King Loser, Sandoz Lab Technicians, Sferic Experiment, and Marineville. Driven by two drummers, the Idle Suite's music is open ended improv rock.

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                                                Cover of Idle Times by Idle Times.

                                                Idle Times

                                                Idle Times

                                                Hozac Records

                                                Since their inception, Seattle's eminently unique noise-benders, Idle Times have enshrouded their unhinged pop dexterity in an entire soiled spectrum of illustrious cloaks, assuring every angle they pursue is leveled with deranged precision. From the instant the lead off track kicks in on their debut LP, it's impossible to ignore the band's brainchild, Brian Standeford, utilizing an unreal and other-worldly scorching guitar tone, which very well might be what locks you in at first. But on closer listens, it's the scraps of distant-yet-familiar sound swatches, seamlessly patched together behind that inimitable guitar and vocal combination that make up the intensely diverse array of songs on their first full-length. It's never been more prominent than on their anxiously-awaited debut LP, where Idle Times are clearly pioneering a sound that's meshing so many degrees of varying styles from track to track, that it becomes easy to get lost in the staggering creativity of each intricate alcove.

                                                With such an intense collection of tracks that crush and crackle with deranged delight, Idle Times wield both noisy pop hooks with subdued melodic mastery, and prove that following up Sic Alps/Guided By Voices-style grungy, yet fully jangled scratchy pop hits, with the twang and clang of a fried-out later-era Byrds studio outtake, is truly something fresh and exciting in this never-ending world of recycled ideas and ripped-off innovation. It just doesn't sound like anything else, and as shocking as that may seem, that's most likely why it's just so compelling. After a smashing debut single on Woodsist Records in 2009 and their elusive HoZac Hookup Klub single that followed it a few months later, Idle Times have been hard at work mastering these delicately agonizing tracks into a complete whole, reinstating the value of the full-length with its ability to showcase the broad variety of irresistibly catchy sonic sophistication included within. Dispositions and delusions aside, don't miss out on the Pacific Northwest's most enchanting underground pop ensemble of the moment, and hitch onto Idle Times while you still can breathe in the all-encompassing atmosphere of their wondrous world.

                                                RIYL: Sonic Youth, Sic Alps, The Intelligence, Times New Viking, The Byrds, Guided By Voices

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                                                Cover of A Beautiful Thing: IDLES Live At Le Bataclan by IDLES.

                                                IDLES

                                                A Beautiful Thing: IDLES Live At Le Bataclan

                                                Partisan Records

                                                  ‘A Beautiful Thing: IDLES Live at Le Bataclan’ is the brand new live album from IDLES, recorded at Le Bataclan in Paris on 3rd December 2018, at the close of a 90 date world tour. The album celebrates the band’s success over the last two years, featuring songs from ‘Brutalism’ and ‘Joy as an Act of Resistance’, and highlights their overall message of unity, and of healing through community.

                                                  “Our show at Bataclan was the end of a very long journey for us. On that tour we learnt so much about ourselves, each other and the audiences we have grown with over the past 10 years. That show was nothing short of catharsis and nothing more than love. We love what we do and the people who have carried us here, there was no hiding that at Bataclan and we are so very grateful that the moment was captured in all its glory, love and fatigue. Long live the open minded and long live the moment.” - Joe Talbot


                                                  STAFF COMMENTS

                                                  Barry says: A beautiful thing indeed, Idles bring all of their vitriol and political fire to the legendary Bataclan, and it couldn't be more perfect a performance. Rawkous, huge and scathing, a live album not to be missed.

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Neon Clear Orange Vinyl.

                                                  2xColoured LP includes MP3 Download Code.

                                                  2xColoured LP 2 Info: Neon Clear Lime Green Vinyl.

                                                  2xColoured LP 2 includes MP3 Download Code.

                                                  2xColoured LP 3 Info: Neon Clear Pink Vinyl.

                                                  2xColoured LP 3 includes MP3 Download Code.

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                                                  Reduced Cover of Brutalism by Idles.

                                                  Idles

                                                  Brutalism

                                                  Balley Records

                                                  Bristol’s finest post-punk polemics IDLES have been promising to do great things for some time now, and with their debut album “Brutalism” they absolutely fulfil that promise, and a furious promise at that. Politically charged, refreshingly confrontational and infectiously volatile, IDLES are a band like no other. Bringing the unsettling reality of the world we live in into their frantic assault on the senses, they are a band that until now could only be truly understood by witnessing in a live environment - but with “Brutalism” it surely feels like they have captured the intensity of that live sound.

                                                  Bottled up here are the abrasive, memorable lyrics of Joseph Talbot delivered with all of the spite and wry humour he puts across on the stage .Dedicated in part to the loss of his mother, who adorns the record’s cover, and partly to a perceived decimation of society, from the NHS to public services across Britain, “Brutalism” is a deadly serious indictment on popular culture. 

                                                  “Idles are one of the most exciting British bands right now and Brutalism is the proof”-The Line Of Best Fit

                                                  ”Visceral anthems that’s timed weirdly well for this year’s madness“ NME

                                                  STAFF COMMENTS

                                                  Barry says: Snarling, pretence-free modern post-punk perfection from Bristol's very own Idles. From the slamming power-chord mayhem of “Well Done”, laying into Tarquin and his love of reggae and football, to the throbbing hook-laden 'Rachel Khoo', this is an unrelenting but perfectly formed juxtaposition of melodic sensibility and brazen, all-out aural warfare. Killer.

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                                                  Cover of Joy As An Act Of Resistance by Idles.

                                                  Idles

                                                  Joy As An Act Of Resistance

                                                  Partisan

                                                  Bristol, UK 5-piece Idles (aka “the UK's best punk band" - The Guardian) release their sophomore LP - ‘Joy as an Act of Resistance.’ 

                                                  Produced by Space and mixed by Adam Greenspan & Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush), ‘Joy as an Act of Resistance.’ takes aim at everything from toxic masculinity, nationalism, immigration, and class inequality - all while maintaining a visceral, infectious positivity. Singer Joe Talbot summarizes: “This album is an attempt to be vulnerable to our audience and to encourage vulnerability; a brave naked smile in this shitty new world. We have stripped back the songs and lyrics to our bare flesh to allow each other to breathe, to celebrate our differences, and act as an ode to communities and the individuals that forge them. Because without our community, we’d be nothing.”

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                                                  Cover of Everything Ever Written by Idlewild.

                                                  Idlewild

                                                  Everything Ever Written

                                                  Empty Words

                                                  After five years away, Scottish alternative rock band Idlewild return with new album Everything Ever Written. The band’s eighth studio recording represents a new chapter, both personally and creatively - featuring twelve tracks of alternative rock woven together from strands of Scottish folk, Americana & Hebridean psychedelia.

                                                  Produced by the band’s guitarist Rod Jones and mixed by John Agnello (Kurt Vile, Sonic Youth, Dinosaur Jr.) whom they collaborated with on their 2002 release The Remote Part and augmented by new members Luciano Rossi (piano, organ & vocals) and Andrew Mitchell (bass, guitar & vocals), Everything Ever Written is Idlewild’s most eclectic output to date.

                                                  “The album was predominantly written on the Isle of Mull”, vocalist Roddy Woomble explains. "The record soundtracks a period of transition. Working without time constraints gave the whole thing a creative freedom. Idlewild is a new band to me now; I’m excited for the future.”

                                                  In October 2014 the group completed a sold out acoustic tour of unique, intimate venues throughout the Highlands & Islands of Scotland, re-introducing themselves to live audiences after a half-decade break, performing re-worked versions of old songs as well as songs from the new album. The still, idyllic settings chosen for the performances hint towards the sense of space afforded in writing and recording the new album.

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                                                  Cover of Interview Music by Idlewild.

                                                  Idlewild

                                                  Interview Music

                                                  Empty Words

                                                  Having taken a break in 2010 (the previous fifteen years seeing them turn from raucous cult curiosity to chart bothering national treasures) Friendship and the bind of their creativity brought Idlewild back together for 2015’s Everything Ever Written. With it, came critical praise, an album in the top 20, and the band selling out venues as large as they ever had. With new members Luciano Rossi and Andrew Mitchell on board, Roddy Woomble, guitarist Rod Jones and drummer Colin Newton felt a renewed sense of purpose. So much so that the week that Everything Ever Written was released, they were already back at the drawing board to start work on what would become the bold step sidewards, forthcoming album Interview Music.

                                                  Inspired, they later decamped at the end at the end of a US tour in 2016 to Los Angeles to flesh out their ideas, but it would be some years before they set themselves up at Jones’ own Edinburgh studio to finish the record. “A lot of the songs are about dreams and dreaming and the thoughts and ideas that come from this state,” says Woomble. I live in the Scottish Highlands, and between there and California you’ve got two locations that can put you in a dream like state – driving down Sunset Boulevard as the sun sets or driving over the remote Ardnamurchan peninsula as the sun rises. The world seems unreal, magical. You’re dreaming through a landscape.”

                                                  Before finishing the album, the band performed a run of shows to celebrate the anniversary for their seminal record The Remote Part. One of those shows would see them meet up once again with the producer of that record and 100 Broken Windows, Dave Eringa, who would provide Idlewild with the grounding they needed to finish Interview Music. “Dave produced five songs on the album, but also brought a focus back to the band, and actually made us finish it!” admits Woomble. “He made it sound like us”.

                                                  This is no more apparent than on opener ‘Dream Variations’; with its echoing, fever-dream melody, chiming fizzing riff, and vocal harmonies, before taking a surprise left-turn and drifting into a waltz-like trance. Much like the rest of the record, it has the indie-rock DNA of the band, but mutated in new and strange ways. ‘Same Things Twice’ takes the fire of the heavier highlights like ‘A Modern Way Of Letting Go’ or ‘Little Discourage’, but carries it with a more mature grace. Then ‘I Almost Didn’t Notice’ and ‘Mount Analogue’ make for record’s centre-pieces as playful, adventurous and strange – driven by abandon but still loyal to all that you want from Idlewild; not least for Woomble’s lyrics. Here you’ll find another tapestry of riddles written to “celebrate vagueness”. “What’s really important about Idlewild is that we are basically punk rock kids,” concludes Woomble. “No one ever taught us how to play anything. We formed a band and we learned. In our own way. We were inspired by the bands we saw just getting up on stage, making a noise and exchanging ideas, and trying to change your ideas. That’s principally what the band still do. I’m not a kid rolling around screaming into a microphone on the floor anymore, but that ideal is still at our core.”

                                                  STAFF COMMENTS

                                                  Barry says: Idlewild have managed to maintain their off-kilter syncopated indie-rock atmospheres from the early days of their popularity, but imbue it with a sense of maturity and restraint, turning those magnificently written rhythmic counterpoints into a smoothly segued, but completely essential part of their sound. Brimming with texture and perfectly measured, 'Interview Music' is a perfect example of how a band can continue their legacy without becoming staid.

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                                                  Cover of Scottish Fiction: Best Of 1997 - 2007 by Idlewild.

                                                  Idlewild

                                                  Scottish Fiction: Best Of 1997 - 2007

                                                  Parlophone

                                                  Following the initial meeting of Roddy Woomble, Colin Newton and Rod Jones at Edinburgh University in the mid-90s, the newly formed Idlewild put their student loans together and released their debut 7" single in 1997. Now a decade later Idlewild release "Scottish Fiction", a "Best of..." that compiles some of their many musical highlights of the last 10 years. With a tracklisting chosen by the band themselves, "Scottish Fiction" includes classic singles such as "American English", "You Held The World In Your Arms" and "Roseability", as well as selected album tracks from their Food/Parlophone releases and this year's "Make Another World" album on Sequel.

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                                                  Cover of First Time Out by Theadora Ifudu.

                                                  Theadora Ifudu

                                                  First Time Out

                                                  PMG

                                                  "First Time Out" is a cosmic soul transmission from Nigeria’s own Diana Ross, Theadora Ifudu. The arty co-host of hit TV program, ‘The Bar Beach Show’ hooked up with the guys from Monomono to created an album that is sultry, sexy and effortlessly cool. It’s a smoky, New York Soul Club on wax. A graduate of the New York film school, Ifudu considered herself an artiste, and the opening track, "Hello There!" is arresting in its cinematic scope and intriguing strangeness. After briefly channeling Miriam Makes in "Gbata Ngwa", she moves into full diva mode. "(When Will It Be) Right Time" features vocal runs that Mariah Carey would be proud of and "That Man" has a smoky, jazz club vibe. It’s easy to imagine Theadora, under a single spotlight, dazzling in a sparkling figure-hugging crowd, holding a hard-to-please New York audience in her thrall. At times funky, laidback and smooth, the greatest compliment that can be paid to "First Time Out" is that it sounds international. The musicianship is first class, the vocals faultless and the mood super smooth. Theadora Ifudu, the self-proclaimed ‘moon watcher, ragdoll and artiste’, created an Afro soul masterpiece for the ages. - Peter Moore, www.africanrevolutions.com

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                                                  Cover of Raw Power - Vinyl Reissue by Iggy & The Stooges.

                                                  Iggy & The Stooges

                                                  Raw Power - Vinyl Reissue

                                                  Columbia

                                                    Legacy Vinyl release this classic album from Iggy Pop.

                                                    A double, gatefold, 180gm, black LP Vinyl.

                                                    This was the bands third album release & includes both the original 8 track David Bowie mix & the latter 8 track Iggy Pop mix. 

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                                                    Cover of Death Trip by Iggy And The Stooges.

                                                    Iggy And The Stooges

                                                    Death Trip

                                                    Revenge

                                                      Death Trip by Iggy Pop & The Stooges is a mix of songs recorded in 1973 during rehearsals before the release of the famous and unmissable Raw Power. Here you will find and feel the raw energy of the Detroit’s Iguane and his famous sidemen : the Asheton’s brothers (Ron on bass and Scott on drums), James Williamson (on guitar) and accompanied at this time (1973-74) by Scott Thurston on piano.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Red vinyl.

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                                                      Cover of Stone By Stone by Ikebe Shakedown.

                                                      Ikebe Shakedown

                                                      Stone By Stone

                                                      Ubiquity

                                                      Ikebe Shakedown's powerful instrumental soul takes "big unison horns, slinky bass lines, tight little guitar licks-and blends them with tasty grooves culled from '70s-style horn-driven funk (WNYC Soundcheck)." The Brooklyn-based collective is set to follow up their well-received self-titled debut album with the heavier, more mature sound of their second full-length Stone By Stone.

                                                      The self-produced album was recorded at the famed "House of Soul" Daptone Studios in Bushwick, Brooklyn. Notes bassist Vince Chiarito, "Thinking of all the great music that has come out of the Daptone Studio really pushed us to refine our songs and grow as a band. It was really inspiring to record there." The band adds that, "Stone By Stone is a much more layered and arranged album. The self-titled debut captured the raw energy of us playing live and the new record is much more of a studio effort. Psychedelic textures weave in and out of the grooves while the horn section offers an explosive response. The songs are heavy and danceable and show our moodier, more melodic side."

                                                      The seven-piece band-named after a favorite Nigerian boogie record and pronounced "ee-KAY-bay" formed in 2008 and has developed a mighty horn section anchored by tight, deep-pocketed grooves. Following 2009's debut EP Hard Steppin', the band released their self-titled debut full-length LP on Ubiquity Records in 2011 that Okayplayer called "an adventurous trip through time" and "one of the best releases of the year." Their music has also been featured on a number of television shows and commercials including HBO's Eastbound and Down, Mini Cooper and Vans.

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                                                      Cover of John Yancey by Illa J.

                                                      Illa J

                                                      John Yancey

                                                      Jakarta Records

                                                      "John Yancey" is the second album Illa J will release on Jakarta Records, following the successful release of HOME last year. The project is the second collaboration with Los Angeles based producer Calvin Valentine, who once again contributed all of the production for the long player. While "Home" was largely inspired by Illa's native city of Detroit, "John Yancey" now focuses on his time in California. Illa J describes the album as ‘definitely more personal than all of my projects, nothing specific, but I basically talk about about the ups and downs of all my relationships over the past 10 years, still grieving about my bro, etc. This one is trippy because the first single comes out a day before my 32nd birthday and the original title was 32 because this is a special year to me because my brother died at that age so it had a lot of meaning. But it makes sense that it ended up being called John Yancey because for so long in my career I felt like I was tryna be me and my brother, and I'm finally at peace, like I'm not J Dilla's younger brother Illa J, I'm James younger brother John.’

                                                      While the story of the album might have changed, there are certain continuities as well, built around the strong foundation of the combination of Illa's voice and Calvin Valentine's soulful sample-based production. The previous album already saw Illa J incorporate more singing into his raps and he goes down this path even further: "I wanted to emphasize the singing but use more of my natural singing voice, as well as rap more than on HOME." In regards to the music, Calvin wanted to make the project sound "a bit more polished where HOME was purposely rough around the edges." Still, the production remains soulful and rich with layers to leave things interesting for the listener, the more spins you give the record.


                                                      STAFF COMMENTS

                                                      Millie says: Illa J graces us with his amazing new album John Yancey, it explores topics close to his sleeve and delves into glorious hip hop samples and grooves while maintaining his own originality spun into the album.

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                                                      Cover of Left Behind / Born Slippy by The Illicits.

                                                      The Illicits

                                                      Left Behind / Born Slippy

                                                      Creation 23 Records

                                                        The Illicits are the leaders of the next generation. The four-piece band from Blackburn, newly-signed by Alan McGee to his Creation 23, are the vital, essential guitar band the UK music scene has been waiting for, creating what Alan McGee has described as “terrace punk”.

                                                        With their blistering live shows, The Illicits are bringing people together, speaking to their peers in the north and documenting life in the post-industrial northern towns and cities. The band’s euphoric take on punk rock is instilling confidence and swagger into the northern music scene, and increasingly resonating with kids up and down the country as word spreads.

                                                        “Left Behind” features Sex Pistols legend Steve Jones on guitar, and is an urgent, anthemic slice of punk rock. Steve recorded his part at Atticus Ross’ (Nine Inch Nails) studio in LA. The cover of the Underworld classic “Born Slippy” has become a firm fan favourite at live shows, with the band encoring with the 90s classic.

                                                        The Illicits became the first band ever to appear on Soccer AM without releasing any music when they performed live on the show earlier this year. This latest AA side release follows the vinyl-only release of debut single “In What World”. The record sold-out on pre-sales alone, entering the vinyl charts at Number 4 on release. To date the band have focused on physical releases only, avoiding streaming as they’ve built their reputation on word of mouth. 


                                                        FORMAT INFORMATION

                                                        Ltd 7" Info: Limited edition red vinyl.

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                                                        Cover of Oh Flaming Sword! Oh Tree Of Life! by The Illiterati.

                                                        The Illiterati

                                                        Oh Flaming Sword! Oh Tree Of Life!

                                                        Fox & Hawk Records

                                                        The Illiterati is indie-pop music, music made with microchips and melodicas, sweet singing and six-string-strumming, tapped-out, taped-up drum machines and joy-drunk-heart-machinations. They hail from Gainesville, Florida in the big old US of A, and their sweet brand of indie-pop could well earn them a legion of fans over here. For comparisons and influences think, The Decemberists, Badly Drawn Boy, The New Pornographers, Grandaddy, and Air amongst many others.

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                                                        ILO

                                                        ILO

                                                        Uniform

                                                        Jazzy, downtempo tracks with twists of dub, ambient, techno and blues from this Icelandic fella, who has previously remixed the likes of Sigur Ros and Mum.

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                                                        Cover of Heavenly / Heavenly (Ilya Remix) by Ilya.

                                                        Ilya

                                                        Heavenly / Heavenly (Ilya Remix)

                                                        Virgin

                                                        Another fantastic track from Ilya! Imagine a fusion of David Axelrod and Norman Connors epic production sounds mixed with a lush downbeat feel and a torch song / 60s style easy listening vocal. Mmmm! Their own remix on the flip is more cinematic and mostly instrumental, with a more leftfield feel.

                                                        FORMAT INFORMATION

                                                        12" Info: Limited upfront promo - there's only a couple of hundred of these, and we've managed to get a handfull!

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                                                        Cover of Temet by Imarhan.

                                                        Imarhan

                                                        Temet

                                                        City Slang

                                                        When Imarhan released their self-titled debut album in 2016, they stepped into a genre already flooded with talent and exposure, but still managed to rise to the top and be heralded as the 'new wave Of Tuareg music'. It is with much anticipation that the band from Tamanrasset, Algeria have announced the details of their second album Temet, due out February 26 on City Slang.

                                                        "Temet" is a huge leap forward in production, as well as creatively for Imarhan. Whereas their debut was anchored in the meditative Desert Blues tradition, "Temet" eclipses such notions, finding bounce and drive by stirring their sound with funk, fuzz, disco and rock. This is not a novel concept to the band, as anyone who has seen them play will attest. Imarhan's experience as a touring band has reinforced the focus and meaning behind their music.

                                                        With "Temet", Imarhan have firmly established themselves as a band to reckon with. Rather than being distracted by meddling around with big producers or famous guests, they’ve focused this release on their inherent strength of songwriting, using the eternal bonds in their community, families and friendships as a blueprint not only for an amazing standalone album, but as a reference for generations to come. 'We hope that Imarhan will allow the younger generation to become aware of the fundamental importance of friendship. As long as someone is by your side supporting you, asking for your friendship, what more could you want out of life? You will want for nothing.'


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                                                        Cover of D.I.E. Remixes - Inc. Red Rack'em / Broken English Club Remixes by The Imbeciles.

                                                        The Imbeciles

                                                        D.I.E. Remixes - Inc. Red Rack'em / Broken English Club Remixes

                                                        The Imbeciles

                                                        This is the music for our times; our darkening times. The Imbeciles are making the soundtrack for the world we really live in, which is set to become increasingly angry, unhappy, unfair, and messed up. “The world is slowly imploding.” That’s the warning from The Imbeciles, and the message behind its first album. The idea of what to do emerged like a surprise attack.

                                                        “I don’t even know where it came from… it ambushed us,” says Butch Dante, of the band’s forthcoming self-titled debut album. “To us it looks like mankind will endgame itself in this millennium, and probably within the next 100 or 200 years. The Imbeciles as harbingers of that fall. We’re pointing out that the world is imploding, for many reasons — environmental, political, technological, and ultimately because human beings themselves forgot how to be humane, how to be kind.”

                                                        “Saying we are political would infer that we have some faith in the political system. We don’t. Or that we have answers, a solution to prevent this coming slow apocalypse. But we don’t. We are sitting at the side of an innocent-looking pool saying: hey, you’re drowning but you don’t even know it. And we’re giving you some music to listen to as you go down.”

                                                        Inspired by the likes of Wire, Devo, Gang Of Four, but utterly unique, a new form of avant-garde art punk, against greed and mendacity. The band’s forthcoming album was recorded deep down at Sonic Ranch on the Texas/Mexico border. All analogue, in seven days. Produced by Calvin Voltz.

                                                        Latest single “D.I.E.” is “a lament for the end of the world. With references to global endgames. They’re grim. All self-inflicted. The chorus is epic when played live. It’s incredibly passionate. People really get into it.” And now it’s been remixed.

                                                        Red Rack'em's take on is wonderfully curveball as one might expect; homing in on one unique part of the vocal and making it the fullcrum, from which his psychedelic, deep-house, hardcore jazzathon is then able to blossom and unravel before your very eyes. Atmospheric, experimental and hooky too - clever business from the Bergerac boss.

                                                        Next up we have the amazing Oliver Ho and his Broken English Club. Here we witness a more flagrant and faithful use of stems, and through layering both the band's parts, and instruments of his own design - he transforms 'D.I.E.' into a towering slab of dark and raw, industrial EBM.

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                                                        Cover of Medicine Remixes - Inc. Ryan James Ford / Legowelt / C.A.R Remixes by The Imbeciles.

                                                        The Imbeciles

                                                        Medicine Remixes - Inc. Ryan James Ford / Legowelt / C.A.R Remixes

                                                        The Imbeciles

                                                        Medicine used to be, we expected, good for us. Albeit with added sugar. Now medicine is a huge problem in itself, with vast companies caught mis-selling dangerous drugs. It’s one of the biggest scandals ever. How on earth did we get here? Who did this?

                                                        The Imbeciles are on the case.

                                                        “It’s about the dark side of prescription ‘medicines’. Oxy, Xanax, Ambien, all that. Big pharma is pushing these addictive ‘medicines’ that we don’t actually need, to desensitise / numb / kill. All for profit,” says Butch Dante.

                                                        A new classic from The Imbeciles. They know. And they made a video. Watch it here.

                                                        Now they’ve been remixed. By these people:

                                                        C.A.R.:
                                                        Impossible to categorise, and all the better for it - London based, Franco-Canadian, C.A.R., flirts with elements of new wave, cold wave, synth-pop, post punk and off-kilter disco; and without doubt wields some of the most satisfyingly other-worldly melodies and synth lines around.

                                                        Ryan James Ford:
                                                        One of the most exciting underground techno producers on the block - Ryan doesn’t constrain himself to any one rhythm, aesthetic and motif, but can always be found to be hitting the listener with thick atmosphere, dark melodies and an upfront, experimental attitude.

                                                        Legowelt:
                                                        A true pioneer of left field house and disco, this Dutch master draws from disco, italo, dub, dancehall, techno and many more sonic pools to create his wonderfully engaging, but always envelope pushing sound.

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                                                        Cover of Planet Language by Imitating Aeroplanes.

                                                        Imitating Aeroplanes

                                                        Planet Language

                                                        Propeller Recordings

                                                          Imitating Aeroplanes is the new project of Tord Øverland Knudsen (The Wombats) and Marius Drogsås Hagen (Team Me) – a collective output tallying five albums, multi-million sales and streams, repeat Billboard charts, international play-listing and widespread acclaim, including a Norwegian Grammy Award and multiple NME / MTV Award nominations.

                                                          On paper, it’s an impressive partnership, but this is one project more destined than designed. Marius and Tord have been playing and writing music together since childhood, recording their first demos to cassette circa ‘96. The pair grew up in small Norwegian town Elverum before embarking respective international careers, with their latest planetary pursuit landing in Tokyo – the heartland of forthcoming album ‘Planet Language’, released September 22 via Propeller Recordings.

                                                          The album blends elements of pop, prog, funk and psychedelia, with a no holds barred approach to song structure and production. “The whole idea of this album was to do things we haven’t done before, and things that we couldn’t do in our existing projects,” Tord says. “It feels like one hell of a journey, both lyrically and musically,” Marius adds. “It’s all about travelling in different ways – whether in music or in life – and somehow finding bits of home wherever you are,” he says, referencing a Japanese tour in which the pair were joined by video game composer and musician Kenji Ito (a.k.a. Itoken).

                                                          Itoken’s influence was great, contributing additional production and keyboard parts on instrumental prelude ’Roppongi Hills’, and unintentionally coining the album’s title whilst explaining his wife’s “made-up” language. “He said it so casually,” Tord recalls, “it’s not Japanese, it’s some sort of planet language’. It just felt incredibly profound.”


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                                                          Cover of Sleepless by Immersion.

                                                          Immersion

                                                          Sleepless

                                                          Swim

                                                            Immersion are Malka Spigel and Colin Newman. Although best known for their work with, respectively, Minimal Compact and Wire, the duo’s work as Immersion provides an outlet for their ongoing fascination in crafting enthralling, unique musical soundscapes. Sleepless is Immersion’s latest album, a suite of ten distinctive, unpredictable instrumentals that effortlessly encapsulate a range of emotions and energies.



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                                                            Cover of These Bones Will Rise To Love You Again by The Immortal Lee County Killers III.

                                                            The Immortal Lee County Killers III

                                                            These Bones Will Rise To Love You Again

                                                            Funhouse Records

                                                            "These Bones Will Rise To Love You Again", is the third installment from explosive punk-blues insurgents The Immortal Lee County Killers III. In 2004, the original duo naturally turned trio by adding new member Jeff Goodwin. Goodwin plays the fuzzed Hammond B3 organ and Rhodes electric piano via his wood-grain midi-keyboard. No longer only a punk blues band, ILCK evolved into a new animal that genre specific geek musicologists (a.k.a.'scenesters') are challenged to define.

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                                                            Cover of We Like It Wild by The Impossible Shapes.

                                                            The Impossible Shapes

                                                            We Like It Wild

                                                            Secretly Canadian

                                                            For "We Like It Wild", their fourth proper full-length, the band ventured to the wooded Indiana hills of Monroe County. With alternating lead guitars, the band recalls the urban paranoia of Television and the forlorn southern gothic of Derek & The Dominoes with Barth's fey Donovan-esque voice sounding as though it's coming from across the Atlantic. All the while they maintain the urgent bounce of early REM.

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                                                            The Impossibles

                                                            4 Song Brick Bomb

                                                            Fueled By Ramen

                                                            A band that goes from strength to strength with 4 new tracks that are full of quality and great touches. This is quality emocore on Fueled By Ramen.

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                                                            Cover of Sewerpop! (How The Castle Was Stormed) by IMP.

                                                            IMP

                                                            Sewerpop! (How The Castle Was Stormed)

                                                            Philophobia Music

                                                              iMP are a 5-piece from Wakefield who produce catchy indie with a slacker edge. January sees the release of their second EP 'Sewerpop! (How The Castle Was Stormed)', produced by Rob Slater at Greenmount Studios. The EP deftly blends the band’s experimentation and pop sensibilities together in their most assured and accomplished work to date.

                                                              In 2009 iMP released ‘Party’ and ‘Great Jaguars Triumph’ on the split EP The Heartfelt, both produced by Jamie Lockhart and Lee Smith at Greenmount Studios, Leeds. This was followed in 2010 by their 5 track Just Destroyer EP, this time produced by Rob Slater at Irene Cottage Studios, Wakefield, which saw the band's reputation as one of the best slacker pop bands in West Yorkshire develop, picking up plays from Bethan Elfyn and Charlie Ashcroft on Amazing Radio.

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                                                              In Control

                                                              Another Year

                                                              Indecision

                                                              Based out of Oxnard, California, this is the first album from this four-piece, the follow up to a self titled EP now available on Six Weeks Records. On this new album, In Control offer up a strong dose of traditional hardcore with a modern touch that doesn't get caught up in an effort to appease any one genre. From acoustic, melodic parts to NYHC styled breakdowns and mosh parts, these guys abandon a lot of the stale formulas so many bands lose their identity to. This is the new face of Nardcore-and it's scary.

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                                                              In Control

                                                              Breaking The Curse

                                                              Six Weeks Records

                                                              In Control like it fast and rough! Ranting hardcore in the old skool tradition, short songs then he's off again on another rant. Much hellstorm fury and vitriol in a class of their own.

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                                                              Cover of The Living Daylights (Timothy J Fairplay Mix) by In Embrace.

                                                              In Embrace

                                                              The Living Daylights (Timothy J Fairplay Mix)

                                                              Emotional Rescue

                                                              The third in the releases where label favourites are represented for today and backed with a remix / version by a contemporary producer of repute, presents 80s leftfield pop-rock band In Embrace. Appearing here are two versions of The Living Daylights, the original long version and a re-recorded live take, plus additional versions by Timothy J Fairplay.

                                                              Coming out of the midlands Post Punk / fanzine scene Gary Knight and friends formed the original incarnation of In Embrace in 1981. Picked up by Glass Records, the early, edgy live recording were re-proposed as Knight developed his 'non-musicianship' with an interest in the possibilities of the studio.

                                                              The original "Uncut" version takes it's anti-war themed vocal and lays it over a Jah Wobble inspired bassline and tense electronic rhythm. As it builds, the pressure mounts a visceral sense of oblivion of 9+ minutes of deep dubbing and repeating refrain.

                                                              Next to this the "Live In Studio" version sees the later 3 piece band replay it out in an energetic raw form that makes a worth addition. Handing the versions, plus backing tracks to Timothy J Fairplay offered a radical departure. His brooding Redub and Bonus mixes take the track to a darker place, drawing out the induced, relentless madness Knight always intended.

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                                                              Cover of Escape From Berlin by In Mirrors.

                                                              In Mirrors

                                                              Escape From Berlin

                                                              Italians Do It Better

                                                              Escape from Berlin is the last surviving nitrate print of a film thought lost to time - a bleak noir fantasy on the outer limits of sound. Its after-hours tenor has the beautiful blur of a night spent in the gutter, a confrontation with despair long past last call. Defiance in the face of suffering. Curtains of texture and electronic noise drape the walls.

                                                              Recorded in deep isolation on location at Nite Prison in Vancouver, the album plays as a dizzying singular collage. Acutely focused on texture & the negative space between moments, composer & poet Jesse Taylor is the anchor in a revolving cast of cameos. For this album, his partners in crime are Suzanne, Hiromi Inada, & Andrew Grosvenor on clarinet. As enigmatic & fleeting as reflections in a hall of mirrors, these themes are fractured & textural. Taylor ambitiously asks us to look beyond the mirror…through to the other side. We imagine Phillip Glass playing chess with William Burroughs while Klaus Schulze slaves over a droning synthesizer in the corner. We hear vapor trails from Coltrane, Carpenter, & Amon Duul. This debut is a glance at one of the most varied artists on Italians Do It Better’s roster. Johnny & Jesse have been collaborating behind the scenes since 2003. Distilled in a process strengthened by time from Portland to Montreal…Los Angeles to B.C. In Mirrors blurs the imaginary lines between genres. Opening with a sultry Stevie Nicks cover & closing with 14 minutes of expansive aural fusion. Perhaps Taylor’s good friend, Joey Casio said it best…”Change the channel, this one is the mirror.”


                                                              FORMAT INFORMATION

                                                              Coloured LP Info: 180-gram grey marble vinyl.

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                                                              Cover of In Silence by In Silence.

                                                              In Silence

                                                              In Silence

                                                              In Silence

                                                              Seven track mini album from this six piece who formed in Salford in 2003. Merging influences including Machine Head, Tool and System Of A Down, they blend heavy riffs alongside soaring melodic passages, intensely driven by the thrashing duo of drums and percussion.

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                                                              Cover of Akinetic by In Tall Buildings.

                                                              In Tall Buildings

                                                              Akinetic

                                                              Western Vinyl

                                                                Akinetic, the new album from Chicago songwriter and multi-instrumentalist Erik Hall's one-man polymathic project In Tall Buildings sees its creator plunge headlong into allegories of communication, loss, impulse, vice, and mass-denialism. With the addition of producer and engineer Brian Deck (Modest Mouse, Iron & Wine) Hall crashes through the aforementioned subject matter with brightness and lucidity, yielding his most intelligent and focused songwriting yet. Working out of his house with Deck in Pilsen, Chicago, Hall's efforts yield ten tracks of spacious and textured handmade pop, comprising one of the most sharply written and deftly recorded home-studio albums in memory. Where his previous titles were natural documents of his musicianship and songcraft, Akinetic arose from deliberate intent to write in concrete pop forms, lyrically informed by what he observed of modern culture, namely its fixation on technology-driven pseudo-progress at the cost of direct communication.

                                                                "Rather than merely dwell in an inviting musical bed," Hall states, "I wanted to write songs with intentionality that would more directly declare themselves to a listener instead of just passively inviting them in." The epilogue “Wake Up” takes classic In Tall Buildings form with fluttering guitar, softly thumping drums, and Hall’s trademark production flourishes. Tape-crushed voices chirp behind the instruments (all played by Hall, as per the rest of the album) as our host poetically urges us to do what the song’s title suggests. The lights slowly fade up on Akinetic showing it for exactly what it is: a crystal clear, well-crafted montage of honest emotion, with pointed social commentary crouching just beneath the topsoil. That this was all achieved by one person playing every instrument, gently guided by a kindred and veteran co-producer, denotes Akinetic as the greatest height yet reached for In Tall Buildings. 

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                                                                Cover of Driver by In Tall Buildings.

                                                                In Tall Buildings

                                                                Driver

                                                                Western Vinyl

                                                                Erik Hall worked patiently and solitarily for four years to craft Driver, his sophomore album as In Tall Buildings. The album comes twenty years after Hall originally fell in love with home recording at age 13 - the year he got his hands on his first multi-track recorder. As a multi-instrumentalist and producer Hall eventually went on to record and tour with several groups, including old friends His Name is Alive and, more recently, dream-pop duo Wild Belle, performing the rhythm section tracks and lending an engineering hand to their Columbia Records debut.

                                                                In 2010 Hall’s home recording efforts yielded the first In Tall Buildings album, which The Huffington Post called "gorgeous indie-pop", and the Chicago Tribune found "hypnotic". In an interview with the Chicago Tribune, he summed up much of his philosophy about composition with a pair of conflicting quotes he attributes to Allen Ginsberg and Kurt Vonnegut, respectively: "First thought, best thought" and "Edit yourself, mercilessly."

                                                                Loosely guided by these principles, Hall set out once again to assemble a new batch of songs, when he wasn't recording and touring with other bands. In stark contrast to the dense polyrhythms echoed by NOMO's albums, Driver uses a relatively simple palette to create spacious pop songs, leaving plenty of room for Hall's often Peter Gabriel-esque vocals to shine. The music, though culled from every guitar, keyboard, and drum he managed to fit into his home studio, is powerful in it's restrained simplicity, and it's a compelling foil to the haunting gravity of his vocal performance. Never rushed, his melodies deliver elliptical lyrics that manage to feel intimate, while retaining a sense of mystery. Ultimately, the album's melancholic vibe is relatable, rather than moping or histrionic, and in the end these songs are incredibly comforting and inviting.

                                                                FORMAT INFORMATION

                                                                LP includes MP3 Download Code.

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                                                                Cover of In The Pines by In The Pines.

                                                                In The Pines

                                                                In The Pines

                                                                Second Nature

                                                                In the Pines is a six piece musical endeavor from Kansas City, Missouri who look for that gift. Made up of two guitars, a bass, a violin, a viola, a pump organ, drums, and five vocals, their music is serene at times - other times brooding - creating an atmosphere ideal for their subject matter: narratives of a man wasted away in prison, a woman burning to death as her dress catches fire, a handless man intent on showing others the subtle gifts in life. It is dark, it is dirty, it is sometimes drunken. It is intimate...it is what we call In the Pines.

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                                                                Cover of Vizitoz - Inc. Lauer & Lizards Remixes by In:State & Guili.

                                                                In:State & Guili

                                                                Vizitoz - Inc. Lauer & Lizards Remixes

                                                                Not On Animal

                                                                New to the NAAR stable, In:State & Giuli make their debut in stunning style. "Visitoz" is a jugular hitting, modern techno affair rolled out at a midrange tempo and using a deceptively simple gated arp and horn to dazzlingly good effect. Lauer gives things a technicoloured rub-down, taking the track towards the coast and the big sun holiday destinations, throwing in a touch of Telex's "Moscow Television" into the blender. Second OG, "Plus 1" has a retro-futurist slant, like your listening to visions of the future from a proto-techno mindset, its skillfully programmed drums shuddering delightfully as the rumbling sawtooth is deployed, cutting through the cerebral mix and adding some serious weight. Finally, Lizards remix "Vizitoz" for one last trip into the vortex. This one sees that gated arp line really sent spiraling, as the rest of the mix is padded out with high grade ride cymbals and a minimal electronic drum kit. 



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                                                                Cover of Scatter EP - Clear Vinyl Edition by Inca Babies.

                                                                Inca Babies

                                                                Scatter EP - Clear Vinyl Edition

                                                                Black Lagoon

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

                                                                  The Inca babies release the “Scatter EP” on 12” crystal clear vinyl for Record store Day 2014. The Inca Babies take to vinyl again and from the Urban Mancunian soundscape comes a one chord slab of pure pounding deathrock punk-blues. The Incas re-discover their primal punk instinct slamming down a searing riff that sings at the deep raw edge between ecstasy and danger. The track has become an explosive finale to their live shows on their recent UK and European tour of 2013. On the other side of this 12” vinyl ep is a choice collection of tracks both old and new. The opener, ‘Superior Spectre’ is a long lost 1984 Peel session track never before available. Here it has been re-recorded and lovingly placed as the opener to the B side. From the Incas sixth Album “Deep Dark Blue” the title track has been selected as a twang-surf tribute to the genius that was Link Wray and Dick Dale. From their acclaimed fifth album “Death message Blues” comes ‘Walk like Jesus’ a jaunty piece of catwalk blues written for the Messiah.

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                                                                  Cover of Death Message Blues by Inca Babies.

                                                                  Inca Babies

                                                                  Death Message Blues

                                                                  Black Lagoon

                                                                  ‘Death Message Blues’ is the powerful new album from UK swamp blues band The Inca Babies.

                                                                  It’s their sixth album in a career spanning 28 years and marks their full return to live performance after the death of founder member bassist Bill Marten.

                                                                  Originally formed in Manchester in 1983 by guitarist and vocalist Harry Stafford and bassist Bill Marten, the band released four albums and recorded four sessions for the BBC’s legendary John Peel Show before splitting in 1988. Reuniting in 2007, Stafford and Marten recruited Gold Blade drummer Rob Haynes, but work on the new album was halted by Marten’s sudden death in 2008.

                                                                  After a period of reflection, it was decided to complete the work that Marten had begun, with the band’s long-time friend Vince Hunt (A Witness, Pure Sound) taking over on bass.

                                                                  ‘Death Message Blues’ features twelve new tracks penned by Harry S. casting a net across fast and spiky r’n’b, swamp blues, bastard country and punk power. Lyrically, the songs observe usual Inca traits of wild characters, ghosts and murderous stories, with reflections too on the passing of Inca founding member, bassist Bill Marten.

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                                                                  Cover of Deep Dark Blue by Inca Babies.

                                                                  Inca Babies

                                                                  Deep Dark Blue

                                                                  Black Lagoon

                                                                  After the release of “Death Message Blues” in October of 2010, “Deep Dark Blue” is their sixth studio album. If “Death Message Blues” was a collection of loss and acceptance, after the untimely death of original bassist Bill Marten in 2008, then, “Deep Dark Blue” is a reflection of songs about hope and endeavour, but with the usual mischief and lyrical mendacity reminiscent of previous recordings. It reflects a re-shaping of the Incas sound into a perhaps mature and yet wilful approach to guitars, percussion and offbeat narratives of tall tales and extravagant characters. Made in Manchester, UK, the Album began at their now ‘house’ studio, Courtyard Recording studios, but with an unexpected breakdown laying low their brilliant producer Tim Woodward, the Incas were forced to up-root and finish elsewhere. They were recommended Phil Green’s Blue Room for its, sheer live sonic delight. And overall, the 13 new songs, written by Harry S., have taken on further inspiration of styles and genres.

                                                                  There’s surf punk, there’s trashman’s blues, death rock grunge and end of the world ballads. While the last album saw new territories open up for the band having played in Rome, Milan, Lithuania, Los Angeles and Warsaw, where they were embraced and applauded for their singular, blistering approach to live performance; This new album, “Deep Dark Blue”, with its exploration into yet more exuberant sounds and ideas, is looking for the band to consolidate and find yet newer untapped congregations to enthral.

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                                                                  Incoherence

                                                                  A World Without Heroes

                                                                  Blackfish

                                                                  Pounding drums, screaming guitar riffs and demon spawn nightmare from hell vocals - this Watford band have the lot. Having already opened up for the likes of American Nightmare on their recent UK tour, Incoherence are part of the next wave of UK hardcore bands taking the genre to a whole new exciting place. This seven track mini album is an ideal introduction at £5.99.

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                                                                  Cover of Introducing... by Incredible String Band.

                                                                  Incredible String Band

                                                                  Introducing...

                                                                  Rhino

                                                                  While it's true to say that when they came together in 1965 The Incredible String Band were, ostensibly, an acoustic folk group, even in these early days they mixed in elements of folk, blues, bluegrass and jazz, akin to an American style jug band, and very different from any other performers or groups on the folk scene in England and Scotland. By the time they released their two most rightly celebrated albums, "The 5000 Spirits" and "The Hangman's Beautiful Daughter" in 1967 and 1968 respectively, The Incredible String Band had come to embody the notion of the hippie ideal. They were extraordinary records, incorporating Indian and African traditions and effectively presenting 'World music' for the first time, some 25 years before the term was coined. Right now, as folk music goes through one of its regular revivals and has become hip once again under the umbrella of nu-folk, alt-folk or twisted folk, call it what you will, The Incredible String Band, now find themselves revered gurus of this new scene. Since the ISP began performing together again in 1999, they have been embraced by these younger musicians both here and in America and just last year flew the flag for the old guard at the Green Man Festival along side the likes of Bonnie Prince Billy, Espers and Joanna Newsom. It's a fitting time to present a new introduction to the Incredible String Band, here drawn from "The Elektra Years", a groundbreaking and exhilarating five year period from 66-71. The collection is a convenient starter pack. You'll hear nothing in the music of today to compare with the unique sound of the Incredible String Band.

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                                                                  Cover of The Hangman's Beautiful Daughter by The Incredible String Band.

                                                                  The Incredible String Band

                                                                  The Hangman's Beautiful Daughter

                                                                  Sundazed

                                                                  Incredible String Band's third (1968) and most ambitious album - a truckload of exotic instruments and drugs come into play resulting in a bona fide acid-folk masterpiece! If you only get one ISB album, this is the one you need!

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                                                                  Cover of The Incredible String Band by The Incredible String Band.

                                                                  The Incredible String Band

                                                                  The Incredible String Band

                                                                  Sundazed

                                                                  The 1966 debut from the forward-thinking furry folkies. Recorded as a trio before their inspiring trips to Morocco and Afghanistan, it's a straight-ahead blend of traditional and original material, played in a mix of American and Celtic folk styles.

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