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

This release is a double A side 7” single, comprising of previously unreleased versions by Dave Fridmann of the singles ‘Sovereign Light Café’ and ‘Disconnected’ from Keane’s fourth studio album ‘Strangeland’. It will be released on limited edition green vinyl, has brand new artwork exclusive for Record Store Day and comes with a digital download card.

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

In celebration and support of Record Store Day 2019, KT Tunstall releases an exclusive 7” titled EXTRA WAX. The grey coloured and numbered 7” featuring tracks John The Conqueror and Throw Down Boy, which initially appeared on deluxe physical release of latest album WAX, in addition to cover of Violent Femmes – Blister In The Sun released for the first time! Grey 7”, numbered outer sleeve

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

Exclusive colour and one time pressing.Colored vinyl, comes with download card, tip-on jacket, gold foil numbered.The Tales People Tell was released in April 2019, this is the instrumental companion to that record.None of these instrumental versions have been released, but his debut LP sold over 6000 LPs (mostly at indie retail)

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).

2xLP Ltd edition Double GOLD vinyl & DL card. Released for the first time on vinyl, Wyatt At The Coyote Palace is pressed on double gold vinyl.

An essential vinyl release of the Throwing Muses mainstays 2016s CD and essay book that featured stories from her life's most perception-altering junctures (NPR).
As memoirs, her albums are so intensely personal... as art, theyíre arguments for the value of unapologetic individuality - Pitchfork.

This music reminds you how alone you are; it consoles you through its insolubility, comforts you by jabbing you in the chest and letting you know how complex the struggle is, how inaccessible we are to each other but just how universal our pain can be. - The Wire.

This sonically rich and fragmented record references to Hersh's past material and sees her perform on guitar, bass, drums, piano, horns and cello. There's a mysticism and sense of life wonderment throughout ëWyatt At The Coyote Palace that also has death as a central theme rather than the contemplation of death itself it's reaching the end of something and beginning a new life. 

TRACK LISTING

Side A. 1 Bright 2 Bubble Net 3 In Stitches 4 Secret Codes 5 Green Screen 6 Hemmingway's Tell.
Side B. 7 Detox 8 Wonderland 9 Day 3 10 Diving Bell 11 Killing Two Birds 12 Guadalupe.
Side C. 13 American Copper 14 August 15 Some Dumb Runaway 16 From The Plane 17 Sun Blown 18 Elysian Fields.
Side D. 19 Soma Gone Slapstick 20 Cooties 21 Christmas Underground 22 Between Piety And Desire 23 Shaky Blue Can 24 Shotgun

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Over lockdown I was trying to figure out something I could do music-wise that would be fun and interesting. My friend Joe Jones who is a recording engineer has an amazing tape recording machine called a Nagra, which we used to record one of the songs on Return, called Waiting For The Day. The best thing about the Nagra is that itís portable, meaning we could record anywhere we liked. So I got in touch with Joe and chose some beautiful, rural locations around Bristol (Goat Gully, Leigh Woods, and my old local The Old England) to record songs from the album as well as a few new songs. It was such a fun couple of days. HVNLP195 Waiting For The Day (A collection of field recordings) 12" reverse board sleeve - die cut rectangle on sleeve Eco-vinyl Printed inner

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

“Eat The Music” was scheduled to be the first release from the "Red Shoes" album, however the release was eventually cancelled in favour of "Rubberband Girl".

Kate has created a special version on 10” vinyl for Record Store Day 2024. The record features Kate’s preferred track list, and the original beautiful artwork, which was intended to be on the single's sleeve, is now on the disc as a UV print.

New lacquers were cut by Bernie Grundman from the 2018 James Guthrie remasters. The vinyl was pressed by Record Industry in The Netherlands. The record is released through Kate's own Fish People label as an exclusive Record Store Day edition.

TRACK LISTING

Side A
Eat The Music (Single Edit, From The Red Shoes - 4m55s)
Lily (From The Red Shoes - 3m52s)
Big Stripey Lie (From The Red Shoes - 3m28s)

Side B
Picture

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

As part of Record Store Day 2024, Keane's full concert recording, Live at Paradiso 29.11.2004, will be released on 2LP coloured vinyl for the first time.The set list includes hits from their 9 x Platinum album, Hopes And Fears, including Bedshaped, Everybody's Changing, and Somewhere Only We Know.

The wide-spine single sleeve contains a transparent red LP1, and solid white LP2 housed within printed inners, as well as liner notes by the band recalling the atmosphere of the Amsterdam concert. In the UK, this album will be included in the War Child titles.

Live at Paradiso 29.11.2004 compliments the 20th anniversary celebrations of Hopes And Fears this year, which includes a multi format, deluxe release and global tour.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

To mark Recordstore Day 2024 Universal Music Recordings are making Kirsty MacCollís 1994 album ëTitanic Daysí available as an LP for the very first time, on limited edition green vinyl. Originally released on CD in the US and Australia at the tail end of 1993, Kirstyís fourth studio album made its UK debut on Trevor Hornís ZTT label the following February. According to the excellent kirstymaccoll.com website a catalogue number was allocated for a vinyl version but it never saw the light of day. Depending on her mood, Kirsty would describe ëTitanic Daysí as either her ìsad divorce albumî or ìa fantastic recordî, and whilst there are obvious signs of poignancy in the sharp-as-ever lyrics, her second more upbeat view reflects a collection of skillfully crafted songs that have stood the test of time. Seven of the twelve tracks were written by Kirsty with Mark E. Nevin, then recovering from ìthe rollercoaster ride that is pop successî ñ his band Fairground Attraction had a No. 1 single in May 1988, though by the time he renewed his friendship with Kirsty (they had worked together on her 1983 single ëTerryí) he was without a record label. In typical Kirsty style she christened their group ëThe Paddleí ñ as in ìup the creek withoutÖî. One of the songs they wrote together was the title track, released as a single in the US, while ëCanít Stop Killing Youí, a collaboration with Johnny Marr, got a US and Australia release. UK singles buyers were treated to the wonderful ëAngelí, which featured cover artwork by Kirstyís friend Holly Johnson, and a remix by Apollo 440, among others. Further highlights include the fan favourite ëSoho Squareí ñ its touching lyric ìOne day Iíll be waiting there / No empty bench in Soho Squareî provided the inspiration for a memorial bench placed at the London landmark in 2001, which now provides a rallying point for fans to gather each year on the Sunday closest to Kirstyís birthday, the 10th October. Additional personnel on ëTitanic Daysí include guitarist Pete Glenister (

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

The killer 1981's Nigerian funk boogie disco and reggae by Kio Amachree repressed for the first time in limited edition.

TRACK LISTING

1. Hot Black 'N' Sweet
2. Bokassa
3. Ivory
4. First Time
5. Posers
6. Rat Race City
7. Dance All Over Me
8. Honest Men

A sweeping introduction to an artist deep into their practice, Kendra Amalie’s Intuition is a star map to a new and developing sound space. An exploratory and (sometimes) shredding finger-style 12-string guitarist (both acoustic and electric), band leader, synthesist, new media creator, and experimental producer, the Wisconsin-based musician is also a songwriter occupying an ethereal zone between galaxy-brain cosmic transmissions and deep, personal expression. There’s a concept and narrative arc to Intuition, too, the action moving from underwater locales to boat to city to global consciousness to farmland to the etheric plane and back to water. Shifting her music-making energies over the past several years, Intuition is the sound of a powerful new voice in focus. Intuition is a sound-based cross-section of a larger body of work. An arrival and a destination, Intuition is also surely a stopover, too. Meet Kendra Amalie.

TRACK LISTING

Breathe Underwater
Boat Ride II
Facets Of A Holy Diamond
Patternmaker
Stay Low
Crop Circle
Become The Light
Improvisation For Mark Hollis
Look At The Light (Source)

Avant-garde modular wizard Kaitlyn Aurelia Smith and Hot Chip’s Joe Goddard have teamed up for their new collaborative Neptunes EP, out on the Domino imprint Smugglers Way. Neptunes is the result of two electronic music powerhouses coming together to create new and thrilling sounds out of pure collaboration. With hard-hitting beats, intricate synth programming, and a melodic sensibility that retains a strange and alluring aura, it’s pure body-moving stuff that stimulates every neuron firing off in your brain.

Featuring a low-slung bassline, gorgeously wavering synths, and pleasingly chopped-up vocal samples, first single and title track “Neptunes” originates from Goddard’s desire to make a tune reminiscent of Pharrell Williams and Chad Hugo’s visionary, singular approach to hip-hop production as the Neptunes.

“I loved what the rhythm made me feel when I first heard it,” Smith says. “I actually thought he was tapping into Neptune as a planet, and the qualities I felt it possesses. So my side of things brought out more space-themed sounds as a result.”

TRACK LISTING

1. Kaitlyn Aurelia Smith & Joe Goddard - Neptunes
2. Joe Goddard - Rapid Fire (Feat. Laima)
3. Kaitlyn Aurelia Smith - Around You
4. Kaitlyn Aurelia Smith - Around You (Joe Goddard Remix)
5. Joe Goddard - Rapid Fire (Kaitlyn Aurelia Smith Remix)

Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs.

With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk—and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences.

There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements—guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past."

Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months—a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts.

Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. — jj skolnik

TRACK LISTING

1. Felt
2. The Iris Dry
3. Remember Me
4. Do This Again
5. Fading
6. Gelatin
7. Showed You
8. At His Hands
9. Under
10. Croak

An original member of Soft Machine, Kevin Ayers embarked on a solo career following a US tour with the Jimi Hendrix Experience in 1968. He was one of the first signings to EMI’s Progressive imprint Harvest and recorded his debut album in the Summer of 1969 at Abbey Road studios.

‘Joy Of A Toy’ is a classic of psychedelic and progressive rock, featuring contributions from his former Soft Machine band mates, David Bedford and such wonderful songs as ‘The Lady Rachel’, ‘Stop This Train (Again Doing It)’, ‘Girl on a Swing’ and ‘All This Crazy Gift of Time’.

This official gatefold LP vinyl edition fully restores the original LP artwork, has been remastered from the original Harvest master tapes and has been cut at Abbey Road studios.

TRACK LISTING

SIDE ONE
1 Joy Of A Toy Continued
2 Town Feeling
3 The Clarietta Rag
4 Girl On A Swing
5 Song For Insane Times
SIDE TWO
1 Stop This Train (Again Doing It)
2 Eleanor’s Cake (Which Ate Her)
3 The Lady Rachel
4 Oleh Oleh Bandu Bandong
5 All This Crazy Gift Of Time

Kollington Ayinla’s celebrated 1978 album "Blessing" is a rare lost classic of Nigerian Fuji music and features Ayinla’s sharp political lyrics together with his new band Fuji ’78. "Blessing" blends the heavily percussive style of Fuji music with a stunning array of modern instruments, including synthesizers, Bata drums and guitars, to create one of the most forward-thinking and heavily danceable sounds ever to come out of Nigeria - a highly successful mixture of profound Fuji rhythms and Fela Kuti-style Afrobeat.

Kollington Ayinla ranks alongside his friend and competitor Ayinde Barrister as the two most important artists to dominate Fuji music from its inception in the 1970s through to the 1990s by which time it had grown to become one of the most popular dance genres in Nigeria. At the start of the 1980s Ayinla started his own record company, Kollington Records, to release his music and remains to this day an extremely prolific artist, having recorded over 50 albums, most of which have never been released outside of Nigeria.

This is a one-off pressing (1000 copies) of this unique piece that has only ever previously been released in Nigeria. 

TRACK LISTING

E Ye Ika Se
Oromo Adie Fo
Ko S’Ohun Tan O Le Fi Gberaga
Adio Shile
Won Ti Gbe Oye Fun Mi
Pataki L’Omo
To Ba Jisoro Mi
Engineer Olatunji / Iya Suna
Odun Titun De
Ao Toro Emi Gesa Fun Enia
Ki Aiye Ma Gbagbe Mi

Kenneth Bager was invited to the cinema by his dear friend, the movie enthusiast & director Peder Pedersen. They watched the classic ‘The Thief’ by Michael Mann starring James Caan in the lead role. The soundtrack was made by the legendary German electronica band Tangerine Dream. The music, a mix of Electronic Avant-Garde, floating, ambient prog-rock made an immense impression on Kenneth. A few days later Kenneth had a visitor, Tolga Böyük from the Turkish band islandman, who was over in Copenhagen from Istanbul. The pair of them watched William Friedkin’s film ‘Sorcerer’ once again Tangerine Dream scoring the soundtrack. After watching the movie, Kenneth and Tolga felt the inspiration to do a soundtrack for a non-existing movie.

They started out by composing five tracks before nightfall. The next day, still excited about yesterday’s movie, the two came up with the album title ‘East of North’ (Tolga being from the east and Kenneth from the north). Together they kept going in the musical direction from the previous day, and managed to produce 10 tracks within 24 hours! They imagined a film through music which told a story about two people stuck on the arctic ice cap. One of them treasonously tries to fool the other. The album cover picture was captured during that session on a cold, windy day near the beach in Hellerup, Denmark. The music on 'East of North' is a tribute to some of history’s most significant electronic film composers: Vangelis, John Carpenter, and Tangerine Dream.

STAFF COMMENTS

Barry says: The endlessly talented K-Bag teams up with Tolga Böyük of Islandman fame for an impeccably conceived and gorgeously minimalistic suite of arps and icy melodies. Reminiscent of classic soundtracks / Seven Waves-era Ciani and obviously Tangerine Dream. I'm more than sure that noisy synth sound is an Arp Odyssey / 2600 too and that's me sold straight away. Really beautiful stuff.

TRACK LISTING

A1. The Meeting
A2. Blood Is Thicker Than Ice
A3. Betrayal (New)
A4. The Hunt Begins
A5. Wounds Of Sorrow
B1. Here To Eternity
B2. Re-arrange Your Face
B3. Love Of My Life
B4. Choices Of Consequences (New)
B5. The End 

'Patterns' is the 15-song follow-up to Kelsea Ballerini’s GRAMMY-nominated 'Rolling Up The Welcome Mat'. Again teaming with producer/songwriter Alysa Vanderheym, the 30-year-old multiple Country Music Association award winner has delivered a song cycle that embodies the next chapter in a life completely embraced. Beyond her 'Cowboys Cry Too' duet with Alternative sensation Noah Kahan, she explores what it means to move on, fall in love, stay in love, hate love, exhale love - and face her own patterns, good and bad.

Written with Vanderheym, Songwriter Hall of Fame inductee Hillary Lindsey, Songwriter of the Year GRAMMY nominee Jessie Jo Dillon and Little Big Town’s Karen Fairchild, Welcome Mat’s vulnerable intimacy is met with some of the most intoxicating melodies that reach across genres. Atmospheric, sunny, rhythmic and whispered, 'Patterns' balances self-discovery with an album one can blissfully surrender to.

TRACK LISTING

Tracklist TBC:
1. Track 1
2. Sorry Mom
3. Track 3
4. Track 4
5. Track 5
6. Track 6
7. Track 7
8. Track 8
9. Track 9
10. Track 10
11. Track 11
12. Cowboys Cry Too (with Noah Kahan)
13. Track 13
14. Track 14
15. Track 15

"You & Me" is Kevin Barker's debut album, released by Gnomonsong. Though it's his first solo release under his own name, Barker's no newcomer to the scene - he's spent the last few years recording, touring, and collaborating with Devendra Banhart, Joanna Newsom, Vashti Bunyan, Vetiver, Antony and the Johnsons, and Espers, to name just a few. Essentially acting as everyone's favourite sideman, Barker has influenced and helped create a sound with which this generation is happily familiar. During his college days, Barker became interested in the finger-style guitar playing of John Fahey and Bert Jansch and began to record under the name Currituck County. This solo project (sometime a duo with Vetiver / Espers drummer Otto Hauser) recorded albums for Teenbeat Records, Troubleman Unlimited, and the UK's Track and Field Organisation. Now Barker has assembled an unbelievable group of musicians for "You & Me". The album features Pat Sansone (Wilco), Joanna Newsom, Jonathan Wilson (Elvis Costello, Jenny Lewis), Eric Johnson (Shins, Fruit Bats), and Otto Hauser (Vetiver, Espers). Full of sunny, rural country rock, "You & Me" recalls the rustic grooves of The Band and The Grateful Dead, the heady melancholy of Roy Harper, and the golden harmonies of CSNY.

TRACK LISTING

1. Little Picture Of You
2. You & Me
3. Mountain & Bear
4. Amber
5. Walking Along
6. My Lady
7. I Will Fly
8. Bless You On Your Way

‘Beyond This Place’ is Kenny Barron’s second album on Artwork Records.

On the heels of his GRAMMY-nominated solo album, ‘The Source’, Kenny Barron brings together a multi-generational quintet featuring some of the most acclaimed musicians of their time.

Along with Kenny Barron (13-time GRAMMY nominee, American Jazz Hall Of Fame), ‘Beyond This Place’ features saxophone’s rising star Immanuel Wilkins (“Divinely inspired jazz” - The New York Times), Jonathan Blake, one of the most accomplished drummers of his generation, Kiyoshi Kitagawa, Kenny Barron’s longtime double bassist, and Steve Nelson, one of the most highly regarded vibraphonists in the world.

TRACK LISTING

1. The Nearness Of You
2. Scratch
3. Innocence
4. Blues On Stratford Road
5. Tragic Magic
6. Beyond This Place
7. Softly As In A Morning
8. Sunrise
9. Sunset
10. We See
11. You've Changed 
12. Dewdrop 

Karl Bartos’s ‘lost’ album from 2003 re-mastered and reissued with an exclusive bonus track. Full UK press, TV , radio & online promotion by In House PR. Single remixed by Matthew Herbert. Karl Bartos will play one show in the UK – venue tbc. 3 Videos to come, "I´m the message" with remastered version, also "Life" and "15 minutes of fame".

"Communication is about the way images determine our view of the world and how electronic media is going to change the content of our society." Said legendary ex-Kraftwerk member Karl Bartos of his debut solo album when it was released back in 2003. It was a pivotal moment in technological times and by extension cultural ones, the world of digital was no longer a on-the-horizon vision only brought to realisation by pioneers and visionaries - such as Bartos - but it was instead almost here, around the corner and facing everyone square in the face. Communication was an attempt to capture these changing, perhaps unknown, times and distil them through the voice of someone who most would feel comfortable being led into the future with. Thirteen years down the line, Bartos is re-releasing the album complete with a pristine re-mastering. Due to record label frugality, and perhaps being somewhat overshadowed by the coincidental return of his ex-band and their Tour de France Soundtrack album at the same time, Communication was unable to take the momentum and energy of the material on the album and process it into a spirited public campaign, leaving it to often be referred to as Bartos' 'Lost Album'.

The re-release, which will be the first time the album is available digitally, also comes with the previously un-included track 'Camera Obscura', which sounds like it could have been a lost track from Kraftwerk's Computer World era.

As you would expect from the man responsible for co-writing such Kraftwerk masterpieces and musical compositions - that have gone on to shape the current musical world as we know it, electronic or otherwise - as 'The Model', 'The Robots', 'Numbers' or 'Pocket Calculator' Communication contains plenty of melody-driven numbers that operate in a dual universe of pop and electronica or, perhaps most accurately, one in which both are one and the same. Narrated by the familiar sound of a vocoder, it's a record that feels propped up by the previous work of Bartos, his unmistakable tone and vision ever-present, but also one that intends to break free of that, a re-assessment of sorts. A record that embodies change in both a personal and wider context - the lead single 'Life' perhaps being the most perfect representation of this: "finally, I have to get on with my life" he sings. Lyrically it speaks volumes but sonically it almost seems to pay a return thank you to New Order in its breezy, harmonious yet infectious structure. New Order being a group clearly in admiration of Bartos' work in and out of Kraftwerk and also in which the pair (Bartos and Bernard Sumner) would work together under the guise of Electronic, along with Johnny Marr in 1996.

Bartos originally produced Communication between August 2002 and January 2003, together with engineer Mathias Black in his Hamburg studio. The concept however, he had already. Bartos noticed, around the turn of the century, the all-encompassing influence of digital media on society and his response was laying the groundwork in his mind for what would become Communication. Inspired by Andy Warhol's statement "In the future, everyone will be world famous for 15 Minutes" Bartos comments on the track '15 Minutes of Fame' on the growing celebrity culture of the time, triggered by casting shows, container formats, cookery programs etc. A period in which anyone could be famous for anything: singing, dancing, cooking, losing weight or holing up in a jungle to 'survive'.

The album still retains a sense of punch and relevance, whilst so much technology and culture from that period feels hideously antiquated now, Communication still has both a voice and a sonic charge to it that seems to nod to the Kraftwerk foundations he helped shape, the burgeoning dance scene of the period in which it was originally released and, most crucially and characteristically, with a view to the unknown future.

STAFF COMMENTS

Barry says: Essential reissue of this lost treasure from Karl Bartos. Seminal electronic beats and classic conceptualising seen so often in Kraftwerk records. Futuristic sounding beats, vocoded vocals and lush pads, with twee melodic phrases. A Master of his art, and still one of the greatest musicians around today.

Karl Bartos is well-known as one-quarter of the “classic” Kraftwerk line-up. Many of their most influential rhythms and memorable melodies were actually conceived in his home studio. They would later be used on an unstoppable succession of hits from the Düsseldorf band as they ascended to the lofty heights of popular music culture.

As a major contributor to The Man-Machine (1978) and Computer World (1981) Bartos has had a decisive influence on Kraftwerk’s music. Rolling Stone author Mike Rubin says of this years: “there's something timeless and universal about their songwriting of this period.”

The Kraftwerk team went on to achieve worldwide success and cult status: in 1982 The Model became a UK number 1. The track has become a classic in the history of music, along with The Robots, Metropolis, Neon Lights, Numbers, Pocket Calculator, Home Computer, Tour de France, Musique Non-Stop and The Telephone Call. Kraftwerk have been one of the most sampled artists of all time, and there have been countless cover versions of their songs. In 2005, perhaps the biggest rock band of the time Coldplay incorporated the melody from Computer Love into their hit Talk. Almost all of the group’s best-known tracks date back to the “classic” line-up. In 2012 Kraftwerk performed a retrospective of this repertoire in the Museum of Modern Art, New York.

Karl Bartos left the band in 1990. Subsequently he became an independent producer and writer – for his project Electric Music, as a solo artist, and also together with fellow friends and musicians – Bernard Sumner (New Order), Johnny Marr (The Smiths) and Andy McCluskey (OMD).

In 2004 he co-founded the Master of Arts course “Sound Studies – Acoustic Communication” at the Berlin University of the Arts (UdK), where he was a visiting professor, teaching Auditory Media Design up until 2009.

Karl Bartos’ new album is an audio-visual sensation! Lost for many years, some of his early music has been reconceived and re-contextualised in a thrilling modern setting. Here’s the story: during Kraftwerk’s heyday Karl Bartos wrote – off the record – a secret acoustic diary. Based on his musical jottings – rhythms, riffs, hooks, sounds, chords and melodies – this is what he has come up with today: twelve brand new, exciting, timeless songs.

Musician and writer Karl Bartos has long been admirer of Weimar-era culture. During his time in Kraftwerk, he helped create the stunning track 'Metropolis', directly inspired by a band viewing of the classic 1927 Fritz Lang film of the same name.

The original orchestral music composed for The Cabinet of Dr. Caligari by Giuseppe Becce had long been lost and in 2005, after watching the film, Bartos imagined what it would be like to create an entirely new one in the 21st Century in his home studios in Hamburg. Now with crystal clear images, digitally restored by the Friedrich-Wilhelm -Murnau-Foundation, the film is visually the best quality it has ever been, and now, with Bartos' soundtrack, there is impressive sound to go with the haunting vision. Narrative film music and sound design for Robert Wiene's classic 1920 psychological thriller.

For the task, Bartos ransacked his own library of musical compositions, recreating pieces he had written as a young classical musician in his pre-Kraftwerk days whilst creating new sounds, melodies and textures. The intention was not simply to write a film score per se. This was to be an immersive listening experience with special sound effects to match the action as we enter the film as both spectator and participant. A creaking door, footsteps on gravel, the turning of pages in a ledger, a half-heard fragment of dialogue are seamlessly synchronised to the action on screen. By taking the characteristics of Expressionism in the arts, and transferring them into film making, a disturbing, distorted depiction of reality enwrapped and entrapped the viewer.

The subjective replaces the objective. We are sucked into a parallel world lit in menacing chiaroscuro, where dimension, proportion and perspective are all off skew. From the convex polygon-shaped windows of precipitously sharp-inclined buildings to the surreally odd tables and chairs with long spindly legs to be found in preposterously small and oddly shaped rooms, alienating camera angles and impossible vanishing points, the town of Holstenwall in which much of the action takes place, is the world of the imagination, not the empirical world of our own eyes and ears. 'The cinema image must become an engraving,' the film's set designer Hermann Warm said. We can hear melodies that lie within the tradition of the Baroque Age of Bach, the early Romanticism of Mozart, the dissonance of Schoenberg, the unsettling metric play of Stravinsky and the harshly dramatic repetitions of Philip Glass.

From outside of the classical tradition there is the folklorist bricolage of the fair- ground barrel organ tempered playfully by some psychedelic backwards musique concrete along with some melodies which would not have been out of place on a Kraftwerk album from the classic era. All the time the listener is on a journey, sounds move in and out, music weaves and entwines, the soundscape is immersive and intoxicatingly rich. It is music which is, by turns, beautiful, amusing, playful and profoundly dis- quieting and it is perfect fit for the aesthetic of era-jumping in the actual film. Dr. Caligari's action switches from the then present day to the past century and even further back before rebooting back to the imagined present. 'There's something about this film. No matter how often you watch it, it keeps its secrets. Who is mad and who is not always remains a question of interpretation,' says Bartos. The film remains an enigma, but now one with the soundtrack and soundscape it deserves.

STAFF COMMENTS

Barry says: It's a classic format isn't it, wise synth maestro crafts found-sound collage (in this instance it's his own 'lost sounds' that got 'found'), over classic psychological thriller. It's on Bureau B, and Karl Bartos and it's an absorbing and beautifully crafted listen. What's not to love.

TRACK LISTING

1. Prologue
2. Scary Memories
3. Atonal Floating
4. Full Of Life
5. In The Town Hall
6. At The Funfair
7. A Mysterious Crime
8. At The Funfair 2
9. The Cabinet Of Dr. Caligari
10. Jane's Theme
11. March Grotesque 2
12. Janeâs Theme 2
13. Shadows
14. Tragic Message
15. Suspicion
16. Tragic Message 2
17. The Plan
18. A Dark Figure
19. Caligari's Theme
20. Arrest Of The Suspect
21. Caligari's Theme 2
22. Worried Jane
23. Interrogation
24. Jane's Fear
25. Francis's Observation
26. Cesare's Attack And Escape
27. Safe And Sound
28. Francis At A Loss
29. Caligari's Deception
30. Lunatic Asylum
31. In Search Of The Truth
32. Out In The Field
33. The Director Rants And Rages
34. Scary Memories 2
35. Who's Mad Here?
36. Francis Rants And Rages
37. Epilogue

Some of the most beautiful, era-defining music has been co-composed by Karl Bartos. 'The Robots', 'Computer Love', 'Neon Lights', 'Tour De France' and Kraftwerk's 1982 number one single 'The Model' all contain his deft musical touch. For the first time, in The Sound of the Machine, Bartos speaks candidly and with wit and humour about his life in Kraftwerk, a band widely acknowledged as being one of the most important in modern music.

In The Sound of the Machine, Karl vividly recalls what it was like to be in the Kling Klang studios during recording, describing the process and perfectly capturing the joy and passion of three people composing and recording. Now, with a successful solo career of 30 years, Karl Bartos recalls his post-war childhood, the amazement he felt on first hearing The Beatles, his first bands, his parallel career as a musician and teacher, his years with Kraftwerk, and his hopes and fears for today's musical culture. 'Full and frank disclosure of life in the world's most influential electronic band...

Recommended If You Like: Regina Spektor, Dolly Parton, Fleet Foxes (or something like Fleet Foxes), Jeff Tweedy, Dougie Poole, The idea of Kishi Bashi going Americana.

Over the last several years, the critically acclaimed composer and adventurous multi-instrumentalist Kishi Bashi has travelled frequently to Montana and Wyoming to work on Omoiyari, a “song film” about Japanese internment during WWII. The experience was potent for Kishi Bashi, who conducted research for the film (and 2019 album of the same name) by speaking to internment camp incarcerees and descendents. These conversations led to him reflecting on his own identity as a Japanese-American while laying the foundation of his forthcoming Emigrant EP.

Along with the brutal history and harsh climate of the American West, Kishi Bashi also sensed a hope and potential, compassion, and resilience. In Emigrant EP, he celebrates these qualities. Arranged and recorded over the last year, the six tracks serve as a time capsule of the 2020 condition and a continuation of the concepts explored in Omoiyari. What’s more, they find Kishi Bashi rewriting musical tradition in the image of his own experience, further embracing his love for roots music and violin fiddling. Meditating on the anxieties of the COVID-19 pandemic, the comforts of nature, the pains of resource-fueled conflicts, and the resiliency that emerges from struggle, Emigrant EP is steeped in the past while it looks to the future. “I want to understand the history, but also dive in and really try to humanize it,” he says. “I’m trying to show how we’re all the same type of human being. We have the same desires and needs, to protect our loved ones and also to celebrate the everyday.”

TRACK LISTING

1 Cascades
2 Wait For Springtime
3 Laughing With
4 Early Morning Breeze
5 Those Days Are Gone
6 Town Of Pray

The latest full-length from Kishi Bashi, 'Kantos' is a work of exquisite duality: a party album about the possible end of humanity as we know it, at turns deeply unsettling and sublimely joyful. In a sonic departure from the symphonic folk of his critically lauded 2019 LP 'Omoiyari' a career-defining body of work born from his intensive meditation on the mass incarceration of Japanese-Americans during World War II the Seattle-born singer/songwriter/producer’s fifth studio album encompasses everything from Brazilian jazz and ’70s funk to orchestral rock and city pop (a Japanese genre that peaked in the mid-’80s). Informed by an equally kaleidoscopic mix of inspirations the cult-classic sci-fi novel series Hyperion Cantos, the writings of 18th century enlightenment philosopher Immanuel Kant, a revelatory trip to ancient ruins on the island of Crete Kantos ultimately serves as an unbridled exaltation of the human spirit and all its wild complexities.

During the earliest stages of creating songs for the album, Ishibashi’s main intent was to return to his highly eclectic musical roots, in part by tapping into his jazz background and by delving into the dance-rock-leaning sensibilities he previously embraced as co-founder of Brooklyn-bred indie band Jupiter One. But not too long into the songwriting process, he stumbled upon an AI-equipped website capable of composing catchy song hooks based on a Prompt a turn of events that quickly catalyzed the existential inquiry at the heart of 'Kantos'.

Although his ruminations on AI, transhumanism, and humanity’s troubled fate indelibly guided the making of Kantos, Ishibashi nonetheless views the album as “less of a warning about this kind of hubris but more a celebration of the very characteristics that make us human: desire, passion, empathy, and love.” “If there’s anything I want people to come away with when they hear this record, it’s a feeling of excitement about the possibilities of human-created art,” he says. “Even as we’re learning more about all the amazing things AI can do, I think humans will always be one step ahead in terms of our creativity and innovation. There’s still no limit to what we have to offer.”

TRACK LISTING

1. Violin Akai
2. Chiba Funk
3. Late Night Comic
4. Colorful State
5. Escape From Knossos
6. Icarus IV
7. Hollywood Intermission
8. Lilliputian Chop
9. Analógico Brasil
10. Make Believe
11. Call It Off
12. Tokyo Love Story (Love Story Wa Totsuzen Ni)

RIYL: Ra Ra Riot, Thao, Regina Spektor, Andrew Bird, Typhoon.

"Omoiyari" means to have empathy and consideration for others, and act on it. This fall, the American indie-folk multi-instrumentalist and singer-songwriter Kishi Bashi is set to release the companion album to his forthcoming documentary song film, titled Music from the Song Film: Omoiyari. Consisting of two LPs "The Songs" and "The Score" the release showcases what is essentially the soundtrack to Omoiyari, the feature-length motion picture co-directed by Kishi Bashi, aka Kaoru Ishibashi or "K," which is being released via MTV Documentary Films in November.

Focusing on K's own six-year journey of discovery surrounding his research of the incarceration of 120,000 Japanese Americans that followed the attack on Pearl Harbor in 1941, the film is part social justice documentary and part song-film experiment. The album includes K's live improvisations, which are featured in the documentary, many recorded on the sites where the concentration camps stood. Written during and about the artist's transformational dive into his personal identity and serving as a broad survey of the Japanese American experience as well as the incarceration Music from the Song Film: Omoiyari serves as an evocative musical accompaniment to the lessons of empathy and compassion portrayed in the film and highlights the process and power of one of modern indie's most talented musicians. 

TRACK LISTING

Intro At The Piano
Red, White, And Blue
Improvisation At Heart Mountain
Summer Of ‘42 (orchestral Edition)
Improvisation In The Root Cellar
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Sequestered away in rural bliss, 90 minutes north of Seattle on the Washington state coast, Karl Blau has been making records for 20 years but never with European distribution. So, when Bella Union released ‘Introducing Karl Blau’ in 2015, it shone a belated and deserved light on “one of the great hidden treasures of music,” claimed album producer Tucker Martine.

However, given ‘Introducing’s specific agenda - a set of gorgeous, lush cover versions drawing mostly on vintage Nashville’s country-soul with Blau concentrating on his rich, reverberating voice - his latest album ‘Out Her Space’ is so different that it could be titled ‘Reintroducing Karl Blau’.

‘Out Her Space’ features Blau’s own material, production and multi-instrumental skills and forges a gorgeous, languid and hook-infested gumbo of soul, funk, some jazzy blowing and Afro-pop, to arrive somewhere else entirely. Or as the Secretly Important blog says of Blau: “He manages to find what’s unique about a genre and throws it against the wall like a fist full of wet noodles; over and over, until what’s stuck is a unique genre amalgam.”

The album also testifies to Blau’s studio skills, as he captures the glimmering, humid depths of those sweltering southern influences, despite his north-western heritage. But then Blau has engineered and produced a heap of records for himself and others, often at his home in Anacortes, releasing records on Washington’s favourite indies K and Knw-Yr-Own, as well as through his own Kelp Lunacy Advanced Plagiarism Society subscription service.

TRACK LISTING

Slow Children
Poor The War Away
Beckon
Valley Of Sadness
Blue As My Name
I’ve Got The Sounds (Like You’ve Got The Blues)
Where Ya Goin’ Papa
Dub The War Away

With her proper full-length debut, Songs From A Thousand Frames Of Mind, Virginia-born, LA-based songwriter Kate Bollinger redefines and refines her craft with intention. Inspired by pop, rock, and folk songs of the 1960s, Bollinger and her band — including collaborators Jacob Grissom, Adam Brisbin, Matthew E. White, and Sam Evian — favor the eclectic, melodic, and majestic, supporting intimate, stream-of-consciousness lyricism with classic instrumentation. It's a collection of pop songs, polished yet scrappy with an underlying punk spirit, navigating life, relationships, and growing up. The release follows a run of singles since her 2022 record on Ghostly International, lauded by the likes of NPR and The Fader, contributions to friend's projects (Drugdealer, Paul Cherry), and tours with Faye Webster, Liz Phair, Devendra Banhart, and others.

TRACK LISTING

01. What’s This About (La La La La)
02. To Your Own Devices
03. Any Day Now
04. God Interlude
05. Lonely
06. Running
07. In A Smile
08. Postcard From A Cloud
09. I See It Now
10. Sweet Devil
11. All This Time

THE PICCADILLY RECORDS ALBUM OF THE YEAR 2018.

PICCADILLY RECORDS EXCLUSIVE: 
For a limited period only, buy either the vinyl or CD of 'Childqueen' and get a free 3 track 'Outtakes' CD bonus disc. 

Kadhja Bonet’s second album, Childqueen is something of a Hero’s Quest. In the opening Procession, above a muted drummer’s march, an unseen oracle announces to you, the listener: “every morning is a chance to renew, a chance to renew.” This is your first clue, setting you upon a path not to treasure, nor a grail, nor even a long lost love, but highest of all, what Kadhja has christened the “childqueen,” that innermost self that you were truthfully and instinctively before the press of the world came crushing in.

As with her 2016 debut The Visitor, the songs on Childqueen are never casual, never ditties. Instead they invite us into a world not wholly our own, a half-mythical atmosphere where past and future meet in a parallel, yet faraway, present. The lyrics and melodic lines nudge us along a path of self-discovery— or act as breadcrumbs along her own path. Everything that you hear on Childqueen was written, played, produced, and even mixed by Kadhja, who has always produced all her own music, insisting on a total vision that is nearly as difficult to co-create as a dream. The result is a soundscape the listener sinks into, a sound that combines softer enchantments with an ever-listenable experimentalism, unplaceable in genre and decade from beginning to end.

TRACK LISTING

1. Procession
2. Childqueen
3. Another Time Lover
4. Delphine
5. Thoughts Around Tea
6. Joy
7. Wings
8. Mother Maybe
9. Second Wind
10. Nostalgia (hidden Track)

Piccadilly Records Exclusive CD Bonus Disc:
1. Imposter
2. Wake
3. The Watch

Black Gold & Green was the first of three albums Ken Boothe would record together with producer Lloyd Charmers to take his Memphis-via-Kingston aesthetic to the next level. Black Gold & Green includes some serious social-political material and these heavy tones permeate every note of this album. It also includes his great cover version of Bill Withers’ “Ain’t No Sunshine.”

TRACK LISTING

Side A
1. Out Of Love
2. Missing You
3. Look What You Have Done To Me
4. Ain't No Sunshine
5. Hallelujah
6. Train/I Don't Want To See You Cry

Side B
1. Thinking
2. Second Chance
3. Have I Sinned
4. Black Gold & Green
5. Suzie
6. You're Feeling And Mine

Ken Boothe released his album Blood Brothers in 1976 but was picked up by Trojan Records two years later to be distributed internationally. The album features some of his more laid-back and mellow style, as can be heard on “Walk Away From Love”, “Mamy Blue” and “Love Don’t Love Nobody”. Blood Brothers also features several cover versions of Bob Marley Classics, including “No Woman No Cry” and “I Shot The Sheriff”.

TRACK LISTING

Side A
1. Mamy Blue
2. Silver Words
3. Freedom Day
4. Walk Away From Love
5. Love Don't Love Nobody

Side B
1. Blood Brothers
2. No Woman No Cry
3. I Shot The Sheriff
4. I Don't Want To See You Cry
5. I'm Singing Home

Let’s Get It On is the 7th album of reggae pioneer Ken Boothe. The album is produced by Lloyd Charmers and was originally released by Trojan Records in 1974. The record includes the well-known Syl Johnson cover of “Is it Because I’m Black”, plus Marvin Gaye’s “Let’s Get it On’”.

TRACK LISTING

Side A
1. That's The Way Nature Planned It
2. Leaving Me
3. My Love
4. Come Back Baby
5. Playground Of My Mind
6. Let's Get It On

Side B
1. African Lady
2. Is It Because I'm Black
3. Down By The River
4. Dum Dum
5. Whole World's Down On Me
6. That's The Way Nature Planned It - Pt. 2

Two iconic 80s Disco/Boogie anthems of the era are set for a re-release on 12-inch vinyl via RCA, with a fresh mix from Brooklyn-based producer, Mike Maurro.

Keni Burke - Risin' to the Top (A Mike Maurro Mix)

'’Risin’ to the Top’, originally released in 1982 on Burke’s third solo album, ‘Changes’, has become Burke’s most successful hit as a solo artist since departing from his former band, Five Stairsteppers. Countless producers have utilised the song as a choice sample for their own tracks with artists such as Mary J. Blige, LL Cool J, Madlib and more.

Maurro’s mix works the stems and gives the record some fresh guitar licks alongside new percussive elements, whilst maintaining a heavy lean into the sensual, laid-back swing of the original.'

Evelyn ‘Champagne’ King - I'm In Love (A Mike Maurro Mix)

'The flip side sees the release of Evelyn 'Champagne' King’s hit single ‘I’m In Love’, originally released in 1981 and taken from King’s fourth studio album of the same name. A feel-good, sing-a-long anthem, once again given a fresh feel thanks to Maurro’s new take on the record.

Both tracks serve as trump cards to whip up any dancefloor at the right time'

TRACK LISTING

A1. Keni Burke - Risin' To The Top (A Mike Maurro Mix)
B1. Evelyn 'Champagne' King - I'm In Love (A Mike Maurro Mix)

The first thing that strikes you about Kenny Burrell’s second Blue Note album, Kenny Burrell, is the cover, which features an illustration by Andy Warhol. The second is the striking music, which is drawn from four different sessions recorded in 1956 with the guitarist featured in a variety of settings.

This mono Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

50 Words For Snow is Kate's 10th studio album on her own label Fish People. It was released on 21 November 2011.

50 Words For Snow features seven brand new tracks set against a background of falling snow. 

TRACK LISTING

Snowflake
Lake Tahoe
Misty
Wild Man
Snowed In At Wheeler Street
50 Words For Snow
Among Angels

We are excited to announce the third release in the series of illustrated reissues.

This vinyl edition of 50 Words for Snow is available now as a double album on 180g vinyl.

Illustrated by Timorous Beasties and designed by Fish People.

Kate's first double album, Aerial, was released on 7 November 2005 and reached no. 3 in the UK album chart.

As with 1985's Hounds Of Love, the album is split into two sections. The first disc, subtitled "A Sea Of Honey" and the second "A Sky Of Honey"

The album sold more than 90,000 copies in its first week of release and has now been certified as platinum by the British Phonographic Industry.

UK music magazine Mojo named Aerial their 3rd best album of 2005 and the album recieved a BRIT Award nomination for Best British Album in 2006. Kate was also nominated for Best British Female in the same year.

TRACK LISTING

Part One: A Sea Of Honey

A1. King Of The Mountain
A2. π
A3. Bertie
A4. Mrs. Bartolozzi

B1. How To Be Invisible
B2. Joanni
B3. A Coral Room

Part Two: A Sky Of Honey

C1. Prelude
C2. Prologue
C3. An Architect’s Dream
C4. The Painter’s Link
C5. Sunset
C6. Aerial Tal

D1. Somewhere In Between
D2. Nocturn
D3. Aerial

In March 2014 Kate Bush announced plans to perform 15 shows in London in August and September that year, her first live shows since 1979. The shows sold out so quickly that a further 7 were immediately added, with all shows selling out in 15 minutes. Kate’s own website crashed with the demand.
 
The first night of the shows prompted a complete media frenzy with the Evening Standard declaring that the show was “an extraordinary mix of magical ideas, stunning visuals, attention to detail and remarkable music – she was so obviously, so unambiguously brilliant, it made last night something to tell the grandchildren about.”
 
Later that year the show won the special Editor’s award at the highly prestigious London Theatre Awards, the only contemporary music show to do so.

The live album “Before The Dawn” will be released on CD and vinyl – 3 CDs and 4 vinyl. The conceptual heart of the show is reflected in the CD format, which is split over 3 discs centred around the two integral pieces – ‘The Ninth Wave’ and ‘A Sky Of Honey’.
 
CD1 ends with the pivotal track ‘King Of The Mountain’ which bridges into ‘The Ninth Wave’ suite of songs on CD2.

The album was produced by Kate Bush. Nothing on the record was re-recorded or overdubbed.

STAFF COMMENTS

Barry says: A complete and beautifully presented collection of Bush's greatest hits, all presented in the context of an internationally renowned and heralded 2014 live show. Brilliantly visceral, fantastically performed genius from one of the forebears of modern pop music.

TRACK LISTING

CD Tracklisting:
CD1:
Lily
Hounds Of Love
Joanni
Top Of The City
Never Be Mine
Running Up That Hill
King Of The Mountain
 
CD2:       
Astronomer's Call (Spoken Monologue)
And Dream Of Sheep
Under Ice
Waking The Witch
Watching Them Without Her (dialogue)
Watching You Without Me
Little Light
Jig Of Life
Hello Earth
The Morning Fog
 
CD3:
Prelude
Prologue
An Architect's Dream
The Painter's Link
Sunset
Aerial Tal
Somewhere In Between
Tawny Moon
Nocturn
Aerial
Among Angels
Cloudbusting
 
Vinyl Tracklisting:
Vinyl 1: Side A
Lily
Hounds Of Love
Joanni
Top Of The City
 
Vinyl 1: Side B
Never Be Mine
Running Up That Hill
King Of The Mountain
 
Vinyl 2: Side A
Astronomer’s Call
And Dream Of Sheep
Under Ice
Waking The Witch
Watching Them Without Her
Watching You Without Me
 
Vinyl 2: Side B
Little Light
Jig Of Life
Hello Earth
The Morning Fog
 
Vinyl 3: Side A
Prelude
Prologue
An Architect’s Dream
The Painter’s Link
 
Vinyl 3: Side B
Sunset
Aerial Tal
Somewhere In Between
 
Vinyl 4: Side A
Nocturn
Aerial
 
Vinyl 4: Side B
Among Angels
Cloudbusting

Director's Cut is Kate's 9th studio album and was released on 16 May 2011 on Kate's own label Fish People.

On Directors Cut Kate revisits a selection of tracks from her albums The Sensual World and The Red Shoes.

Kate has re-recorded some elements whilst keeping the best musical performances of each song - making it something of a director's cut but in sound, not vision.

TRACK LISTING

A1. Flower Of The Mountain
A2. The Song Of Solomon
A3. Lily
B1. Deeper Understanding
B2. The Red Shoes
B3. This Woman’s Work
C1. Moments Of Pleasure
C2. Never Be Mine
D1. Top Of The City
D2. And So Is Love
D3. Rubberband Girl

Hounds Of Love was Kate's fifth studio album, and her second no. 1.

Featuring "Running Up That Hill (A Deal with God)", it has since been certified Double Platinum in the UK by the British Phonographic Industry.

TRACK LISTING

A1. Running Up That Hill
A2. Hounds Of Love
A3. The Big Sky
A4. Mother Stands For Comfort
A5. Cloudbusting

Side Two: The Ninth Wave

B1. And Dream Of Sheep
B2. Under Ice
B3. Waking The Witch
B4. Watching You Without Me
B5. Jig Of Life
B6. Hello Earth
B7. The Morning Fog

Selected and arranged by the author, How To Be Invisible presents the lyrics of Kate Bush in a beautiful new paperback edition featuring a new cover by illustrator Jim Kay. 'The greatest singer-songwriter of the past 40 years, whose work is complex, ethereal and filled with so many secrets that one can listen to the albums for decades and still discover new delights every time.

There's not a spare word anywhere in Bush's work. Everything means something.' Irish Times

The legendary and unimitable Kate Bush is pleased to announce the breakout release of some of her most Iconic early work as part of her massively anticipated 2018 reissue campaign. This includes the breakout re-release of her second album ‘Lionheart’ which chronicles the young teenage Bush’s writing career, the period where she composed most tracks from the title. The Studio Album has been fully remastered by Kate and James Guthrie.

The legendary and unimitable Kate Bush is proud to announce the breakout release of some of her most Iconic early work as part of her massively anticipated 2018 reissue campaign. This includes the breakout re-release of her third studio album, the 1980 number one hit ‘Never For Ever’. The iconic album was the first ever album by a British female solo artist to top the UK album chart, as well as being the first album by any female solo artist to enter the chart at number 1, whilst the title includes hits such as ‘Babooshka’ and ‘Breathing’ . The Studio Album has been fully remastered by Kate and James Guthrie.

The Dreaming is Kate's fourth studio album and was released in 1982.

Following Kate's production assistance on Lionheart, and her co-production of Never For Ever with Jon Kelly, The Dreaming was the first album Kate produced on her own.

TRACK LISTING

A1. Sat In Your Lap
A2. There Goes A Tenner
A3. Pull Out The Pin
A4. Suspended In Gaffa
A5. Leave It Open
B1. The Dreaming
B2. Night Of The Swallow
B3. All The Love
B4. Houdini
B5. Get Out Of My House

The legendary and unimitable Kate Bush is proud to announce the breakout release of some of her most Iconic early work as part of her massively anticipated 2018 reissue campaign. This includes the re-release of her chart topping debut album ‘The Kick Inside’ which contains one of her biggest singles, the UK number one hit ‘Wuthering Heights’ , notably written and produced in Bush’s teens. The Studio Album has been fully remastered by Kate and James Guthrie.

The Red Shoes is Kate's seventh studio album and was released in November 1993.

The album was accompanied by Kate's short film, "The Line, The Cross and The Curve".

The album reached no. 2 in the UK album chart and has been certified Platinum by the British Phonographic Industry for over 300,000 copies sold.

TRACK LISTING

A1. Rubberband Girl
A2. And So Is Love
A3. Eat The Music

B1. Moments Of Pleasure
B2. The Song Of Solomon
B3. Lily

C1. The Red Shoes
C2. Top Of The City
C3. Constellation Of The Heart

D1. Big Stripey Lie
D2. Why Should I Love You?
D3. You’re The One

The Sensual World is the sixth studio album by Kate Bush. It was released in October 1989 and reached no. 2 in the UK album chart.

It has been certified Platinum by the British Phonographic Industry in the UK, and Gold by the RIAA in the US.

TRACK LISTING

A1. The Sensual World
A2. Love And Anger
A3. The Fog
A4. Reaching Out
A5. Heads We’re Dancing
B1. Deeper Understanding
B2. Between A Man And A Woman
B3. Never Be Mine
B4. Rocket’s Tail
B5. This Woman’s Work

Kirin J Callinan has his own theory that the three great Australian bands, the Mt. Rushmore of Oz if you will, all have a criminal aspect to them: AC/DC = gang of outcasts raising hell; INXS = sexual deviancy, lasciviousness; and Nick Cave = murderous poet. Kirin has elements of all three, and in time, he will be the fourth face on that rock.

A guitarist, singer, songwriter and solo performer born in Australia, Callinan is a child of the 1980s. He is known for his confrontational live performances, haunting compositions and wild guitar playing. He is a performer by nature, very charismatic, and very unafraid to bare his soul.

A well kept secret within Australia’s underground and a personal favourite to his contemporaries the world over, Kirin releases his debut solo album, ‘Embracism’, via Siberia Records / Terrible Records in partnership with XL Recordings.

The album was produced by Kim Moyes (The Presets) at his home studio in Sydney and mixed by Chris Taylor (CANT, Grizzly Bear).

Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences.

The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album.

The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole. 

TRACK LISTING

1. Adenosine
2. Time Bend
3. Renewal
4. Curiosity
5. Melatonin
6. Dream Memory
7. Brain Work
8. Asleep At The Wheel

This is the second solo album from Ken Camden who lives and works in Chicago. He also plays in the Implodes sound quartet.

Space travel is the dream of many and the reality of few. Since Yuri Gagarin ?rst shed the bonds of earth gravity in 1961, only about 500 humans have made the trip beyond the atmosphere.

Ken Camden travels to space while still grounded on terra ?rma. His vessel of choice is a guitar and some effects with which he journeys on fantastical expeditions and surveys the biggest territory of all, the one between your ears.

The glimmering sound ?elds he forms could be a soundtrack to an epic 60?s science-?ction ?lm, or a long forgotten grade school educational ?lm strip explaining how humans would be living on Mars early in the 21st century.

Camden?s narrative rejects the dominant dystopian view of the future and posits that there are great voyages yet to be made in inner and outer space.

The album forms a gravity-free environment in which the listener is suspended, enhancing an aural excursion to the outer reaches of the musical Kosmos.

Kate Carr has been investigating the intersections between sound, place and emotionality both as an artist and a curator since 2010. Her work has taken her from the Arctic Circle to the borderlands of South Africa, with stops in rural Thailand, fishing villages in Iceland and rainforests in Mexico, along with extensive explorations of Western Europe, Ireland and the British Isles.

Kate Carr's new album 'I Had Myself A Nuclear Spring' is an eerie symphony of cracking power lines, cries of water birds and the high pitched wine of nuclear towers. Carr's recordings trace the temporary wetlands of Marnay-sur-Seine, situated alongside a large nuclear power plant, just after the flooding of the river.

“[A] sound palette in perfect balance, both soggy and industrial, wild and harshly electric... a vivid portrait of technology, flora, water and fauna in unexpected proximity.” - Luke Turner / Caught By The River

King Street Sounds is on a mission to reintroduce timeless house classics to the dancefloor with another iconic release. Their aim, to educate a new generation about the sounds of the old school while also offering fresh remixes for everyone to enjoy.Kerri Chandler's 'Bar A Thym' is back on 12-inch vinyl, featuring the full original 7:24 mix. This track builds, keeping listeners at the brink of euphoria and inviting them to dance. It’s THE perfect groove.The original track is accompanied by a new version via South African producer Themba who adds his signature afro sound to the mix, infusing the song with swing, extra percussion, and heightened anticipation around the various drops.Then the classic Foremost Poet's version, which was a great alternative to the timeless bomb. If you’re a house head, you need this in your life.

TRACK LISTING

A1. Extended Mix
B1. Foremost Poets Vocal Edit
B2. THEMBA Extended Remix

Kerri Chandler delivers ‘Lost & Found Vol.2’ this March, marking the second instalment of the series which focuses on tracks from his archives.

Kerri Chandler’s Kaoz Theory unveiled the label bosses ‘Spaces & Places’ LP in 2022, showcasing Kerri’s globetrotting career of the past few decades and featuring recordings produced on the dance floors of many leading clubs such as DC10, Sub Club, Rex, Printworks and more.

Here the label kicks off 2023 with a glimpse into Chandler’s archived material, offering up four cuts in his inimitable, iconic style.

‘Fluff Rehab’ leads the way and see Kerri offering up crisp drums, spiralling dub stabs and fluttering low-end pulsations throughout.

‘What If’ follows and tips the focus over to a more soulful feel, fusing a wandering bass line and airy textures with vocal chants, choppy keys, and a gritty drum groove.

‘Who Are You (Main Vox)’ then opens the B-side, retaining a similarly soul drenched feel, bringing Kerri’s own harmonious vocals into the mix alongside a crunchy, swinging rhythm and jazzy elements.

‘Dem Joy Ride’ rounds out the EP next, flipping the switch to a funk-infused, organic feel as brass lines, hypnotic keys, dynamic drums, and guitar licks collide across an ever unfolding five and a half minutes.

TRACK LISTING

A1. Fluff Rehab
A2. What If
B1. Who Are You
B2. Dem Joy Ride

Known by adoring fans and devotees, throughout South India, as Chinna Kuyil (Little Nightingale) on account of her expansive vocal range and crystaline sweet voice, the uplifting and surprising sound of KS Chithra is, for many, best exemplified by the early plugged-in-pop she made in the 1980s with the man/machine who first introduced her to the Tamil film industry, Maestro Ilaiyaraaja.

There are few records you will hear this year that combine the sounds of a child's choir, a DX7 bassline, three types of drum machine, a mariachi trumpet cry, a resampled 40-piece orchestra and an electronic bassline that takes the Moog taurus by the horns and rides into the Indian summer. There is probably less chance of hearing a vocal performance so confusingly dazzling that it instantly detracts from the previously aforementioned wish list combination of bizarre instruments, but for those intrepid enough to dig a little deeper and take a detour due East, pick-axing right where Lollywood meets Bollywood - then prepare to be rewarded with a double, triple and quadruple whammy!

For odd pop fans with bad concentration spans, no musical staying power, or commitment issues then perhaps these schizoid ADD arrangements will push the right buttons and recharge your batteries. For some of you, records like this only existed in your dreams.

Often locally discussed behind the limelight of her wider continental contemporaries such as Asha Bhosle and Noor Jehan it is almost impossible to find adequate comparison to KS Chithra. Try taking the yearning vocal energy of Turkey's Selda and the falsetto range of Morricone's best Italian choirs, add the playful existentialism of Poland's Urszala Dudziak and the cinematic pedigree of Asha then sprinkle some saccharine Jane Birkinisms on top and set your turntable pitch at plus 8 while you dream of "Dots And Loops" era Stereolab or a Malayalam Mantronix - alternatively just buy this first-time compendium and press play.

This compilation focuses on a small and select handful of Chithra and Ilaiyaraaja's developing collaborations from the formative years of their relationship between - 1986 and 1991- a vibrant time where analog recording techniques and digital technology first overlapped and Chithra, as a developing vocalist, adapted to the the sounds and arrangements of a classic maverick composer pushing the boundaries.

Of all the recordings to emerge from the Athens-via-Denver collective called "Elephant 6", Neutral Milk Hotel's second album is the one that has worked its way under the most skins. "Magnet" magazine named it the best album of the 1990s, and "Creative Loafing" recently devoted a cover story to one fan's quest to understand why bandleader Jeff Mangum dropped out of sight soon after "Aeroplane's" release. The record sells steadily to an audience that finds it through word of mouth.

Weird, beautiful, absorbing, difficult, "In The Aeroplane Over the Sea" is a surrealist text loosely based on the life, suffering and reincarnation of Anne Frank, with guest appearances from a pair of Siamese twins menaced by the cold and carnivores, a two-headed boy bobbing in a jar, anthropomorphic vegetables and a variety of immature erotic horrors. Mangum sings his dreamlike narratives with a dreamer's intensity, his creaky, off key voice occasionally breaking as he struggles to complete each dense couplet. The music is like nothing else in the 90s Indie Underground a psychedelic brass band, its members self-taught, forging polychromatic washes of mood and tribute.

The songs stick to one narrow key, the images repeat and circle back, and to listen is to be absorbed into a singular, heart-rending vision.

In the spring of 1969, the inauspicious release of Captain Beefheart and the Magic Band's "Trout Mask Replica", a double-album featuring 28 stream-of-consciousness songs filled with abstract rhythms and guttural bellows, dramatically altered the pop landscape. Yet, even if the album did cast its radical vision over the future of music, much of the record's artistic strength is actually drawn from the past. This book examines how Beefheart's incomparable opus is informed by a variety of diverse sources.

"Trout Mask Replica" is a hybrid of the poetic declarations of Walt Whitman and the beat writer Gregory Corso, the field hollers of the Delta Blues legend Charley Patton, the urban blues of Howlin' Wolf, the free jazz of Ornette Coleman and the early Southern Californian R&B sound of Richard Berry and the Coasters. This book illustrates how "Trout Mask Replica", far from being an arcane specimen of the avant-garde, was instead a defiantly original declaration of the American imagination.

Detroit has a long tradition of being the farm team for the Big Apple jazz big leagues, but just as important is the acknowledgement of local legends who left their mark on the city by staying put and releasing amazing music right in Detroit. Kenny Cox and the Contemporary Jazz Quintet is one such group that could have and definitely should have had a wider audience in their day, but their recorded legacy continues to grow in estimation. Truly a comprehensive group with no weak links, the compositions and playing on this record show the incredible talent and innovation that was brewing in Detroit before, during and after Motown locked its doors in the Motor City.

Of note is group member Charles Moore, an important figure in the jazz and arts scene in Detroit and founding member of an underground art and music co-operative called the Detroit Artist Workshop. A talented musician and composer in his own right, Moore and group leader Cox composed all the material on Multidirection. Cox described it as “more of an orchestral-type effort than just a combo per se.” in the original release liner notes by Nat Hentoff. Both were integral in the future DIY jazz universe by co-founding the highly influential Strata Records. But before embarking on that journey, his group recorded two timeless classics for Blue Note Records. Like many of the greatest musical albums, this work shines brightest as a whole with new dimensions to discover with each listen. This new and exciting re-issue is certain to provide the listening experience with the best possible platform.

Kyle Craft and his now solidified backing band, dubbed Showboat Honey, reflect the sturm und drang of life with their self-titled album, the contemplative yet restless ‘Showboat Honey’. “This is basically an album centered around bad luck and good fortune hitting at the same time,” Craft explains “Then, out of nowhere, I find love. Everything went to shit except that. I guess that’s how life works.”

The sticky-sweet title of the album is lifted from the brightly choral ‘Buzzkill Caterwaul’: “I wanted to make something that sounded like a raucous collision of Leon Russell and Patti Smith,” he says, “But ‘Buzzkill Caterwaul’ was the only tune that ended up showcasing that vision.” Though aesthetics veer from song to song, ‘Showboat Honey’s steadfast formula remains the same. Drummer Haven Mutlz holds down the machine with a 60s/70s fast-molasses groove that locks in with the slinky rolling bass of Billy Slater. When Kevin Clark isn’t bouncing across the piano, his mellotron strings swell in and out of frame. Jack of all trades Ben Steinmetz’s organ parts well up from the deep of the songs, while lead guitarist Jeremy Kale’s solos rip through them like electricity. On top of it all, sits the tongue-in-cheek phantasmagoria created by Craft’s lyrics, in which perspectives shift to imbue life into a cast of intriguing, mysterious characters, à la Bob Dylan. (“There is not a single thing in my life that has affected me more than the first time I heard Dylan,” says Craft. “It immediately changed my life.”)

Craft started writing about as soon as he could play the guitar at the age of 15. He grew up in the isolated Mississippi River town of Vidalia, Louisiana where his chops weren’t honed in a woodshed but rather an old, dingy meat freezer that was out of commission. After years of touring, two albums with Sub Pop Records and solidifying the band, he’s grown into a prodigious songwriter, to say the least. The band recorded ‘Showboat Honey’ - co- produced by Craft, Clark and Slater - at their own Moonbase Studios in Portland over 2018. “We approached this record differently for sure,” Craft says. “I’d make a demo, and after putting the songs together, shoot it to the band for ideas.” Kyle and the members of Showboat Honey worked at such a feverish wine-fuelled pace that they actually ended up with two completely different albums. At the end of the day, they decided to combine the two into what is now ‘Showboat Honey'.

TRACK LISTING

Broken Mirror Pose
O! Lucky Hand
2 Ugly 4 NY
Blackhole/Joyride
Bed Of Needles #2
Deathwish Blue
Blood In The Water
Buzzkill Caterwaul
Sunday Driver
Johnny (Free & Easy)
She’s Lily Riptide

The ultimate visual history of iconic band The Fall from renowned photographer Kevin Cummins, with a foreword by Poet Laureate and Fall fan, Simon Armitage.

'No one has captured the look of alternative UK music over the past half a century more tellingly than Kevin Cummins.' - Simon Armitage.

'Kevin Cummins is a true master in being able to capture the essence of music, the soul of the band. Whatever he does however he does it is a mystery to me but it's pure genius.' - Rankin.

'Kevin has the uncanny ability of capturing the inner mood of musicians. Be it the dynamics within a pensive Joy Division, or the sense surrounding the fledgeling Fall that something special was around the corner for us all. Kevin's book is nothing less than a remarkable document of a bewildering and defiant anti-fashion movement born in Prestwich, north Manchester in the grimy mid-70s.' - Marc Riley.

'Capturing forty years of the band's career via his archive, the legendary photographer (whose recent book, Juvenes, documented the story of Joy Division) gives his take on the phenomenon of The Fall and the late, great Mark E. Smith.' - Vive le Rock.

Contains never-before-seen images.
Foreword by Simon Armitage, Poet Laureate.

From chaotic early gigs to their final years, NME photographer Kevin Cummins provides a definitive, unique perspective on cult favourites The Fall. In this stunning visual history spanning four decades, discover how and why they emerged as one of the most innovative, boundary-breaking bands in modern music. With a foreword by Poet Laureate and Fall fan Simon Armitage and an interview with Eleni Poulou, as well as never-before-seen images from Cummins' archive, this is the ultimate visual companion to The Fall.

How does a band come into being? What are the myriad forces that shape the sound, look, and identity of an emerging band?In 1993, Oasis signed to Creation Records and were shortly to begin recording their first album. Unknown, and unknowing what was ahead, the following year began with a masterplan - the creation of Oasis. At the centre of this enterprise was Kevin Cummins, brought on board to help the band find a look that fitted their sound.

As chief photographer of Joy Division depicting that band on a snowy bridge and in the chilly environs of Manchester with a backdrop of the black stone of a gothic cathedral, Cummins was well aware of the intersection between the visual and the sonic. Oasis The Masterplan tells the story of how Oasis cemented their identity. Drawing on the first six months of the year, we follow Cummins as he photographs the band in various locations such as London, Manchester and the Netherlands.

Using many unseen images as well as more well-known iconic shots, Cummins guides us through the ways a band can be shaped and designed, such as the famous photographs of the Gallagher brothers in Manchester City shirts - emblazoned with the Brother logo (a Japanese electronics company) which helped provoke worldwide interest in the band. With input from Noel Gallagher, we see how they played with fashion, were taught how to pose, and present themselves as they approached the summer of that year when their first album, Definitely Maybe was released on 29 August. The story from that moment on is well-known.

This book reveals just how effective the masterplan was to get them to that point.

Love Is A Flame In The Dark is the debut album by experimental songwriter Karl D’Silva. A raw labour of love, a towering spire of twisted steel, tenderness and becoming, it’s a body of songs that belies the virtuoso talents of an artist whose reputation has been built on collaborating with various avant garde underground luminaries. Self-recorded at home in Rotherham and pulsing with the conviction of a true believer, these songs burst out of their self-consciousness to meet life head on, bristling with energy, 10 glimpses of the human spirit in the darkness. Recorded throughout 2021 - 2023 and mixed in Leeds with engineer Ross Halden, D’Silva has constructed a Pop language for himself. Mutated songs that owe a small debt to the post-Industrial music of Cabaret Voltaire, Nine Inch Nails and Coil, they’re nonetheless powered by a vigorous tenderness, earnestness and D’Silva’s knack for melody. Each song is meticulously sound-designed, using synthesised sounds created from scratch married with D’Silva’s virtuoso playing on saxophone and guitar.

The songs on Love Is A Flame In The Dark are unabashed, earnest love letters to living, requiems for a world fading away and small gestures of solidarity in the face of entropy. Until now, D’Silva’s fingerprints could be found on live dates with Thurston Moore, Oren Ambarchi, Hardcore pioneers Siege and Rian Treanor as well as recordings by previous groups Trumpets Of Death and Drunk In Hell. Primarily associated with the alto saxophone in his improvisation work, Love Is A Flame In The Dark features a dizzying array of instrumentation, all played by D’Silva. D’Silva’s current membership of the group Vanishing may be a good touchstone for the dense, sonically thrilling world-building on the album but the most striking instrument, perhaps, is D’Silva’s voice. With a soulful, rasping timbre resulting from prolonged intubation as a new-born, his vocal is both fearless and tender. On the soaring, electronic body mover Wild Kiss, thundering percussion is in service to Karl’s voice full of desire, arching up into a flayed falsetto. It’s a trick repeated on Flowers Start To Cry, where it’s deployed against the backdrop of layers of ripping alto and thudding drum programming that recall Nine Inch Nails’ visceral production, if they were covering a Prince hit. These songs capture the essence of 2024’s Karl D’Silva music; pure physicality breaking down to reveal a shining, compassionate vulnerability.

The full breadth of Karl D’Silva’s instrumental prowess is in evidence from the off. On The Outside imagines blooming out of personal apocalypse with a soundscape of synth, saxophone worthy of any late 60s Free Jazz blower and crushing sound design. Entropy is planet-sized synth pop, Nowhere Left To Run uses midi-string orchestration to tell a story of light emerging from the dark. It’s a theme picked up throughout the album: The Butcher is a political parable, the narrator holding power to account with grotesque, brutal imagery. It’s on a track like Real Life that the true message emerges, however. D’Silva is peering through the layers of artifice, struggle and the fog of daily living to find a life full of energy, connection and light. Each song here is a route into this light, out of the darkness.

TRACK LISTING

1. On The Outside
2. Entropy
3. Wild Kiss
4. Flowers Start To Cry
5. The Crucible
6. Nowhere Left To Run
7. Real Life
8. Shine Brightly
9. The Butcher
10. Love Is A Flame In The Dark

Karen Dalton was a remote, elusive creature. A hybrid of tough and tender with an unearthly voice that seemed to embody a time long past. As is often the case with such fragile beings, she instinctively understood that the only way to survive the harshness of the world around her, was to keep herself hidden. So it comes as no great surprise that she rarely sang in public or ventured into the unnatural setting of a recording studio. Only twice, for 1969’s It’s So Hard To Tell Who’s Going To Love You The Best and then again for 1971’s In My Own Time, was she coaxed from her habitat into the studio. Other times she made music in casual settings, sitting around a kitchen table or wood burning stove with her friends, singing and playing until daybreak. In 1966, Carl Baron brought his reel to reel over to her remote cabin in Summerville, Colorado and recorded one of those exquisite musical evenings. Karen and Richard Tucker were rehearsing for a gig when Carl hit the “Record” button. The result is a 45-year-old tape, carefully exhumed, documenting Karen at her most raw and unfiltered. On it are Fred Neil and Tim Hardin songs we’ve never heard Karen give voice to before, as well as traditional songs she uncannily makes her own, including a devastating version of ‘Katie Cruel’, that is so powerful, it is as if the ghost of Katie Cruel seeped into her blood. This recording is a window to her Summerville cabin opened, allowing us to eavesdrop on Karen Dalton at her most pure and unaffected.

TRACK LISTING

1. Reason To Believe
2. Katie Cruel
3. Cotton Eyed Joe
4. Green Rocky Road
5. Don't Make Promises
6. Other Side To This Life
7. God Bless The Child
8. Little Bit Of Rain
9. While You're On Your Way
10. 2:19 Train
11. Misery Blues 
12. Mole In The Ground 
13. Shiloh Town 
14. Hallelujah

Karen Dalton’s 1971 album, In My Own Time, stands as a true masterpiece by one of music’s most mysterious, enigmatic, and enduringly influential artists. Celebrating the album’s 50th anniversary, Light in the Attic is honored to present a newly remastered (2021) edition of the album on LP, CD, cassette, and 8-Track.

All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters.

A newly expanded booklet—featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart—rounds out the CD (32-pgs) and LP (20-pgs) packages.
The Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye writes in the liner notes, one can hear “the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R&B and country that had to seep in as she made her way to New York."

Armed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her distinctive, world-weary vocals. In the early ‘60s, she became a fixture in the Greenwich Village folk scene, interpreting traditional material, blues standards, and the songs of her contemporaries, including Tim Hardin, Fred Neil, and Richard Tucker, whom she later married. Bob Dylan, meanwhile, was instantly taken with her artistry. “My favorite singer in the place was Karen Dalton,” he recalled in Chronicles: Volume One (Simon & Schuster, 2004). “Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed.”

Those who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, It’s So Hard to Tell Who’s Going To Love You The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious, to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY.

Producing the album was bassist Harvey Brooks, who played alongside Dalton on It’s So Hard to Tell Who’s Going To Love You The Best. Brooks, who prided himself on being “simple, solid and supportive,” understood Dalton’s process, but was also willing to offer gentle encouragement, and challenge the artist to push her creative bounds. “I tried to present her with a flexible situation,” he told Kaye. “I left the decisions to her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I’d present options. Everyone was sensitive to her. She was the leader.”

Dalton, who rarely performed her own compositions, selected a range of material to interpret—from traditionals like “Katie Cruel” and “Same Old Man” to Paul Butterfield’s “In My Own Dream” and Richard Tucker’s “Are You Leaving For The Country.” She also expanded upon her typical repertoire, peppering in such R&B hits as “When a Man Loves a Woman” and “How Sweet It Is.” In a departure from her previous LP, Dalton’s new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians.

While ‘70s audiences may not have been ready for Dalton’s music, a new generation was about to discover her work. In the decades following her death, a slew of artists would name Karen Dalton as an influence, including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recent acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton’s unique appeal: “There’s a sort of demand made upon the listener,” he explains. “Whether you like it or not, you have to enter her world. And it’s a despairing world.” Peter Walker, who also appears in the film, elaborates on this idea: “If she can feel a certain way in her music and play it in such a way that you feel that way, then that’s really the most magical thing [one] can do.” He adds, “She had a deep and profound and loving soul…you can hear it in her music.”

TRACK LISTING

Something On Your Mind
When A Man Loves A Woman
In My Own Dream
Katie Cruel
How Sweet It Is
In A Station
Take Me
Same Old Man
One Night Of Love
Are You Leaving For The Country
Something On Your Mind (alternate Take)
In My Own Dream (alternate Take)
Katie Cruel (alternate Take)
One Night Of Love - Live At Beat Club, Germany, April 21, 1971
Take Me - Live At Beat Club, Germany, April 21, 1971
Something On Your Mind - Live At The Montreux Golden Rose Pop Festival, May 1, 1971
Blues On The Ceiling - Live At The Montreux Golden Rose Pop Festival, May 1, 1971
Are You Leaving For The Country - Live At The Montreux Golden Rose Pop Festival, May 1, 1971
One Night Of Love - Live At The Montreux Golden Rose Pop Festival, May 1, 1971

● Definitive edition of Karen Dalton’s 1971 Masterpiece. Non-Returnable.
● Two 180-gram, 45 RPM LPs cut from new 2021 transfers and pressed at RTI, featuring bonus tracks from the original album sessions
● 12” 180-gram, 45 RPM EP: Live at The Montreux Golden Rose Pop Festival (May 1971), newly remastered (2021) and previously unreleased in any format. B-side includes a beautiful etching of Karen, illustrated by renowned artist Jess Rotter.
● Previously unreleased 7” single: Live at Beat Club, Germany (April 1971)
● Repro of 1971 French edition 7” single: Something On Your Mind b/w One Night Of Love
● Both 7” singles pressed at Third Man Pressing and housed in old-style tip-on jackets
● 20-page booklet featuring unseen photos and liner notes by Lenny Kaye, plus contributions from Nick Cave and Devendra Banhart
● Replica Playbill for Montreux performance
● CD of all tracks
● Housed in a special, expanded trifold jacket
● Limited to 2,000 sequentially foil numbered copies worldwide
● Includes a 18”x24” fold-out movie poster of the acclaimed documentary film Karen Dalton: In My Own Time, illustrated by artist Matt McCormick

Karen Dalton’s 1971 album, In My Own Time, stands as a true masterpiece by one of music’s most mysterious, enigmatic, and enduringly influential artists. Light in the Attic is honored to celebrate the 50th anniversary of In My Own Time with the definitive edition of this monumental classic.
Featuring Dalton’s interpretations of songs like “Are You Leaving for the Country,” “When a Man Loves a Woman,” “Katie Cruel,” and her posthumously recognized signature performance, “Something On Your Mind,” will be available in a variety of formats, including a bonus-filled, 50th anniversary Super Deluxe Edition, which expands exponentially upon Light in the Attic’s 2006 reissue of the album, co-produced by Nicholas Hill.

The 50th Anniversary Super-Deluxe Edition features the newly remastered (2021) In My Own Time album, presented on three sides of 45-RPM, 180-gram vinyl pressed at Record Technology Inc. (RTI), with the fourth side showcasing alternate takes from the album sessions. The Super Deluxe package also includes the previously unreleased audio from her rare, captivating performance, Live at The Montreux Golden Rose Pop Festival, May 1st, 1971. This is the first time this audio has been made available in any physical format — presented on 180-gram 12-inch vinyl, pressed at Third Man Record Pressing, and featuring a stunning etching of Dalton by acclaimed artist Jess Rotter on the B-Side. Accompanying the bonus record is a replica playbill from The Montreux Golden Rose Pop Festival, 1971, meticulously arranged and compiled from vintage source material by Darryl Norsen. In addition to the bonus 12”, the set contains a CD of all tracks included in the package and two 7-inch singles, featuring previously-unreleased live recordings captured at Germany’s Beat Club in 1971, both pressed at Third Man Record Pressing and housed in tip-on jackets. All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters. A 20-page booklet—featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart—rounds out the package, which comes housed in a special trifold jacket, individually foil-stamped and numbered in a strictly limited worldwide edition of 2,000 copies.

The 50th Anniversary Super-Deluxe Edition also includes an 18”x24” fold-out movie poster of the acclaimed documentary film Karen Dalton: In My Own Time, illustrated by artist Matt McCormick. Directed by Robert Yapkowitz and Richard Peete and executive produced by Light in the Attic, Wim Wenders and Delmore Recording Society, the film chronicles the life, music, and legacy of Dalton and features interviews with family, friends, collaborators, and a variety of artists, including Peter Walker, Nick Cave, and country singer Lacy J. Dalton. Angel Olsen lends her voice to the film as the principle narrator, reading aloud from Dalton’s personal journal.

The Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye writes in the liner notes, one can hear “the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R&B and country that had to seep in as she made her way to New York."

Armed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her distinctive, world-weary vocals. In the early ‘60s, she became a fixture in the Greenwich Village folk scene, interpreting traditional material, blues standards, and the songs of her contemporaries, including Tim Hardin, Fred Neil, and Richard Tucker, whom she later married. Bob Dylan, meanwhile, was instantly taken with her artistry. “My favorite singer in the place was Karen Dalton,” he recalled in Chronicles: Volume One (Simon & Schuster, 2004). “Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed.”

Those who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, It’s So Hard to Tell Who’s Going To Love You The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious, to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY.

Producing the album was bassist Harvey Brooks, who played alongside Dalton on It’s So Hard to Tell Who’s Going To Love You The Best. Brooks, who prided himself on being “simple, solid and supportive,” understood Dalton’s process, but was also willing to offer gentle encouragement, and challenge the artist to push her creative bounds. “I tried to present her with a flexible situation,” he told Kaye. “I left the decisions to her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I’d present options. Everyone was sensitive to her. She was the leader.”

Dalton, who rarely performed her own compositions, selected a range of material to interpret—from traditionals like “Katie Cruel” and “Same Old Man” to Paul Butterfield’s “In My Own Dream” and Richard Tucker’s “Are You Leaving For The Country.” She also expanded upon her typical repertoire, peppering in such R&B hits as “When a Man Loves a Woman” and “How Sweet It Is.” In a departure from her previous LP, Dalton’s new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians.

While ‘70s audiences may not have been ready for Dalton’s music, a new generation was about to discover her work. In the decades following her death, a slew of artists would name Karen Dalton as an influence, including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recent acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton’s unique appeal: “There’s a sort of demand made upon the listener,” he explains. “Whether you like it or not, you have to enter her world. And it’s a despairing world.” Peter Walker, who also appears in the film, elaborates on this idea: “If she can feel a certain way in her music and play it in such a way that you feel that way, then that’s really the most magical thing [one] can do.” He adds, “She had a deep and profound and loving soul…you can hear it in her music.”

TRACK LISTING

1. Something On Your Mind
2. When A Man Loves A Woman
3. In My Own Dream
4. Katie Cruel
5. How Sweet It Is
6. In A Station
7. Take Me
8. Same Old Man
9. One Night Of Love
10. Are You Leaving For The Country
11. Something On Your Mind (alternate Take)
12. In My Own Dream (alternate Take)
13. Katie Cruel (alternate Take)
14. One Night Of Love - Live At Beat Club, Germany, April 21, 1971
15. Take Me - Live At Beat Club, Germany, April 21, 1971
16. Something On Your Mind - Live At The Montreux Golden Rose Pop Festival, May 1, 1971
17. Blues On The Ceiling - Live At The Montreux Golden Rose Pop Festival, May 1, 1971
18. Are You Leaving For The Country - Live At The Montreux Golden Rose Pop Festival, May 1, 1971
19. One Night Of Love - Live At The Montreux Golden Rose Pop Festival, May 1, 1971

Previously unreleased Karen Dalton performance featuring seven never-before-heard songs

In 1962, Karen summoned Richard Tucker to join her in Colorado, extolling the healthier lifestyle and plentiful gigs at Boulder folk club The Attic. Upon his arrival, the pair solidified their personal and professional relationship, riding horses in the mountains and performing as a duo at parties and venues throughout Denver and Boulder. Stories of the spell they conjured – and rumours of tapes! – have circulated among friends and musicians who witnessed them, but until now, no recorded evidence had turned up.

TRACK LISTING

Trouble In Mind
If You're A Viper
When First Unto This Country
Shiloh Town
Shuckin' Sugar Blues
Everytime I Think Of Freedom
Ribbon Bow
Blues Jumped The Rabbit
Lonesome Valley
When I Get Home
In The Pines
Katie Cruel

On 22 November 2024, Kim Deal will release her new album, Nobody Loves You More. Featuring recent single ‘Coast’, the collection of 11 songs is the Dayton, Ohio resident’s first full-length album under her own name.

Nobody Loves You More is Kim Deal’s debut album although it’s not the first time she has gone solo – she self-released a five-part, ten-song seven-inch vinyl series in 2013. In keeping with Deal’s meticulous approach to her art, the album was refined over several years. Its oldest songs, ‘Are You Mine?’ and ‘Wish I Was’, were written and originally recorded in 2011 shortly after Deal came off the Pixies’ “Lost Cities Tour” and relocated to Los Angeles (early versions of those songs were included in said vinyl series); the last recording for Nobody Loves You More took place in November 2022 with legendary engineer and close friend Steve Albini, who helmed final track ‘A Good Time Pushed’ at his Electrical Audio studio in Chicago. Along the way she has brought in a variety of collaborators from Breeders past and present (Mando Lopez, twin sister Kelley Deal, Jim Macpherson, Britt Walford), to Raymond McGinley (Teenage Fanclub), Jack Lawrence (Raconteurs) and Savages’ Fay Milton and Ayse Hassan. Nobody Loves You More was mixed by Marta Salogni and mastered by Heba Kadry.

Every song has a story behind it, from the winter vacations with her parents in Florida Keys (‘Summerland’), wedding band covers of ‘Margaritaville’ (‘Coast’) to her mother’s dementia (‘Are You Mine?’). All in all, the record is a celebration of Deal’s unmatched artistry, nodding not only to her career highlights with celebrated bands across the alternative landscape (Pixies, The Amps, The Breeders), but also to her immovable cultural weight influencing musicians like Kurt Cobain and Olivia Rodrigo through the generations.

STAFF COMMENTS

Barry says: A long awaited, stylistically chameleonic debut album from former Pixie and Breeder, Kim Deal. There are wisps of Americana and loungey rock, chamber pop and modern classical flourishes. It's a glitzy statement in parts, and wonderfully stripped-back in others. A perfect cross-section of the human condition told by one of the greatest musicians of our time.

TRACK LISTING

1. Nobody Loves You More
2. Coast
3. Crystal Breath
4. Are You Mine?
5. Disobedience
6. Wish I Was
7. Big Ben Beat
8. Bats In The Afternoon Sky
9. Summerland
10. Come Running
11. A Good Time Pushed

"Are You Mine?"
I sang and play guitar. Lindsay Glover played drums and Armando Lopez is on Bass. We recorded this onto a Tascam 388. It's a 1/4" 8 track machine. What a bitch. It was always breaking down. We had to get Billy Zoom from the rock band, X, to fix the machine. We had like 4 of these 388 machines around the house. They sound great but they are "consumer grade" man. But I digress. I ended up transferring it to 2". Then I added a harmony vocal with Steve at Electrical and he mixed it down.

"Wish I Was"
I recorded everything on this one in a studio in LA. Kelley played one of the keyboards. Matt Ward (do you know who he is?) played the guitar that appears on the right side of the speakers and the solo in the pretty solo in the middle. I had some nice words but Kelley HATED my melody so I just put it out as an instrumental. Mixed by Albini at Electrical.

All recorded analog and mastered DMM at Sterling by Ryan.
This artwork was done by Vaughan Oliver/v23
There is also an insert image glossy sheet that have the credits on it.

Hot Shot:
"I played electric guitars, bass guitar and vocals. Jose Medeles (a previous Breeders drummer) played drums. This was recorded at Type Foundry and with Steve at Electrical. And Greg Norman mixed it at Electrical, in Chicago.

All recorded in the analog domain. All mastered by Ryan Smith at Sterling Sound in NYC using Direct Metal Mastering.
I played the guitars and vocals and Steve Kille (Dead Meadow) recorded it for me in the cellar of the house I was renting out in Los Angeles. It was recorded on my Tascam 1/2" - 16 track machine. Likkle More is "see you later" in patois, btw. Likkle More:

This was mixed by Greg Norman at Electrical in Chicago. All analog, all mastered DMM.

Artwork by Chris Bigg using photograph by Ed Deal, 1958, of Fred Deal (Kim's other grandaddy), Chief Deputy of Wyoming County, West Virginia Sheriff's Office.

The 7" package has an insert. It's a glossy print card that has a picture of my crazy face. It looks like a Polaroid. Because it was a Polaroid of me. And we made copies of the Polaroid and we stick them into each record. And I sign some of them"...

TRACK LISTING

3. Hot Shot 2m 44secs
4. Likkie More 1m 47secs

"The Root"
This song was written by me and a woman named Morgan Nagler. Her band, Whispertown 2000, opened for the Breeders. I am singing this and playing all the instruments. Morgan is singing harmony. We recorded this in LA in different places and I took it to Electrical Audio in Chicago and Greg Norman mixed it down. This song was recorded and mixed analog and mastered DMM.

"Range On Castle"
This song is also written by me and Morgan. Morgan takes the lead and sings this one. I sing the harmony. I play all the instruments except the drums. Lindsey Glover played the drums on this one. We recorded it in LA.
Now we mixed this one to a CD and used the CD to make a 1/2" tape. Then we gave the 1/2" to Ryan at Sterling and he mastered DMM. Vaughan Oliver/v23 designed this cover.

Like a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths. The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production.

In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, 'the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.'

Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and 'Shoom' and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.

TRACK LISTING

1. Kiriath-Arba
2. Cincinnati Sunrise
3. Shinar
4. Chicago Shift
5. The Oakland Feel
6. Beersheba
7. Pittsburgh Patrol
8. Khmunu
9. Watts Awakening
10. Beth-El
11. Mittani
12. Dayton Daydreams
13. Harlem Homerun
14. Amurru
15. Shechem
16. Baltimore Beatdown

Kevin Devine is taking a leaf out of the books of emo darlings like Chris Cabbarra of Dashboard Confessional and Jonah Mantranga. A set of simple, six stringed, heartfelt melodies and his shivering and stirring voice. Now "Travelling the EU" features three new songs from Devine, including his interpretation of "You Are My Sunshine", cruising the continent for all you punk-rock romantics out there.

Grammy nominated ‘Stranger Things’ composers and S U R V I V E members Kyle Dixon and Michael Stein return to score three part British drama ‘Butterfly’.

Housed in a heavyweight spined sleeve and pressed on 180g black vinyl with digital download card included.

“We had just come off our first project that had established us as these retrosynth/80s producers, and we wanted to do something that helped get us out of that box,” Dixon and Stein said in a press release. “Obviously there are still synths being used, and coincidentally some of them are from the 80s, but hopefully this score won’t be received as such.”

The music to ‘Butterfly’ sustains Kyle Dixon and Michael Stein’s proclivity for locating humanism in their electronics. The signals they send have some sort of uncanny correlation with core feelings. More uncanny is their tonal grasp of what it is to be young and curious.

‘Butterfly’ is the story of 11-year-old Max who identifies as a girl and wants to live her life as Maxine. Her estranged parents Vicky and Stephen attempt to work out how best to cope with and support this huge life decision.

LP includes digital download code.

STAFF COMMENTS

Barry says: AARGH. I always loved the throbbing synths and intense atmospheres in Dixon & Stein's work under their own names (soundtracking Stranger Things for example), and as 'Survive', but this soundtrack takes all of that oscillator knowledge and inject it with a healthy dose of hazy 80's reverie (despite their insistence to the contrary), all saturation and arps. Completely on-board.

TRACK LISTING

Butterfly
Blue Eyes
Taking In Lodgers
Daughters
Comfort
Just Make Up Your Mind
I Don't Know How Happy I Am Anymore
Accusations
School Troubles
Introducing Maxine
Cut Wrists
Tickle Gods
Dress Up
Mermaid
Arrested
Family
Maxine's Groove
Making The Choice
Interrogation
Truths
What Was The Point Of Me?
Dancing With The Girls
A Long Way To Go

‘Spheres’ is a celestially immersive experience focusing on the human connection with the cosmos - with music composed and performed by Kyle Dixon and Michael Stein.

Written and directed by Eliza McNitt (‘Fistful of Stars’, ‘Without Fire’), ‘Spheres’ will be released on the Oculus Rift and is presented by City Lights and Protozoa Pictures. Darren Aronofsky and Ari Handel are executive producers.

Grammy nominated Kyle Dixon and Michael Stein need no introduction as two of today’s most highly regarded film score composers, having worked on ‘Stranger Things’ series 1 and 2 and ‘Butterfly’, as well as being members of S U R V I V E.

STAFF COMMENTS

Barry says: Two D&S scores in one week?! This one is equally as excellent, but a little more geared towards the ambient end of the spectrum, with cavernous echoing reverb and subtly panned swirls of industrial machination, this is equally as superb as their previous work but considerably darker. A perfect flipside to the coin.

TRACK LISTING

Accretion Disk
Solar System
Ecliptic Planes
In The Dark
Birth Of A Star
Auroras
Cosmic Microwave Background
Burning Star Core
Uranus
Planetary Cruise
Black Holes Collide
Spheres
Gravitational Waves
Earth Song

S U R V I V E members Kyle Dixon & Michael Stein's score to Stranger Things 3.

GRAMMY Nominated and EMMY Winning composers Kyle Dixon & Michael Stein's score to 'Stranger Things' is perhaps the show’s secret ingredient. A mixture of icy new-wave hooks, spooky ambient textures and menacing drones which bring a spine-tingling ambience and a hauntingly beautiful nostalgia all at once.

It’s 1985 in Hawkins, Indiana, and summer’s heating up. School’s out, there’s a brand new mall in town, and the Hawkins crew are on the cusp of adulthood. Romance blossoms and complicates the group’s dynamic, and they’ll have to figure out how to grow up without growing apart. Meanwhile, danger looms. When the town’s threatened by enemies old and new, Eleven and her friends are reminded that evil never ends; it evolves. Now they’ll have to band together to survive, and remember that friendship is always stronger than fear.

STAFF COMMENTS

Barry says: Dixon! Stein! Bad-ass kids with super and / or not super powers! Winona! The neverending story! A Mancunian graphic design god! all GREAT things, and all involved in Stranger Things. Bonus points for the hot pink 80's vinyl. Amazing stuff.

TRACK LISTING

Boys And Girls
I Like Presents Too
Starcourt
Blank Makes You Crazy
I Need You To Trust Me
You’re A Fighter
The Ceiling Is Beautiful
The First I Love You
Rats
What Did You Do To Him?
Find The Source
The Silver Cat Feeds
Heather’s
William
Destroying The Castle
In The Void
Tammy
Mirkwood
Portal Drill
Happy Screams
Ruins
It’s Just Ice
The Door Is Opening
Planck’s Constant
She’s Gone Home
Seven Feet
The Week Is Long
Sauna Test
Six Facts
The Trees Are Moving
On Their Tracks
Not Chinese Food
Blueprints
Land Deeds
Not Kids Anymore
Code Red
Feel Safe
He’s Here
Scoops Troop
We Don’t Understand Each Other
Aftermath

‘Stranger Things 4 (Original Score From The Netflix Series)’ by Kyle Dixon and Michael Stein, is now available.

Split over two volumes - this is Volume 1.

“A pretty spectacular score from Kyle Dixon and Michael Stein” - Collider

“A stunningly creepy original score by Kyle Dixon and Michael Stein” - Billboard

Score written, performed and produced by Kyle Dixon and Michael Stein (‘Native Son’, ‘Valley Of The Boom’, ‘Spheres’, ‘Butterfly’, and their band S U R V I V E).

‘Stranger Things’ has won seven Emmy Awards, and has been nominated for 216 various awards, with 77 wins.

Starring Winona Ryder (Joyce Byers), David Harbour (Sheriff Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown (Eleven), Gaten Matarazzo (Dustin Henderson), among many others

‘Stranger Things 4’ is Netflix’s most-viewed English language series of all time.

STAFF COMMENTS

Barry says: You synth soundtrack fans are ALWAYS in safe hands with Dixon & Stein (aka Survive). With rich oscillator throbs and tense pads akimbo, it's yet another suite of perfectly manicured soundtrackery that's perfect for the series (obviously) and just as good on the home stereo. Lovely.

TRACK LISTING

What's The Internet?
I Wouldn’t Remember Me Either.
Teens
Journalistic Instinct
100% Convinced
In The Closet (At Rink O Mania)
Does That Make Us Friends?
My Boobs Hurt.
Unambiguous True Love
Stuck In 1983
Hawkins National Lab
Hellfire Club
Buried Memories
Fancy Bomb
We Are Not Heroes
Nine Feet Tall
Hail Lord Vecna
Powerful Psychic Connection
Ruth, Nevada
Hellfire Isn’t A Cult
I Know What I Saw
Curfew
You’re Regressing Eleven
Letter To Willy
Palm Tree Delight
Musso
Brenner’s Little Pet
Mr. Fibbly
It’s Just A Clock, Right?
Welcome To Kamchatka
A Nightmare Far Worse
Caught A Body At The Munsen Trailer
A War Is Coming To Hawkins
The Elephant
Hurtling Towards A Gruesome Death
Barefoot In The Snow
Kills You In Your Dreams
The Shire Is Burning
Blood Balloons
Burning Baby
Mugshot
There Are Some Things Worse Than Ghosts...
A Memory Within A Memory

‘Stranger Things 4 (Original Score From The Netflix Series)’ by Kyle Dixon and Michael Stein, is now available.

Split over two volumes - this is Volume 2.

“A pretty spectacular score from Kyle Dixon and Michael Stein” - Collider

“A stunningly creepy original score by Kyle Dixon and Michael Stein” - Billboard

Score written, performed and produced by Kyle Dixon and Michael Stein (‘Native Son’, ‘Valley Of The Boom’, ‘Spheres’, ‘Butterfly’, and their band S U R V I V E).

‘Stranger Things’ has won seven Emmy Awards, and has been nominated for 216 various awards, with 77 wins.

Starring Winona Ryder (Joyce Byers), David Harbour (Sheriff Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown (Eleven), Gaten Matarazzo (Dustin Henderson), among many others

‘Stranger Things 4’ is Netflix’s most-viewed English language series of all time.

STAFF COMMENTS

Barry says: You synth soundtrack fans are ALWAYS in safe hands with Dixon & Stein (aka Survive). With rich oscillator throbs and tense pads akimbo, it's yet another suite of perfectly manicured soundtrackery that's perfect for the series (obviously) and just as good on the home stereo. Lovely.

TRACK LISTING

A Proper Thump
Hiiiiiiiii
Still Dizzy
Reign Fire From Above
Religious American
Surf That Tasty Pie
Follow Me Into Death
Project Nina
Being Different
Undressing
I Want You To Watch
A Realm Unspoiled By Mankind
Four Gates
Sleeping Dracula
Praying Something Will Happen To me
Stained Glass Roses
One
Gates Of Kamchatka
Top Secret Location
You're The Heart
Sleepyhead
Skull Rock
Spellcaster
You Should Go East
Unfortunate Development
Slashing The Tires
Soteria
ELVIS CLONED BY ALIENS
[delicate, Intense Music Playing…]
Demogorgons In Tanks
The Cure
Patient Confidentiality
Stay Calm, Focus On The Game
It’s Time Max
All Evil Must Have A Home
Flashlights, Flashlights
You Have Already Lost

With its pillowy synth-pads and rich textures, the soundtrack to Volume Two seamlessly wanders through the 80s world of ‘Stranger Things’, breeding an unthreatening serenity with a gentle shift toward a darker mood. Floating between sweeter moments which temporarily blossom amidst the danger and decay, Volume Two is the second part of the ‘Stranger Things’ score, reaching climactic highs as the series comes to an end.

This soundtrack is instantly reminiscent of works by John Carpenter (‘Halloween’, ‘The Thing’), Tangerine Dream and Vangelis (‘Blade Runner’), whilst also delving into the ambience of Aphex Twin and more modern composers such as Cliff Martinez (‘Drive’, ‘Solaris’).

STAFF COMMENTS

Barry says: Having been entranced with Stranger Things, reading this tracklist is like a 'skip to the end' recap of the latter half of the series, listening obviously makes it all the more enthralling. Moody synth ambience, throbbing saw waves and eerie sweeps. Unsurprisingly brilliant.

TRACK LISTING

Hopper Sneaks In
I Know What I Saw
Rolling Out The Pool
Over
Gearing Up
Flickering
First Kiss
Crying
Walking Down The Tracks
Where’s Barb?
Speak Of The Devil
Danger Danger
Tribulations
Flashback
Kids Two
Talking To Australia
Night Of The Seventh
See Any Rain?
Coffee & Contemplation
Inside The Black Room
Starts To Rain
Eleven Is Gone
Time For A 187
Something In The House
Still Pretty
Abilities
Tendril
They Found Us
Bad Men
Spiked Bat
Making Contact
What Do You Know
It’s Not My Boy
Something In The Wall
Let’s Go
Leap Of Faith
In Pursuit
Breaking And Entering
Stranger Things (Extended)

Dixon and Stein return for the latest addition to their overwhelming spate of excellence over the past couple years. Following on from the first series waas never going to be easy for anyone involved, with it's 80's buddy-movie hauntology vibe being perfectly accentuated by Survive's less shadowy alter-ego on soundtrack duties, but series 2 has lived up to that expectation in every way. I know, that episode was pretty ridiculous, but you don't have to listen to it do you. 

We kick things off with the haunting melancholy beauty of 'Walkin In Hawkins', perfectly capturing the eerie ambience of the city streets after the discovery of an analogue hell, hidden behind a bit of your local school. It's a moment we're all familiar with i'm sure, but Dixon & Stein manage to make its duality seem alluring, pressing forwards with paddling apreggio's and swelling pads.  Pieces like 'Eulogy' and 'On The Bus' talking things slowly forwards, opening the filters into an edgy benzoed bliss.

As we move onwards, things shift from a resolved optimism, into the inevitable downturn of a threatened society, with pieces like 'Descent Into The Rift' and 'Escape' providing a darker edge to things, moving towards the inevitable crescentic audiovisual finale. It's a brilliant companion to the programme, and just as much a divine pleasure in it's own right. Impeccable. 

STAFF COMMENTS

Barry says: Brilliant pulsing synths, eerie atmospheres and soaring, crackling pads. An equal amount of pastoral, suburban meanderings, and supernatural, hellish drive. Stunning stuff once again.

TRACK LISTING

Walkin In Hawkins
Home
Eulogy
On The Bus
Presumptuous
Eight Fifteen
The First Lie
Scars
I Can Save Them
Descent Into The Rift
Chicago
Looking For A Way Out
Birth / Rescue
In The Woods
Digging
Symptoms
Eggo In The Snow
Soldiers
Choices
Never Tell
She Wants Me To Find Her
Shouldn’t Have Lied
It’s A Trap
Crib
The Return
Escape
We Go Out Tonight
Connect The Dots
The Hub
On Edge
What Else Did You See?
Run
Levitation
To Be Continued

‘Kick The Ladder’ the anticipated debut album from Icelandic composer and songwriter Kaktus Einarsson, frontman of post-punk outfit Fufanu, will be released by One Little Independent on May 7th. It was produced by Kaktus, alongside Swiss electronic composer Kurt Uenala, and finished in New York City. It draws heavily on the concept of how we as a society relate to our surroundings, whether it’s environmental or personal. 

TRACK LISTING

Kick The Ladder
Ocean’s Heart
Hypnotized
No Runaway
Daydream Echo
Gone To Bed
My Driver
45rpm
Story Of Charms
One Of Those
Space Soul
Chimes

'Lobster Coda’ incorporates dreamy, glistening synth-pop and melancholic ambience, created through layers of atmospheric keys, percussion, and groove-laden funk bass. Kaktus details his journey following a stress-induced nonepileptic seizure that halted his brain’s ability to communicate with the rest of his body, resulting in losing control of his legs, arms and causing involuntary facial tics. Crucially, he spent months on a course of physical therapy while also trying to care for his children and his partner, that by his own admission he then needed to reconnect with. With an occasionally brutal candour, Kaktus’s new album is about taking the time to reflect and recognise changes that need to be made, to listen to your body, and to trust the process no matter how long it might take.

Album standout ‘Be This Way’ merges the darker post-punk of his previous Fufanu material with glacial pop and additional vocals from Nanna, of the Icelandic band Of Monsters And Men.

‘Gumbri’ features long-time friend and collaborator Damon Albarn. The Blur/Gorillaz frontman and Kaktus have known each other for many years, Kaktus played trumpet on ‘Stop The Dams’ at age 15, and shortly after he was flown to London to work on Damon’s debut solo album ‘Everyday Robots’, which they then toured together. Kaktus also engineered ‘Maison Des Jeunes’ for the Africa Express project that Albarn launched. 

TRACK LISTING

1. Lobster Coda
2. Daze Gold Feat. School Of X
3. Be This Way Feat. Nanna
4. Saka
5. Heart Spell
6. Koddi
7. White Burn
8. Gumbri Feat. Damon Albarn

Karen Elson's transformation from fashion’s favourite redheaded ingénue to beguiling chanteuse has been something of a slow burn. In 2003 she provided vocals for a version of Robert Plant's "Last Time I Saw Her" and in 2006 she recorded an English language version of "Je T’Aime… Moi Non Plus" ("I Love You… Me Neither") with Cat Power for a Serge Gainsbourg tribute album, but her main musical outlet has been as a founding member of New York City cabaret The Citizens Band, a downtown collective of musicians, performers, artists and acrobats whose lively Weimar-esque performances have enjoyed successful theatrical runs of their politically thematic shows.

The 11 original compositions on "The Ghost Who Walks" were all written following Karen Elson’s 2005 relocation from New York City to Nashville. While making her home – and raising two children - in the city of country music, Karen took to writing songs for The Citizens Band and found she had plenty of other melodies in her head. Her and spouse Jack White quickly put a band together: Karen’s cabaret cohort Rachelle Garniez on accordion and vocals, The Dead Weather's Jack Lawrence on bass, My Morning Jacket's Carl Broemel on pedal steel and brother-in-law Jackson Smith on guitar. Jack White took the role of producer and provided drums. Karen added a cover of Garniez's "Lunasa" to the recordings and within a matter of weeks she had an album's worth of material. Two of her more theatrical tracks, "100 Years From Now" and "Mouths To Feed", inspired in part by author Tim Egan’s dust bowl saga "The Worst Hard Time", were originally penned for her cabaret troupe. The rest of the album richly evokes the lonesome feel of country ("Cruel Summer"), the tormented side of the blues ("The Truth Is In The Dirt") and the haunted stories of traditional folk balladry ("Stolen Roses").

Graphic artist Rob Jones took inspiration from Karen’s penchant for peach and black to create gorgeously smoldering album art.

STAFF COMMENTS

Darryl says: A surprisingly excellent album from Jack White's missus, awash with sweet country tinged melodies.

Kate Fagan took the Chicago punk scene by storm in the early 80’s with her self-released single “I Don’t Wanna Be Too Cool,” which became the best-selling single ever by a local artist at the legendary Wax Trax! Records. Today, Captured Tracks is thrilled to present an expanded, re-mastered edition of I Don’t Wanna Be Too Cool as a full-length vinyl album. Fagan wrote “I Don’t Wanna Be Too Cool” after moving to Chicago from New York in the late 70’s. The track is a critique of the emergent “hipster” attitude of the disco crowd and the posturing she was witnessing among her peers in New York. With its surf-inspired drum machine, irresistible melody, and defiant lyrics, “Too Cool” was immediately embraced by club DJs, radio stations, and independent record stores. Its b-side, “Waiting For The Crisis,” also gained notice for its raw musical style and politically charged Reagan-era lyrics, which still resonate today. In the years that followed, Fagan continued to break new ground. In 1980, she co-founded the enormously popular ska band Heavy Manners (whose dance parties are still legendary), and with them opened shows for The Clash, Grace Jones, Peter Tosh, The English Beat, and many more.

The “Too Cool” single became a sought-after rarity among record collectors for decades after its initial release, until Manufactured Recordings gave it a proper reissue in 2016. Captured Tracks’ expanded 2023 follow-up features four unreleased songs, which encapsulate the gutsy, new wave energy that pulses through the original single. The final track, the reggae-tinged “Say It”, features production from the reggae legend Peter Toshand Bob Marley’s guitarist Donald Kinsey, who flew in from Jamaica to record with Heavy Manners after witnessing their impassioned live show. While the 2016 reissue re-established Fagan’s cult-classic status for a new audience, this new expanded release solidifies her place in a tradition of trailblazing, powerhouse frontwomen.

TRACK LISTING

1 I Don’t Wanna Be Too Cool
2 Waiting For The Crisis
3 Master Of Passion
4 Come Over
5 Cover It Up
6 Take Your Chances
7 Something’s Wrong
8 Say It

"...an anthemic album that takes songwriter Kyle Falconer in bold new musical directions, that works the heart as much as the head, the dancing feet as much as the punching fist of joy."

As the frontman of The View, Kyle Falconer smashed into the charts with the classic singles "Same Jeans" and "Wasted Little DJs" and earned a Mercury nomination for their #1 debut album ‘Hats Off To The Buskers’. A rocket powered decade followed during which they barely let up, careering through a rock ‘n’ roll attitude both on-and-off stage. A stint in rehab was followed by another stint in rehab. The songwriter reflects on that period in new song ‘Laura’, a heart-on-the-sleeve, not-quite-title-track paean to the aforesaid missus. He started by writing more songs on piano rather than guitar, before teaming up with the producer Frankie Siragusa and using a selection of Motown, soul and funk classics as reference points. The duo spent last August christening the brand-new studio in The Libertines’ recently opened Albion Rooms hotel and arts space in Margate, playing everything on a wealth of new material that Falconer had prepared. ‘No Love Songs for Laura’ is an earworm-stuffed, summer-evoking album demanding repeat plays, streams, views, likes and clicks. For another, this is Falconer reborn and rebooted, like we’ve never heard him before.

TRACK LISTING

1. Stress Ball
2. Wait Around
3. Laura
4. Funeral Song
5. Mother
6. On My Own
7. Still Here
8. Miracle
9. Listen Lucy
10. Moan
11. Rake Me In
12. Don't Call Me Baby
13. Monsters

As a humble barman at the M25 Orbital raves, Kirk Field witnessed the moment acid house exploded. Inspired by media lies to start writing the truth about what he saw unfolding, Kirk became a 'raving' reporter for the clubbers' bible Mixmag, covering the historic parties from the inside and sending sweat-soaked dispatches from distant dancefloors as the scene expanded across Europe and beyond. With a cast of characters including Diego Maradona, Timothy Leary, the KLF, Michael Eavis, Genesis P-Orridge, Brigitte Nielsen, Boris Yeltsin, Boy George, Saddam Hussein's wife, the president of Tunisia, the CIA, the KGB, Dave Courtney, Norman Lamont's dominatrix and even Her Majesty the Queen, Kirk's whirlwind account of the golden age of clubbing tells the story of what really happened in the 'naughty '90s', exposing the seedy underbelly of rave culture while also capturing the nostalgic spirit of the era.

Told through a mixture of vivid first-person narrative, surreal insider anecdotes and incisive social commentary, this honest, hilarious and uncensored postcard of hedonism will appeal to anyone who's ever put their hands in the air like they just don't care.

Distance as a measure of time and place informs Kelly Finnigan’s, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope.

The journey Finnigan takes listeners on over Lover’s eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). “There’s nothing like making records,” says Finnigan. “It feels like that’s my purpose — the reason I was put on this earth.”

Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. “I enjoy working alone but it’s not how you want to make a record…almost everybody I brought in for this album I’ve worked with, toured with or spent a great deal of time with.” Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born.

Dramatic influences like Isaac Hayes (check out the piano on “Be Your Own Shelter”) and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like “Get a Hold of Yourself” or “Chosen Few”. Finnigan’s take on Deep Soul is captured brilliantly on “Walk Away from Me” and “Love (Your Pain Goes Deep)”, while Boom Bap pervades on hard hitters “His Love Ain’t Real” & “Cold World”. Slower songs such as “Let Me Count the Reasons”, the emotional “All That’s Left”, and the soul-stirring album closer “Count Me Out” show the honest and tender side that has become Finnigan’s calling card. All the while, the voice is raw and earthy — in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin.

The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan’s sound.

STAFF COMMENTS

Barry says: A bright, soulful suite of rippling guitar stabs, rolling bass guitar and Finnigan's unendingly powerful vocals. Smooth as silk.

TRACK LISTING

Prove My Love
Be Your Own Shelter
Cold World
His Love Ain't Real
Get A Hold Of Yourself
All That's Left
Love (Your Pain Goes Deep)
Let Me Count The Reasons
Chosen Few
Walk Away From Me
Count Me Out

Kelly Finnigan's debut solo album for Colemine Records represents the culmination of his 15 years of experience - in the studio as a songwriter, multi-instrumentalist, engineer, producer - and touring the US and Europe as a singer, musician, and band-leader. The content within reflects his dedication to expression through the rich American music traditions of soul, gospel, doo-wop, and R&B. The subject is love. Its ecstasies and heartaches. Love sought, found, betrayed, lost, and rediscovered. The result is a marvelous collection of songs and performances that run the gamut from whispering tenderness to roaring appeals; from lean and mean to lush and lovely. And always, always, manifestly honest, and undeniably soulful. With Finnigan guiding these songs from their conception all the way to the record pressing plant, the new release provides the singular voice missing from soul music: a visionary that writes, records, performs and produces his own material. 

TRACK LISTING

1. I Don’t Wanna Wait
2. I’ll Never Love Again
3. Smoking & Drinking
4. Every Time It Rains
5. Catch Me I’m Falling
6. Since I Don’t Have You Anymore
7. Impressions Of You
8. I Called You Back Baby
9. Freedom
10. Can’t Let Him Down

The songs comprising Keeley Forsyth’s debut, are, she states simply, “like blocks of metal that drop from the sky”. Minimal arrangements place that elemental voice front and centre. Nerves are quietly frayed over its running time; an intimate document of personal change, we’re held in limbo until the final note is left to ring. Debris explores the darker corners of domestic life, balancing the need to create with the responsibilities that come with a family, a partner and a career. Seismic ruptures behind closed doors. “There was a lot going on in my life that was heavy and hard,” she adds. “Songs were made under that moment.”

Born and raised in Oldham in the north-west of England, Forsyth first made her name as an actor. Her enigmatic voice is so indelible even she is sometimes provoked to refer to it as a third person, like the characters she’s inhabited as an actor, this time populating songs sharing tales of the high and low tides, of freedom and entrapment, and of hard-won triumphs. “They’ve been in my mind for a while,” she concludes. “I have sung them to my children, and at home alone, and making this album has been an opportunity for me to discover the voice and being who sings these songs. It has changed me, and will continue to. I recognise my life again.”

With sparse arrangements by pianist and composer Matthew Bourne and producer Sam Hobbs, Keeley Forsyth’s music is centred around a singular, emotionally raw and magnetic vocal delivery

TRACK LISTING

A1. Debris
A2. Black Bull
A3. It’s Raining
A4. Look To Yourself
B1. Lost
B2. Butterfly
B3. Large Oak
B4. Start Again

Keeley Forsyth’s 2020 debut album found an elemental voice ringing out from beneath the rubble. Understated but devastating, Debris' success led to a transformation as the songs were brought to the stage. An innate performer, Forsyth found herself channelling something she hadn’t yet fully come to understand, and it was here that the voice found on Debris began to probe outwards and discover a physical form. It’s a form that fully takes shape on her second album Limbs.

Anyone who saw Forsyth perform in the brief window after Debris was released and before shows ground to a halt can testify to the show’s power. In pin-drop silence, enraptured audiences watched as Forsyth inhabited a new body. No stranger to portraying characters in her career as an actor, this was something different.

Limbs is a record of reckoning with that change. After the initial purge of Debris, those feelings of trauma and fear remain but there’s also a life to live. “Save me from the chair where sadness lies,” she sings on opener ‘Fires’, wrestling the need to be creative within the routine of daily life. Where Debris was composed and recorded in close proximity to instrumentalist and arranger Matthew Bourne, Limbs deploys a more expansive palette. With Forsyth at the centre, collaborator Ross Downes acts as another limb, remotely producing the pulses and drones which feed back into the voice. Bourne this time is enlisted to “Bring some of the soil of Debris” into Limbs. The result is clearer and more spacious. If Debris sounded like it was buried under the earth - Forsyth’s voice repressed and breathless - Limbs brings some of that live presence. 

TRACK LISTING

1. A1. Fires
2. A2. Bring Me Water
3. A3. Limbs
4. A4. Land Animal
5. B1. Blindfolded
6. B2. Wash
7. B3. Silence
8. B4. I Stand Alone

Keeley Forsyth is a singer, composer and actress from Oldham, UK. A frequent presence on primetime TV since the mid-'90s, over the past few years she has forged an unusual parallel career as a unique and uncompromising new presence in contemporary music. Described by Pitchfork as “arid and beautiful”, by Uncut as "astonishing" and The Sunday Times as "one of the most remarkable in years”, Keeley's debut LP 'Debris' (2020) and follow-up 'Limbs' (2022) drew unanimous critical praise, prompting comparisons with Nico, Beth Gibbons, Aldous Harding, Nick Cave, Anohni and even Scott Walker. It's often stated that no one else is making music quite like this.

The bleak and foreboding landscape surrounding Keeley's North Yorkshire home seems to inhabit her third LP, 'The Hollow'. The moors, visible from her studio window, impact upon a music that feels made of these places: windswept, rain-soaked and blinking through the low-lit landscape. The album's title derives from discovering a long-abandoned mining shaft whilst out walking - the past lurking within and haunting the present we now occupy. A connection to time that places us within it, facing what is gone and what may come. But also, perhaps that time has no concern as to whether we're here or not.

Keeley's unique elemental voice again sits centrally within this world-building. Her cathartic reflections are exorcisms in song. We hear an artist making sense of her life, willing to expose vulnerability without ever appearing weak. Working again with producer Ross Downes, the LP features Matthew Bourne and Colin Stetson, Forsyth sought to expand both her voice and music. Taking aspects of sacred music, minimalist post-classical, dark ambient, film and theatre soundtracks, she layers her vocals into chamber choirs, applies pitch shifts and other digital processing, moves from clear articulate intention to mumbled numb utterances.

Composer Mihály Vig's score to Bela Tarr’s film 'The Turin Horse' is reimagined as a pressurised outpouring, recasting the everyday within a mythical light of survival and hope. On ‘A Shift’, Mal Finch's protest song ‘We Are Women, We Are Strong ‘, originally sung by wives and daughters in support of the '80s miner’s strikes, is recontextualised in solidarity for an experience of creative labour.

A sought-after collaborator, Keeley is currently working towards new projects with Ben Frost, Teho Teardo, and Matthew Bourne. She has provided vocals for Louis Carnell; remixed both Gazelle Twin and Quin Quis; has soundtracked Maxine Peake’s directorial debut; and is currently developing a stage and studio project with Ben Frost and writer Robert MacFarlane.

A magnetic live performer able to create an immersive almost ritualistic experience, Keeley recently received a standing ovation at Unsound and supports the LP with shows at Bristol New Music, Rewire festival and London's ICA.

STAFF COMMENTS

Barry says: A monolithic slab of otherworldly cascading vocals and foreboding postclassical heft, Keeley Forsyth has crafted a terrifying and hugely moving LP that falls somewhere between ambient soundtrack business, gothic folk and drone, and honestly I couldn't be any more on board. Stunning.

TRACK LISTING

Side A
1. The Answer
2. The Hollow
3. Come And See
4. Eve
5. Turning
6. A Shift
Side B
1. Slush
2. Drag Me Down
3. Do I Breathe
4. In The Corner
5. Horse
6. Creature

Katie Gavin’s debut What A Relief taps into the unguarded self-possession and homespun pop sensibility of singers like Alanis Morissette, Fiona Apple and Ani DiFranco, and uses their tenacity as a north star for Gavin’s own trek towards self-discovery. “This record spans a lot of my life – it’s about having a really deep desire for connection, but also encountering all the obstacles that stood in my way to be able to achieve that, patterns of isolation or even boredom with the real work of love” they say.

Written over the course of seven years, What A Relief comprises a set of songs that Gavin always loved but which “had something in them” that she and her bandmates felt didn’t quite fit within the universe they were trying to cultivate with MUNA. Many of them were written on acoustic guitar, and are rooted in “a style of music that’s very much in my blood, and natural for me,” as typified by the Women & Songs CDs that Gavin loves, which compiled music by artists like Tracy Chapman, Tori Amos and Sarah McLachlan.

That openness of spirit is the overwhelming character of What A Relief, an album that’s refreshing in its willingness to accept people as they come, even as it remains in dogged pursuit of a life that’s kinder, wiser and more loving. Gavin’s explorations of desire and intimacy feel time-worn and necessary – songs that might teach a generation if not how to live, exactly, then at least how to look within oneself for guidance about how to move forward.

STAFF COMMENTS

Barry says: Gorgeously evocative country-tinged ballads that are reminiscent of the joyful zest of 90's rock and jangling indie-pop of the early 00's. A wonderfully engaging selection of well written melodies and stunning instrumentals.

TRACK LISTING

SIDE A
1) I Want It All
2) Aftertaste
3) The Baton
4) Casual Drug Use
5) As Good As It Gets
6) Sanitized

SIDE B
7) Sketches
8) Inconsolable
9) Sparrow
10) Sweet Abby Girl
11) Keep Walking
12) Today

Karel Goeyvaerts was born in Antwerp in 1923. After having received a humanistic education in Antwerp, he took courses at the Lemmens Institute in Malines. From 1943 until 1947 he studied at the Royal Flemish Conservatoire of Antwerp. From 1947 until 1950 he studied composition with Darius Milhaud, music analysis with Olivier Messiaen, and was, in addition, the pupil of Maurice Martenot at the Conservatoire National in Paris.

In 1949 he was awarded the 2nd Prize for Composition and the Lili Boulanger Prize at the same Conservatoire. He obtained the Halphen Prize in 1950. During the winter of 1950-51 he wrote the ‘Sonata For Two Pianos’. Because of its decisive and total stylistic novelty he designated this work as ‘Composition No 1’, thus rejecting all his former work. With this sonata he created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Olivier Messiaen, and laid the foundations for generalized ‘punctual’ serialism. He demonstrated the application of this technique on the electronic medium in his compositions Nrs. 4, 5 and 7.

During the period 1951-1956, he influenced directly - through personal contact and intensive correspondence - the musical creativity of Karlheinz Stockhausen, whom he met during the summer-courses of 1951 in Darmstadt. In 1953, Goeyvaerts and Stockhausen produced the first electronic music in the studio of the NWDR in Cologne.

In 1970 the BRT appointed him as producer at the Institute Of Psychoacoustics And Electronic Music (IPEM) in Ghent. Since 1974 he is in charge of the New Music productions for BRT-3 in Brussels. Karel Goeyvaerts received several awards, such as the Koopal Prize in 1967 and the Visser-Neerlandia Prize in 1969. He also was given commissions by the BRT, the Festival of Flanders and the NOS (Nederlandse Omroepstichting).

His works have been performed in several European countries, in Canada, the United States, Japan and at the festivals of the International Society For Contemporary Music (ISCM) Brussels 1950, Oslo 1953, Graz 1972 and Bonn 1977.

The first collection of some of Karel Goeyvaerts’ ultra rare releases, unavailable away from their original vinyl pressings.

The third full length release on Finders Keepers’ new experimental imprint, Cacophonic.

Krishna Goineau was born in Sri Lanka In 1981 Goinau moved to Düsseldorf, where he met Christo Haas (former DAF member) and Beate Bartel (Einsturzende Neubauten founding member). He became the singer of the joint project Liaisons Dangereuses and lent his unmistakable voice to the band's big hit ("Los Niños Del Parque"). In 2007/2008 he worked at home with analog synthesizers on a series of songs that to this day have never been released. Electronic cut-ups and haunting compositions that sound as contemporary as they are detached from any zeitgeist. Bureau B is very pleased to finally make a selection of these lost recordings available with this collection "I Need A Slow“.

With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.

It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

TRACK LISTING

Sketch Artist
Air BnB
Paprika Pony
Murdered Out
Don’t Play It
Cookie Butter
Hungry Baby
Earthquake
Get Yr Life Back

Musician and visual artist Kim Gordon returns with her second solo album, The Collective, which will be released March 8th on Matador.

Recorded in Gordon’s native Los Angeles, The Collective follows her 2019 full-length debut No Home Record and continues her collaboration with producer Justin Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor), with additional production from Anthony Paul Lopez. The album advances their joint world building, with Raisin’s damaged, blown out dub and trap constructions playing the foil to Gordon’s intuitive word collages and hooky mantras, which conjure communication, commercial sublimation and sensory overload.

STAFF COMMENTS

Barry says: An incendiary new outing from the one and only Kim Gordon. Blurring the boundaries between electronica, art rock and avant-pop, Gordon's unrelenting 'The Collective' is possibly her finest solo moment to date, and one of the highs of her legendary career.

TRACK LISTING

1. BYE BYE
2. The Candy House
3. I Don’t Miss My Mind
4. I’m A Man
5. Trophies
6. It’s Dark Inside
7. Psychedelic Orgasm
8. Tree House
9. Shelf Warmer
10. The Believers
11. Dream Dollar

7" (Deluxe Edition Only)
1. Bangin' On The Freeway
2.  ECRP