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

First time this ground-breaking release has been available on 12" for four decades. 180g

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

https://soundcloud.com/wiaiwya/lee-scratch-perry-big-ben-rock-woodie-taylor-remix/s-oum1j Limited to 700 copies on green vinyl 7” with download code. Lee Scratch Perry releases new single. London indie label wiaiwya is equaly baffled and thrilled to be putting out the new single from LEE SCRATCH PERRY. From the opening chimes of the famous bell (silent now until 2021) to the closing gongs and bongos, this is a rockabilly big beat glam ragga rock headrush, with a nod to Sergio Leone... exactly what you would expect when Woodie Taylor remixes Lee Scratch Perry, fronting Morrissey’s sometime band... "Give me a rock beat, like Meatloaf..." Not a request that you get every day but then it's not every day you're taking orders from the legend that is Lee Scratch Perry! I lived near the Mad Professor's studio in South London and had sold him a few bits of recording equipment. He knew that I had played drums with Morrissey, that I was a reggae fan and asked if I'd be interested in playing on a session. I'd started doing a bit of production and when the track didn't get round to getting finished they agreed I could remix it. This is the fruit of my labours, with contributions from Boz Boorer (Morrissey/ Polecats), Jonny Bridgwood (Morrissey/Marianne Faithful) and Anthony Miller (Data/Friday Club). There's simply not enough Big Ben rocking these days and remember: "If you don't rock you're gonna get a big shock!" Woodie Taylor, 2019. Lee Scratch Perry founded Upsetter Records in 1968.He pioneered Dub, produced Bob Marley, allegedly burnt down a studio, and worked with the Mad Professor, the Clash, Adrian Sherwood and the Beastie Boys. Woodie Taylor has been rockin' on record since the early 80's. He first appeared on 45 as a member of the Daleks, then drummed for psychobilly legends the Meteors. In the '90's he was in Drive (with, the soon-to-be All Saint, Melanie Blatt). He played on Morrissey's Vauxhall & I LP and has provided the rhythmic backbone of cult Indie heroes Comet Gain for two decades. He has produced albums by Love Is All, Comet Gain, Proper Ornaments and Shrag. Boz Boorer has been Morrissey's co-writer, guitarist and musical director for the best part of three decades. He is also a founding member of rockabilly legends, The Polecats. Jonny Bridgwood played bass on three Morrissey albums and double bass on five Kathryn Williams albums. He has worked with Siouxsie Sioux and Adam Ant and toured with Marianne Faithful. Anthony Miller - Played trumpet with the Friday Club and appears on their very collectable 2 Tone single, Window Shopping. Was a member of the 90s Sirkus Records artists Data, along with Woodie Taylor and recording industry supremo Nick Huggett. The record was mastered by Graeme Durham, who has also worked on discs by Grace Jones, Bob Marley, U2, Fourtet, King Tubby and Frankie Goes to Hollywood… Track listing A Big Ben Rock (Woodie Taylor Remix)’ B1 Steady B2 J'ai Tout Lu

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

Heavyweight Double LP reissue of Lou Reed’s 18th and final (non-collaborative) solo rock album “Ecstasy”, released in 2000.

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

A transparent yellow vinyl version of our first ever release with an exclusive black and white label design.

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.

35th anniversary x4 trk EP on Yellow Vinyl.

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.

Double Green LP Vinyl, x16 trk remix album.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE, LIMITED TO ONE PER PERSON.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 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 8PM ON MONDAY APRIL 14th.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE, LIMITED TO ONE PER PERSON.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE, LIMITED TO ONE PER PERSON.

A Night at the Symphony: Hollywood Bowl is the soundtrack to the debut concert film from GRAMMY®-winning Icelandic-Chinese artist Laufey. Comprised of her live performance with the Los Angeles Philharmonic, the album captures the magic and energy of the evening as Laufey takes the audience on a spellbinding sonic journey through a set-list of fan favorite songs accompanied by the lush strings, brass, woodwinds, and percussion of the world-renowned orchestra. Playing the iconic venue that Ella Fitzgerald and so many of Laufey’s heroes played before her, Variety proclaimed: “Laufey feels like she was born to play the Hollywood Bowl.” This double LP product will be released for Record Store Day 2025 and includes a limited edition poster.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE, LIMITED TO ONE PER PERSON.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Sue Tompkins from the band has designed new artwork for the packaging & it will be available on limited edition red coloured vinyl.

Though Life Without Buildings recorded just one and acclaimed studio album, Any Other City released on the Rough Trade Tugboat imprint, the Glasgow band also played a series of unique, now near-mythical live shows before splitting. Capturing their group's fleeting creative spark, Live At The Annandale Hotel is a triumphant document of the Life Without Buildings shining at their very brightest on stage.

Revealing the organic roots of Sue Tompkins' experimental vocals along with propulsive energy behind the band's core, this live recording reveals the crisp, clipped and controlled, yet always passionate, performance of Life Without Buildings as they hit their all too brief peak.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 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 8PM ON MONDAY APRIL 14th.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 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 8PM ON MONDAY APRIL 14th.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 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 8PM ON MONDAY APRIL 14th.

THIS IS A RECORD STORE DAY 2025 EXCLUSIVE, LIMITED TO ONE PER PERSON.

After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. In 2021, the concept of balance feels particularly intimidating. Now more than ever, it’s clear life isn’t just leveling out a pair of responsibilities. Instead, we’re chasing after a flock of different ideals with a butterfly net. On Barlow’s new solo album, Reason to Live, he has come to an understanding of that swirl rather than trying to contain it.

As a long-time indie legend, Barlow has found a life akin to a middle-class musician. In recent years, he’s moved from Los Angeles back to Massachusetts, where he lives with his wife and three kids. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow’s strengthened urgency finds a way to merge the two instincts. Reason to Live is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. “I had been struggling for a way to connect both my home life and my recorded life, but this record is the first time I've integrated that,” Barlow says. By folding the many facets of his life into one package, Reason to Live radiates with a renewed balance and calm.

That comfort in complexity shines through even in the recording process, with select songs having origins in decades past and others written in the early stages of 2020.

The multitude of whirring messages of Reason to Live are united by Barlow’s roiling multilayered arrangements and the understanding that change is inevitable--and that it can bring you a new reason to live in the darkest times. “This album is me really opening up, and the album follows that through its many different themes,” he says. “Some of my other work could be almost claustrophobic in its insistence on being all tied together but there’s space for people to live inside these songs.”

After albums with Sebadoh, Dinosaur Jr., Folk Implosion, and under his own name, listeners may have felt they knew the construction of a Barlow song, even that they knew Barlow himself. “People have this vision of me as this heartbroken, depressed guy, but this record feels so true to who I am, to this rich life I now have full of people I love,” he says. “The songs culminated over the last five years to show that music has returned to its central comforting role in my life. Now I’m home.”

TRACK LISTING

1 In My Arms
2 Reason To Live
3 Why Can’t It Wait
4 Love Intervene
5 Privatize
6 I Don’t Like Changes
7 Clouded Age
8 Over You
9 How Do I Know
10 Cold One
11 Thirsty
12 Maumee
13 Lows And Highs
14 Paws
15 Tempted
16 All You People Suck
17 Act Of Faith

In its original form 'Bij Annie Op Bezoek' was a pretty avant affair involving dubby desk experiments spilling into snippets of folk and spoken word. Here South Of North enlist a trio of full time experimentalists to turn everyone's brains upside down. First up, Robert Bergman, whose released on LIES and BAKK were previous Piccadilly faves recasts TV Orangje as a twisted industrial chugger - slow, low and dripping with high grade narcotics. Next up, Planet Rescue alum Peter Graf York goes IN on his "Voor etc" remix, turning out a leftfield techno wonk machine, which he reprises on the B2 in utterly spangled techno fashion. The B1 belongs to Monty DJ who hooks us up with a rattling, polyrhythmic excursion into woodland house - it's up there with the best early Sueds!

TRACK LISTING

A1. TV Oranje (Robert Bergman Mix)
A2. Voor Een Flat In De Merenwijk (Peter Graf York Mix)
B1. Trappenhuis (Monty DJ Mix)
B2. Voor Een Flat In De Merenwijk (Peter Graf York Pakje Sap Mix)

The band’s much-loved debut has been meticulously remastered at Abbey Road studios and will be released on double vinyl in a gatefold sleeve with gold foil print. Additionally, the album comes with five previously unreleased tracks recorded during the original sessions, details of which can be found in the track-list below.

Fusing the most fragile and graceful end of the folk music spectrum to the most luminous properties of cinemascope rock, Gracious Tide, Take Me Home used a smorgasbord of instruments (guitars, violin, mandolin, piano, synths, glockenspiels, even a kalimba) to paint a variety of beautiful vistas, from the ambient ‘Ships In The Rain’ to the galloping ‘A Kingdom’, from the six-minute layers of ‘The Places We Call Home’ to the skeletal 73-second finale ‘Not Going Back To The Harbour’. There’s always been a compelling drama to Lanterns On The Lake; the way the opening track ‘Lungs Quicken’ shifts from dreamy restraint to a full-blown crescendo indicated the true power at their fingertips.

Lanterns On The Lake formed in 2008 combining a group of friends who had all played in various bands on the local music scene. Hazel Wilde (vocals, guitar), Paul Gregory (guitars, electronics) and Ol Ketteringham (drums, piano) still comprise the core of the band whilst previous members Adam Sykes (vocals, guitar) and Brendan Sykes (bass) departed prior to the second album.

Hazel commented at the time that. “A lot of lyrics were inspired by me and Paul moving back to the coast [between Tynemouth and North Shields], where I grew up, after we’d been living near the city centre. They’re also memories of growing up here, the feeling of homesickness, and stories of people around us and of the sea. The title Gracious Tide, Take Me Home seemed to sum up all the themes.”

There might be a vein of sadness through this music - ‘Ships In The Rain’ was inspired by a local fisherman who went missing at sea, and ‘A Kingdom’ was inspired by the book letters sent home by WW2 soldiers – but there is just as much hope in ‘Keep on Trying’ and ‘You’re Almost There’, where fear and insecurities are banished by self-belief; “the feeling that you’re going places,” as Hazel says. Mirroring the sentiment of the album title, ‘I Love You, Sleepyhead’ and ‘Places We Call Home’ draw on the comfort and security of home, friendship and memory.

TRACK LISTING

1. Lungs Quicken
2. If I've Been Unkind
3. Keep On Trying
4. Ships In The Rain
5. A Kingdom
6. The Places We Call Home
7. Blanket Of Leaves
8. Tricks
9. You're Almost There
10. I Love You, Sleepyhead
11. Not Going Back To The Harbour
12. The Watchhouse And The Daughter
13. Sapsorrow
14. You Need Better
15. My Shield
16. Not Going Back To The Harbour (High Tide Version)

Music From Memory are excited to introduce another new group for 2021, this time presenting the self-titled debut album from Loveshadow.

Currently based in San Francisco, the duo of Anya and Izaak initially met whilst working in an Oakland cafe in 2016. The two Californians quickly bonded over a track by the ’80s disco band Aurra which was playing over the radio and almost immediately their separate journeys in music became interwoven. They soon began to write music and creating their own work would become a way for the pair to get closer to the sound they were searching for, as well as enabling them to discover the healing power of making and listening to music.

‘Loveshadow’ was recorded predominantly in the Bay Area between 2017-2020 as well as whilst traveling to NYC, Chicago and around Portland. Having released previously as the outfit ‘S Transporter’ alongside Detroit friend Ryan Spencer, Loveshadow is formed of Anya as singer and song writer alongside Izaak on synthesizers, bass and percussion. This eight track album is the duo’s first release; exploring emotive Pop and DIY Funk leanings it stands as a joyful homage to the music they bond over, as well as an ode to their own love and friendship.

TRACK LISTING

A1. 7
A2. No Control
A3. Passthru
A4. Severance
B1. More
B2. Pleasure Idler
B3. Tableaux Vivant
B4. Wildflowers

Four years of slow-burning success on from the rolling primal rhythms and joyous arpeggios of his 2010 debut album 'Holkham Drones', Luke Abbott makes a bold return to the Border Community with his sublime second album offering ‘Wysing Forest’.

Named after the Wysing Arts Centre in Cambridgeshire who hosted Luke as their first ever musician-in-residence over a six week period during the winter of 2012, the album comprises a series of improvised live recordings, edited and compiled after a period of after-the-act reflection into one rapturous movement. The finished article’s 52-minute duration may have been chopped into nine track-sized chunks for its official album release, but this is most definitely an album which is greater than the sum of its parts, designed to be listened to in one immersive go.

“‘Wysing Forest’ has a very particular arc to it an the tracks only make sense in the context of that arc,” Luke explains. “Structuring the album to work as a whole was quite a challenge, almost more of a challenge than making the music, but I think I’ve ended up with something that has a kind of internal logic.” And though only a pair of tracks - ‘Free Migration’ and ‘Highrise’, together forming the subtle peak that marks the mid-point of the album - approach ‘Holkham Drones” idiosyncratic lumpen danceability, it is thanks to Luke’s perfectly judged elegant transitional dynamics that neither piece - although as dancefloor-directed as anything he has ever done before - feels out of place amongst the album’s more mellow moments.

'Translate' is the first solo artist album in six years from Norfolk synthesizer specialist Luke Abbott: a strikingly direct and assured return to the solo music-making game following a productive diversion into live improvisation with his experimental jazz trio Szun Waves.

At times dark and ominous, others bright and welcoming, these eleven electronic vignettes form a dramatic and undeniably cinematic body of work which functions as a fitting widescreen soundtrack to our new now.

The lumbering rhythms, strident synths and distinctive touchstones of 'Translate' represent a musical reconciliation with the directness of the wave-making rolling synth-kraut of Abbott’s forthright debut 'Holkham Drones'.

Newly-reinvigorated and with a new sense of musical purpose, this is Luke Abbott’s sound fully realised and never so sure of itself.

STAFF COMMENTS

Barry says: 'Holkham Drones' was one of my favourite albums for many a year, and still gets a good playing nowadays but nothing has come close to the mind-melting electronic bliss-blanket of 'Translate'. Perfectly split between hypnotic electronic counterpoints and synthy, IDM levity.

TRACK LISTING

1) Kagen Sound
2) Our Scene
3) Flux
4) Ames Window
5) Roses
6) Earthship
7) Living Dust
8) River Flow
9) Feed Me Shapes
10) Luna
11) August Prism

Italian composer and saxophonist Laura Agnusdei returns with 'Flowers Are Blooming In Antarctica' a career defining record that sees the artist diving into uncharted waters, a profound timeless meditation on our relationship with planet Earth, the eco-conflicts arising and the fascination with non human forms of life, backdropped to a vivid soundtrack of coral exotica, spiritual Jazz, fourth-world minimalism, tropical electronics, tribal futurism and contemporary elegance.

Every step of Laura Agnusdei’s path, from electroacoustic experimentation to her constant research based upon the acoustic dimension of wind instruments and their interaction with polymorphic electronic sounds, seems to have pivoted into a new sense of awareness, as if the mind and intellectual practice has finally caught up with the body, the heart and the soul, resulting in her most organic and transcendent work yet. 'Flowers Are Blooming In Antarctica' is loosely inspired around a trifecta of pioneering ideas that explore unconventional reality: James Bridle’s ‘Ways Of Being’ with his radical story that mixes ecology, tech and intelligence; Luigi Serafini’s late-70s fantastical ‘Codex Seraphinianus’, an unparalleled collection of flora, fauna, anatomies metamorphosed into new fragile beings; J.G. Ballard’s climate-fiction foreshadowing sci-fi ruminations. These influences shift Agnusdei’s musical trajectory injecting doses of terrestrial malaise, the earthy sub-saharan ‘Ittiolalia’ with its wah-wah filtered sax and trance inducing groove; the rubbery playfulness of ‘Oasi Bar’; the gentle eco-system of ‘P.P.R.N’ reminiscent of Herbie Hancock’s innovative synthesis of funk, space and synthesizers; the kaleidoscopic northern lights of ‘Emperor Penguin Lullaby’, where south-east Asian echoes reach icy shores; the Jon Hassell hyper-ambience of ‘Cuttlefish REM Phase’; the post-apocalyptic march of ‘The Drowned World, a jazz standard for an artificial civilization on the brink of self-destruction. Nothing feels out of place and it’s no coincidence that one of the most powerful messages on the record is delivered on centerpiece ‘Are We Dinos?’ via an interview conducted with two preschoolers. Radical optimism or sonic liberation?

Laura Agnusdei’s tenor sax cuts deep all across 'Flowers Are Blooming In Antarctica', a laser baton raised up to the clouds, a conductor orchestrating devotional soundscapes for a three-eyed dolphin, guiding us through prismatic pastures and acidic oceans. Her tropicalized realm is pin-pointed with Miles-like sheer clarity, a bristling nakedness on the verge of exploding at any time, creating an album where ascension becomes the unifying code. 

TRACK LISTING

1. Ittiolalia
2. Cuttlefish REM Phase
3. The Drowned World
4. P.P.R.N (Physarum Polycephalum Rail Network)
5. Are We Dinos?
6. Oasi Bar
7. Solvay Beach
8. Emperor Penguin Lullaby

Lydia Ainsworth’s 3rd album, Phantom Forest, introduces a lush, complex dream world that the singer, composer, and producer created and inhabited largely on her own. She produced all the songs, and wrote and performed everything on the self-released collection outside of a re-imagined cover of Pink Floyd’s “Green is the Color” and 2 other tracks (“The Time,” “Give It Back To You”), which started as instrumentals written by Survive’s Kyle Dixon (who composed the Stranger Things soundtrack with his bandmate Michael Stein), to which Ainsworth wrote melodies and added lyrics. Ainsworth, who’s relocated to Los Angeles from Toronto since 2017’s Darling of the Afterglow, explains that the collection revealed itself to her “as a play taking place in Mother Nature’s vanishing home,” aka Phantom Forest, and that she’s singing from 3 perspectives: herself, Mother Nature, and Greek Chorus.

For instance, of the album’s opener, “Diamonds Cutting Diamonds,” she explains: “The Greek Chorus sets the scene, narrating and offering direction on how to enter Phantom Forest. It’s my hope that the listener will imagine the narration to be directed to them as well, as they begin the journey of the album.” You’ll get a sense of this from the collection’s edenic cover art and the playful, pastoral video for the album’s first single, “Can You Find Her Place.” Its inspiration came from Ainsworth’s love for Italian Renaissance painter Botticelli’s 15-century masterpiece “Primavera,” an allegorical representation of the burgeoning fertility of the earth in spring. She notes: “The video features the Greek gods of the painting in a choreographed Baroque style dance.”

Keeping with the personal feel of the collection, her sister Abby Ainsworth directed the clip. In line with the classical and historical depths of Phantom Forest, Ainsworth, who holds a Masters Degree in film scoring composition from NYU and studied composition as an undergrad at McGill, notes that although the album might be considered pop, she approached it as an orchestrator. “Even if I’m dealing purely with synths,” she says, “The songs are like a score, each one an evolving journey. I love to use strings so I’ve included my string arrangements on ‘Tell Me I Exist’ and ‘Can You Find Her Place.’ I recorded live musicians on drums, bass, and guitar on ‘Edge of the Throne,’ ‘The Time,’ and ‘Floating Dream,’ and wove those live elements into my programmed elements.” Phantom Forest is a beautiful, vast collection that mixes the historical and the hands on, with hooks about the apocalypse and people obsessively using face-recognition software to see what paintings their face match with, in search of some kind of connection. It’s a journey that holds up to close listening (and lyric reading) and to dance floors, but that can also exist on a purely emotional plane. In all cases, it asks that you listen, and take some kind of action. 

TRACK LISTING

1.Diamonds Cutting Diamonds
2 Tell Me I Exist
3 Can You Find Her Place
4 Edge Of The Throne
5 Kiss The Future
6 The Time
7 Give It Back To You
8 Floating Dream
9 Green Is The Color

At last! After touring, breakdowns and chat shows, Lily Allen finally returns with her second long player, "It's Not You, It's Me"! Produced and co-written by man of the moment Greg Kurstin, this is a fantastic, sparkling pop-with-a-capitol-P set. While this new session of songs has ditched the reggae and some of the rough edges of "Alright, Still", there's still plenty of the quirky elements here that made Lily Allen such a breath of fresh air back in 2006. With everyone in a quest to find an antidote to 'landfill indie', and slavering over the new (female) pop sensations, it's good to see Ms Allen back with us and at her witty and acerbic best.

Nonesuch Records releases Laurie Anderson’s Amelia, the 2024 Grammy Lifetime Achievement Award recipient's first new album since 2018’s Grammy-winning Landfall. The record comprises 22 tracks about renowned female aviator Amelia Earhart’s tragic last flight. Anderson, who Pitchfork says, ‘sees the future, but she starts by paying attention’, wrote the music and lyrics for this subjective narrative piece. On the album, she is joined by the Czech orchestra Filharmonie Brno, conducted by Dennis Russell Davies, and Anohni, Gabriel Cabezas, Rob Moose, Ryan Kelly, Martha Mooke, Marc Ribot, Tony Scherr, Nadia Sirota, and Kenny Wolleson.

Earhart was a passionate pioneer of early aviation, achieving fame as the first woman to cross the Atlantic, in 1932. Five years later, she embarked on a flight around the world. Before she could complete the voyage, her plane disappeared without a trace; it has never been found. “The words used in Amelia are inspired by her pilot diaries, the telegrams she wrote to her husband, and my idea of what a woman flying around the world might think about,” Anderson says. First premiered at Carnegie Hall in 2000, the updated piece was recently performed across Europe.

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but ... that doesn’t begin to describe what she creates. Her work isn’t sold in galleries. It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she [blends] the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life,’ and the Guardian has called Anderson ‘one of the great popular artists and storytellers of our time.’

Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date. Anderson recently toured with Sex Mob, performing her piece Let X=X. Earlier this year, she was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson.

Nonesuch released a re-mastered edition of Anderson’s landmark 1982 album Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; its beloved single, ‘O Superman’, became a surprise viral hit on TikTok earlier this year. 

STAFF COMMENTS

Barry says: 'Amelia' is Laurie Anderson's beautiful tribute, charting the story of Amelia Earhart's ambition to be the first female pilot to circumnavigate Earth in 1937. It's full of soaring melodies and tender plucks of delayed guitar, topped with Anderson's evocative reading of letters and reports of the time. A stunning dedication, and a rousing, transportive listen.

TRACK LISTING

To Circle The World
I See Something Shining
Takeoff
Aloft
San Juan
Brazil
Crossing The Equator
The Badlands
Waves Of Sand
The Letter
India And On Down To Australia
This Modern World
Flying At Night
The Word For Woman
Road To Mandalay
Broken Chronometers
Nothing But Silt
The Wrong Way
Fly Into The Sun
Howland Island
Radio
Lucky Dime

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25th anniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I traveled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I was fascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization, shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

TRACK LISTING

Side A
1. From The Air
2. Big Science
3. Sweaters
4. Walking And Falling
5. Born, Never Asked

Side B
1. O Superman (for Massenet)
2. Example #22
3. Let X=X/It Tango

Rare exotica album from 1958 on Columbia's 'Adventures In Sound' label by this monster abstract vocalist Leda Annest! Backed by orchestral and kitsch tiki music composed by Phil Moore, Annest uses her voice as an instrument in a strange and somewhat scary way. If you like Diamanda Galas or Yma Sumak, check this out!

Singer-songwriter Lail Arad releases her second album, ‘The Onion’, through The Vinyl Factory.

‘The Onion’ is the follow-up to London-born Lail’s 2011 debut ‘Someone New’ and was co-produced between a snowy winter in Geneva and a summer heat wave in NYC. The album came together patiently, with Lail writing, erasing, demoing and dallying; the result is a striking marriage of assured maturity and childlike spirit.

An acute sense of perspective permeates the album, from its subtle themes to its classic production and from each lyrical twist to its unassuming delivery.

Lead track ‘Lay Down’ quickly escalates through a resolute guitar hook and captivating signature vocal into a vast upbeat chorus that is incongruous with its troubled lyrical meaning. Lail says: “This track is as about as angsty as I get. Oh heartache! Oh vulnerability! Turn it up loud and drown out the warning bells!”

“A cool-as-hell depiction of youthful insecurity matched to infinite possibility” - Clash

The Real Ambassadors features Louis Armstrong's first and only recorded collaborations with Dave Brubeck, singer Carmen McRae, and the vocal trio of Dave Lambert, Jon Hendricks, and Annie Ross

The Real Ambassadors project, which delivered a strong political message condemning racism, was an original Broadway play written and composed by Brubeck and his wife Iola.

The Real Ambassadors is a jazz musical developed in the late 1950s and early 1960s by Dave Brubeck and Lola Brubeck in collaboration withLouis Amstrongand his band. It addressed the Civil Rights Movement, the music business, America's place in the world during theCold War, the nature of God, and other themes.

It was set in a fictional African nation called Talgalla, and its central character was based on Louis Armstrong and his time as a jazz ambassador for the US State Department.It was the first major large scale musical collaboration between Dave and Iola Brubeck and served as a template for their future musical collaborations. Songs from the musical were recorded by Columbia Records and a soundtrack album was released in 1962, just before the show's premiere at the 1962 Monterey Jazz Festival with an all-star cast.

TRACK LISTING

Everybody's Comin'
Cultural Exchange
Good Reviews
Remember Who You Are
My One Bad Habit
Summer Song
King For A Day
Blow Satchmo
The Real Ambassador
Lonesome
In The Lurch
One Moment Worth Years
They Say I Look Like God
Since Love Had Its Way
I Didn't Know Until You Told Me
Swing Bells/ Blow Satchmo/ Finale
You Swing Baby [the Duke]

L'AMICA (1969) is an intriguing Alberto Lattuada film starring Lisa Gastoni  Gabriele Ferzetti, Elsa Martinelli, Ray Lovelock, Jean Sorel and Frank Wolff.  
This stunning soundtrack highlights the excellent piano technique and the jazz stylings of Bacalov mixed with exotic and erotic atmospheres characterized by extraordinary orchestration, harp, congas and the typical persuasive vocalism of those years (all by the great Nora Orlandi). It’s followed by "Rio, Zona Sul", refined samba-jazz on a massive percussive tapestry. "'Round Nassau” offers an elegant and dreamy atmosphere in Les Baxter’s style adding flute and female wordless vocals. "Swingin' easy in Tanganyika" is another extraordinary jazzy piece, primarily piano and drums with flourishes of resplendent fute. The side is closed by a previously unpublished version of the theme that was not included on the original Fonit Cetra LP.
The B-side rearranges the themes in a more melancholy and symphonic style without renouncing jazz as in the gem “Episodio in 3/4". The ballad "The Bitter Truth" is sung by Fiorenza Mormile in English.

TRACK LISTING

Side A:
L'Amica (Titoli) - Rio, Zona Sul - 'Round Nassau - Swingin' Easy In Tanganika - Bonus Track: L’Amica (Ripresa)

Side B: 
Si Finisce Così - Autunno A Milano, Ore 6 - Elsinore - The Bitter Truth (Vocal) - Episodio In 3/4 - Taxi Cab 67 - Bonus Track: The Bitter Truth (Strumentale)

Big Crown Records present "Ekundayo", Liam Bailey’s debut record on the label. This album is a long time in the making, and after listening, clearly worth the wait. It didn’t take a long time to record, but it did take years for all the stars to line up. Bailey, born and raised in Nottingham, England, the son of an English mother and Jamaican father got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London and doing the whatever-gig-you-can-get musician hustle with hopes of landing a record deal. And it was through this time that Liam first teamed up with Leon Michels, musician / producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still get spins at reggae spots around the globe. That trip helped kick off what was to follow next for Liam: a slew of record releases, label deals, and working with some wildly-notable mainstream producers.


Even a just-famous Amy Winehouse heard one of Liam's apartment-made, lo-fi recordings through a friend and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. She signed him to her label shortly after. But, as the story can go with major labels, they already had an idea of the Liam they wanted to make, promote, and push. With the typical pay-day enticement, Liam did his best to fit into whatever shape they put him to. "'Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." While Liam’s career went through a bunch of record industry twists and turns he and Michels stayed in touch and would regularly connect and collaborate. Finally, in 2019, the time was right to do a full-length album together. And this time, it would be free of any restricting major label presumptions and opinions.


"This is the record we always wanted to make," says Michels. Set to release in November 2020, the album is called Ekundayo. And the word's meaning may be all you need to know to get to the essence of this project. It means "sorrow becomes joy" in Yoruba, a language spoken mostly in Western Africa. On the surface, Ekundayo is a weighty Reggae record, full of new and old textured riddims. But listen more in-depth, and you'll find subject matter that's more recognizable from a modern-day R&B record. An example of the former is the first single off the album. Sung to the most beautiful woman at the nightspot, "Champion" is a joyous anthem powered by a silly-thick Juno-bass throb and 808-proof drums. In short, "Champion" is dancehall-ready. But then there's a song like "Don't Blame NY." Moody and sparse with a somber drive, you might have to resist the urge to compare it to a Frank Ocean-ish type vibe. Liam's voice is in a different but fitting element here, showing stripped-back emotion and soulful restraint. Anyone who has lived and tried to thrive in New York won't have a hard time relating to the lyrics but they may join the masses who blame the city, while Liam points the finger at himself and sings praises to The Big Apple.


Credit to Leon's hand, elements of Jamaican production are everywhere, peppered throughout the record. Like the pitch-perfect organ stabs that push through the authentically positive "White Light," or the muted, percussive guitar strums that chug along in the back of "Fight." In the same vein of any fantastic singer/songwriter album, Ekundayo is a reflection of who Liam Bailey is, taking on topics and approaches he never would think of just a few years ago. Some evidence: "Ugly Truth" is about reconnecting with his biological father, a subject he once thought would be too personal to address. The journey from conforming to major labels to this latest record has been a long one for Liam, and a bit of a struggle. But struggle may be the only way we truly grow and evolve. With a new clarity of purpose, sound, and life, Liam has found joy out of those struggles. And it's called Ekundayo.

STAFF COMMENTS

Matt says: Ooof! What's this? A new, homegrown and highly inventive hybrid of JA & UK influences; celebrating the cross-pollination of music between the two countries whilst imparting the truly unique identity of the artist onto the listener. Pretty amazing this, no wonder Amy was into it...

TRACK LISTING

A1. Awkward
A2. Champion
A3. White Light
A4. Don’t Blame NY
A5. Cold & Clear
A6. Angel Dust
B1. Fight
B2. Vixit
B3. Ugly Truth
B4. Young In Love
B5. She Hates This Life
B6. Where Do I Start?
B7. Paper Tiger

"White Light," an instant-classic, dancefloor filler. The rough and tough drum break intro catches you from the first beat before the track gives way to an infectious and uplifting reggae-dis- co number. Liam's instantly recognizable voice showers his muse with praise over deep round bass lines and a four on the floor beat. The combination of Leon Michels' crushing production and Bailey's lyrics like "You love yourself, you're so exciting, like no one else"... is sure to make this a staple in dj sets around the globe. The B side "Cold & Clear" is a proper lighters in the air, slap the wall, top ranking tune. The track struts in the door with a natural and undeniable confidence. Liam weaves a heavy metacognitive story over the one drop drums, perfect basslines, and organ stabs that will have people stepping in rhythm. The lo-fi production weaves elements from the finest early rocksteady era with touches from the late 70s / early 80s digital era and takes the entire vibe into the present with unorthodox arrangements and vocal treatments. Bailey has a tune here that will hold up next to the classics in the dancehalls from the yards of Jamaica to the discotheques in his homeland of England. 

TRACK LISTING

A. White Light
B. Cold & Clear

Recorded in Nashville, Tennessee at Battletapes with engineer Jeremy Ferguson and producer Tim Kerr, Lee Bains III & The Glory Fires' Youth Detention captures the band in raw form. Each song was cut live to tape, with the four performing in the same room without headphones or baffling.

The result is thoroughly human, Lynn Bridges' mix retaining the band's live energy and looseness at the expense of a few out of tune strings. The Glory Fires music draws deeply from punk, but also soul, power pop, country, and gospel. Its equal parts careful curation and geographic inheritance. Its the sound of my place, says Bains. I want to know it. I want to argue with it. I dont want to be a band from anywhere that could be doing anything. For me, thats what punk is about -- figuring out who I am and how to be the best version of myself. I cant do that by pretending to be something Im not.

The songs are deeply rooted in Bains experience of his hometown, Birmingham, AL. Youth Detention depicts a Southern city in the decades surrounding the turn-of-the-millennium: in the throes of white flight, urban disinvestment, racial tension, class struggle, gentrification, gender policing, homophobia, xenophobia, religious fervor, deindustrialization, and economic upheaval. The lyrics could ring true anywhere, though. The South exists in the world and, like the South, the world is increasingly beholden to many of these same tensions and forces. The songs on Youth Detention are meant as small acts of resistance to those systems. Documenting minor moments -- the refusal to sit quietly through a display of bigotry, the act of quieting down and listening to somebody's struggle, sticking up for friends targeted for their difference -- that, hopefully, serve as the beginnings of a more profound awakening.

TRACK LISTING

Breaking It Down!
Sweet Disorder!
Good Old Boy
Black & White Boys
Whitewash
Underneath The Sheets Of White Noise
I Heard God
Crooked Letters
I Can Change
The City Walls
Had To Laugh
Nail My Feet Down To The Southside Of Town
Tongues Of Flame!
Trying To Ride
The Picture Of A Man
Commencement Address For The Deindustrialized Dispersion
Save My Life!

With a musical timeline dating back to her early childhood, Laura Baird is an exceptionally talented multiinstrumentalist and singer-songwriter, best known for her projects with her sister, Meg, as The Baird Sisters, and guitarist Glenn Jones. Baird’s own sound stems from the Appalachian folk tradition, and she connects to it via family lineage—her great-great uncle I.G. Greer’s folk recordings for the Library of Congress are a large influence. Also woven in are classical composers like Bach and Satie, and modern day musicians such as Opal and Yo La Tengo.

With this debut solo album, I Wish I Were A Sparrow, Baird plays odes to the traditions from which she learned, combining Appalachian balladry and the roughness of old field recordings, but there is also a dose of dreaminess and solitude that captures sleepy central New Jersey. This is where she departs from tradition, leaving the communal origins of folk music to capture the singular self. The lyrics also present an amalgam of old and new, with half of the songs, including “Dreadful Wind and Rain” and “Pretty Polly,” being passed down from the folk tradition, and the other half, including “Wind Wind “and “Love Song From The Earth To The Moon,” coming from Baird’s own hand. While the most salient part of her previous Baird Sisters project was the melding of familial voices and various instruments, Baird’s solo effort is centered around the combination of her virtuosic banjo playing and prominent but airy vocals. 

STAFF COMMENTS

Barry says: It seems now that winter is drawing in, the record labels think we all like to put a blanket on, have the fire blazing and listen to some lovely folk music. Now that I mention it, it sounds lovely, and even moreso if Laura Baird can be the music in question. Not too frantic, but driven and melodic plucking banjoes flicker over pulled strings and Baird's haunting vocals.

TRACK LISTING

1. Wind, Wind
2. Dreadful Wind And Rain
3. Cuckoo
4. Love Song From The Earth To The Moon
5. Pretty Saro
6. Bats
7. Did You Come Here Alone?
8. Pretty Polly
9. Hay In The Wagon
10. Home Is Were You Are
11. Poor Orphan Child
12. Twin Sisters

Wallace & Gromit: Vengeance Most Fowl is a stop-motion animated film released in 2024. It was directed by Nick Park, creator of Wallace & Gromit, and met with critical acclaim. The movie received two BAFTA awards and was also nominated for an Academy Award. The film music was composed by Emmy nominated composer Lorne Balfe (known for his work on The Dark Knight, Iron Man, The Lego Batman Movie and Sherlock Holmes) and by BAFTA-nominated composer Julian Nott (known for his previous work on Wallace & Gromit).

TRACK LISTING

SIDE A
1. Wallace & Gromit: Vengeance Most Fowl
2. Good Morning Gromit
3. Guilty As Charged
4. Neat And Tidy
5. Gnome Improvements
6. Norbot Recharge Time
7. Reprogrammed For Revenge
8. March Of The Norbots
9. The Gnome Song
10. Up To Gnome Good

SIDE B
1. The Wallaby Street Mob
2. The Zoo
3. Rush To The Museum
4. The Blue Diamond
5. Leaf It To Me
6. The Fast And The Furnished
7. A Crazed Inventor
8. Nun In A Tunnel
9. Plant Pot Pummeling
10. Wallace & Gromit Theme
11. 8 Bit Cheese

“Driving up the coast highway from LA, once you hit Santa Barbara you are struck with a noticeable change in landscape. It is the gateway to the Central Coast, where the contours of the land begin to take on more dramatic inclines and feelings burn like wildfires. This was the childhood home of Lauren Barth, ranch-living and horseriding amongst the golden and dusty open ranges that still expand through parts of California. It is at these gates of change that Lauren Barth explores on Stormwaiting, her second solo effort and first on the Spiritual Pajamas label.

“Behind the musical landscape of Stormwaiting, Lauren drew from a backstory she created as inspiration. A young woman and spiritual leader of a commune, blind yet finds her way by a heightened sense of awareness, is caught between the physical world of ‘Rialto’ and the spiritual—‘Morian.’ ‘Stormwaiting’ is slang for living in Rialto and the storm is the tempest within Morian. The cult’s most important message is one of Awareness. Like her protagonist, Lauren steps through these contemplations of change coming, treading one step at a time between the physical and spiritual realms, in a bittersweet anticipation of something upon us. Each song is like a deep breath in, an exhale, a pondering of the past and a wonder about the future with an acute awareness of each passing moment.

“Barth is a true seasoned folk music player, evoking the California folk movement of the late 1960s like David Crosby (who also hailed from the Santa Barbara area), while also calling upon British influences such as Bert Jansch, Incredible String Band, Fairport Convention, Nick Drake, and Pentangle, and the later American progressive folk music of Jeff Buckley, Joni Mitchell, and early Bonnie Raitt. In the time since her last solo record in 2017, she picked up the bass with Farmer Dave and the Wizards Of The West, and with her own music gained experience with the process of composing, recording, arranging, and ultimately the confidence to allow her creative instincts to flourish. She found the perfect partner with producer Lewis Pesacof, recording in his Echo Park home studio and has worked with artists such as Pearl Charles, Best Coast, Fidlar, and also works in the world of classical and world music. Tellingly, Stormwaiting has an expansive spirit, a document of a woman and creative spirit finding and embracing her voice beyond folk music and into her own spiritual universe.” —Scary Flowers

TRACK LISTING

1. Casita
2. Durango
3. Stormwaiting
4. Family Chant II
5. Paisley
6. Leave Behind
7. Highway Sleeping
8. Lord Of The Lake
9. Family Chant I

Texan soul singer Leon Bridges releases his debut album 'Coming Home' on Columbia Records. Produced by Austin Jenkins and Josh Block of White Denim, the album features the previously released tracks 'Better Man', 'Coming Home' and 'Lisa Sawyer'. Inspired by 60s soul sounds, and specifically the legendary Sam Cooke, Bridges pays homage to the the classic era of soul. One for fans of Truth & Soul, Daptone, Amy Winehouse, Aloe Blacc etc.

TRACK LISTING

01. Coming Home
02. Better Man
03. Brown Skin Girl
04. Smooth Sailin
05. Shine
06. Lisa Sawyer
07. Flowers
08. Pull Away
09. Twistin' & Groovin
10. River"

N u m e r o G r o u p Leon Bridges/Pastor TL Barrett Like A Ship Numero’s second bundle of cover 45s is all things soulful. The Rotterdam-based Another Taste electrifies Maxx Traxx’s 1984 Chicago boogie grail “Don’t Touch It,” which makes its debut on the 7” format here. Colemine Records’ Say She She delivers a glamorous rendition of Jim Spencer’s yacht-disco hit “Wrap Myself Up In Your Love.” Columbia Recording artist Leon Bridges effortlessly transforms Pastor T.L. Barrett’s “Like A Ship,” updating the 50 year old gospel soul classic for the 21st century. All three are housed in a newly imagined Numero custom sleeve, reflecting the many shades of our ongoing Eccentric Soul 45 imprint

TRACK LISTING

A. Leon Bridges W/ Keite Young - Like A Ship

B. Pastor T.L. Barrett & The Youth For Christ Choir - Like A Ship

The third album from Grammy award winner Leon Bridges and it's a suitably sunny, soulful and sumptious affiar. With beautifully flowing, organic song writing, complimented by lush and live instrumental tracks; it's got green gardens, sizzling BBQs and long hot sexy nights eminating off practically every single track! The production is sublime - balancing the traditional instrumentation with just a flurry of electronic umph; adding a brand new sheen and energy to what could easily, otherwise, be mistaken for a classic late 70s soul album. 

Opening with a juicy collaboration with Robert Glasper, the album drips effortlessly through its opening quarter, a delicate mix of jazz-informed drumming, picked guitar lines and a liquid gold, syrupy deliver from Bridges. "Steam" arrives, three tracks in with a resplendent chorus and subtle, anthemic qualities.

Opening side B with the title track, garnished with fluffy horns and a slo-mo MPC beat it's an instrumental side akin to some of Madlib's more laid back beats. Thankfully the LP shows little willing to get carried away; sitting beauitfully nestled on a nearly-horizontal plane; sun lounge angle let's say. With soulful droplets woozing languidly off the record, there's little to worry about other than the temperature of your margarita in the sunshine... It's rather something special indeed; intimate, unhurried, as fragile as a flower and simply perfect for timeless and serene afternoon in the garden. Recommended! 

STAFF COMMENTS

Barry says: Beautifully bridging the gap between traditional soul and more modern beat-heavy electronic music, 'Gold-Diggers Sound' brilliantly illustrates Bridges' unparalleled ability as a songwriter and mastery of his wonderfully understated and horizontally cool output. An exciting and fitting follow-up to his excellend collaborative LP with Khruangbin and 2018's wonderful 'Good Thing'.

TRACK LISTING

1.Born Again (feat. Robert Glasper)
2.Motorbike
3.Steam
4.Why Don’t You Touch Me
5.Magnolias
6.Gold-Diggers (Junior’s Fanfare)
7.Details
8.Sho Nuff
9.Sweeter (feat. Terrace Martin)
10.Don’t Worry (feat. Ink)
11.Blue Mesas

Leon Bridges brings us a brand-new album after the success of his debut ‘Coming Home’ in 2015 which hooked fans on his deep soulful vocals and unique style. Released by Columbia Records, this record was produced by Ricky Reed, Niles City Sound & Bridges himself, with the album having more of an R&B feel. Bridges has mastered his own personal style and its ace! Powerful funk-jazz vibes mixed with R&B charm, his smooth vocals are an absolute dream to listen to. This album is sure to be a standout release in 2018 so keep an eye on this one. Beautiful!

TRACK LISTING

A1. Bet Ain't Worth The Hand
A2. Bad Bad News
A3. Shy
A4. Beyond
A5. Forgive You
B1. Lions
B2. If It Feels Good (Then It Must Be)
B3. You Don't Know
B4. Mrs
B5. Georgia To Texas

Celebrate the 5th anniversary of Leon Bridges Grammy-winning album Good Thing. The limited-edition title features a custard colour variant, the original track list and a bonus track “Naomi” originally released on the 2018 Japan Edition. Good Thing was nominated for Best R&B Album, and the track “Bet Ain’t Worth The Hand” won Best Traditional R&B Performance at the 2019 Grammy Awards. 

TRACK LISTING

01) Bet Ain't Worth The Hand
02) Bad Bad News
03) Shy
04) Beyond
05) Forgive You
06) Lions
07) If It Feels Good (Then It Must Be)
08) You Don't Know
09) Mrs.
10) Georgia To Texas
11) Naomi (bonus Track)

The fourth album from Grammy Award-winning recording artist, songwriter, and producer Leon Bridges. With 13 tracks featuring Leon's signature storytelling and a unique blend of organic genre alchemy, 'Leon' is his most poignant, powerful, and personal work to date. He takes fans on a trip through the heart of Ft. Worth he knows best, the things he holds dear, and the people and places that shaped him.

STAFF COMMENTS

Barry says: There are few voices as recognisable as the syrupy soulful swoon of Leon Bridges, and 'Leon' sees him in the finest fettle of his career. Beautifully crisp harmonies, swirling saturated atmospheres and warm Texas heat. Beautiful

Another one from Lloydie Slim, this time on his Ivanhoe the Conqueror label. This is the horns cut of his killer lick of drum song, by sax man Lennox Brown. A different mix of this was released on the flip side of the New York pressing of Tappa Zukie’s cut, where it was titled “Ivanhoe Strikes Again.” This mix, with its dub version, were put to tape for a single release titled “Danger Zone” which never happened at the time in the late ‘70s. Another previously unreleased heater, now you can play this one alongside the other cuts of this rhythm appearing on our Record Smith compilation albums.

STAFF COMMENTS

Matt says: Licensed from the insane Conqueror records, late 70s ska-influenced number by Lennox Brown. Killer!

TRACK LISTING

A. Danger Zone
B. Zone Dub

Classic Rock N' Roll mixed with elements of Chilli Peppers-esque subtle spoken word and neon funk. 'Confusion' fuses rapid trap drums and distorted guitar sweeps topped with repeated hip-hop vocal stylings musing on life and identity. 'Baby Grow' kicks off with a sliding surf-rock guitar and segues into a regionally recognisable British indie vocal (think Jamie-T or Jake Bugg) over Jangly guitar work, danceable and frenetic. 'Ragdoll Mama' is more on the blues-rock end of the spectrum, deep southern sweeps, and scorching fuzzed-out solos, While 'Kundalini Express' plays out like a swooning college indie-rock anthem, heartfelt but driven, with beautifully realised instrumentation before breaking into the imitable vocal breakdown. A varied and well accomplished outing throughout, always changing enough to keep things interesting and fresh. 

TRACK LISTING

1. Inside 1:25
2. Confused (feat. Rowetta)
3. Hitchin 5:18
4. Baby Grow 3:05
5. Without Love 3:27
6. Ragdoll Mamma 4:13
7. Magnetz (feat. Rowetta) 
8. Unconditional 4:24
9. Kundalini Express 4:07
10. Juice Girl 3:35
11. Move Luv 3:08
12. John & Yoko 2:28


Ό

It was 50 years ago that a talented local musician named Lamont Butler started to create an album that would combine love, happiness and joy. Lamont’s only official album release, ‘It’s Time For A Change’ has been very popular for record collectors around the world but it never saw the wider success it truly deserved.

Born 1949 in Louisville, Kentucky, Lamont Butler was drawn to music and dance from the very beginning. He was the son of well-known gospel, blues and R&B singer and pianist Clifford Butler Sr, receiving an early education in what was required to be a touring musician. It quickly became apparent that Lamont had a wonderful voice and was pushed to the front, despite no being fully confident yet of his singing ability. Lamont performed on the gospel circuit for a number of years, cutting his teeth with groups such as The Enterprise, The Dynamics and The New Beginnings, eventually going solo with Lamont Butler and The Spirit of Truth.

It was whilst he was singing and performing during this period that he started to write his own songs and think about putting together an album bringing together his influences from R&B, jazz, soul and of course gospel. The result is the very raw, almost low-fi sound of ‘It’s Time For A Change’, released nearly 10 years after Lamont started to pen the first tracks and gaining relative success. He toured the album around churches in Louisville, with tracks such as ‘Love One Another’,’ Time For A Change’ and ‘Ungodly War’ quickly becoming firm favourites.

Remastered with care by Nick Robbins at Sound Mastering and complete with in-depth sleevenotes.

TRACK LISTING

Get Up And Praise The
Lord
Brighter World
Thank You Lord
Love One Another
Time For A Change
Come Into God’s World
Smile
Ungodly War

Lucien Caine is a singer, songwriter and composer based in Manchester. His songs are dark, lustful, haunting and cinematic and his music is already being compared to artists such as Serge Gainsbourg, John Barry and Elliott Smith. EP1 is the first of four EPs to be released over the next 12 months. It begins with "The Only Man That Matters" mixed by Andy Green who has produced albums for Keane and KT Tunstall. Then the intricate string arrangements and haunting vocals of "Advice From Strangers" a downtempo gem. "Black Widow", track three, is a pounding, noirish elegy of seduction and murder, and the EP closes with the "Those Days Are Gone". 'I wanted to create and develop a sound and a mood... I like it to sound dark and romantic. I want the songs to flirt with the listener, and then deliver!' Lucien Caine

Lucien Caine is a singer, songwriter and composer based in Manchester. NOW STOP, have no preconceptions do not picture Badly Drawn Boy do not imagine another Stephen Fretwell, get acoustic troubadour out of your head. Lucien Caine is none of the above! His sound is more John Barry than Nick Drake. His songs of love, obsession and excess are more Leonard Cohen than Bob Dylan. The attitude is all Scott Walker and Serge Gainsbourg transported from the sixties to now. In the summer of 2008 a plan was hatched to release four EP's; EP1, EP2, EP3, EP4 in 12 months to showcase Luciens songs. EP2 continues where the first left off. The first track (again mixed by Andy Green producer of Keane, KT Tunstall, to name but a few) is the lushly romantic "The Beat That My Heart Skipped", imagine driving along the winding coastal roads of the French Riviera in a vintage Italian sports car with the top down, this is the soundtrack that would be playing in your head. The second track is the very dark and lustful "Internal Affairs". "Let Us Be The Rumour" is a beautifully crafted and intense lament on a private relationship that becomes public. And finally "She Loves To Lose" a gorgeous seductive and intense duet sang with the Icelandic chanteuse Heidrun Bjornsdottir (formerly of GusGus and Gloss).

‘Under This Hunger Moon We Fell’ is the new album from the uniquely talented, multi-instrumental artificer Lomond Campbell, the third and final instalment of his experiments using tape loops at the heart of his music making process.

The album ranges from soft, delicate atmospheric musings such as ‘Bastard Wing’ and ‘Leave Only Love Behind’ to the dark electronics of ‘And They Are Afraid Of Her’ and ‘Phonon For No One’, which Campbell describes as “akin to a massive machine starting up, like a huge sinister power mobilising”. During its gloomier moments, ‘Under This Hunger Moon We Fell’ buries tonally ambiguous ambience underneath hazy, distorted textures created via the gradual degradation of the tape. It creates a dream-like backdrop with a moody undertone created by deep basslines and hulking percussive elements, blended with orchestral sounds that add an air of humanity.

“Visual beauty, tactility and mesmeric kinetics are just as important to his creations as the sounds their movements facilitate” Electronic Sound

“He’s a bit of a genius I think. Based up in the highlands, maker of machines, music and art” Mary Anne Hobbs (BBC 6Music)

TRACK LISTING

Bastard Wing
Phonon For No One
Sister Rena
The Mountain And The Pendulum
Under This Hunger Moon We Fell
Leave Only Love Behind
And They Are Afraid Of Her
For The Uncarved
Even Songbirds Suffer
Alters

The 111 Series comprises 15 tracks, each created by Louis Carnell alongside a diverse selection of artists from across the globe. Each track is released digitally, and titled in numerical order, with the aim of creating an environment for the listener to explore the series without hierarchy.

The tracks vary between lyric-led and instrumental compositions, travelling through experimental electronic and immersive soundscapes.

The list of collaborators includes prolific new-age artist Laraaji, Mute founder Daniel Miller, Sonic Youth’s Lee Ranaldo, leading punk-rapper Wu-Lu, Nairobi-born, Berlin-based sound artist KMRU, noise-inspired cellist and composer Okkyung Lee, post-genre multi-instrumentalist Coby Sey, Iranian-born electronica songwriter, producer and DJ Leila, mystical folk and ambient-inspired composer Naliah Hunter, artist and actor Keeley Forsyth, rising experimental sound and visual artist Damsel Elysium, LA-based ambient duo Green-House, experimental saxophonist and composer Ben Vince, Beirut-based multi-instrumentalist Yara Asmar, and Italian musician and sound designer Marta De Pascalis.

TRACK LISTING

1. Four - Louis Carnell & Yara Asmar
2. Seven - Louis Carnell & Okkyung Lee
3. Ten - Louis Carnell & Daniel Miller
4. Thirteen - Louis Carnell & Leila
5. Two - Louis Carnell & Lee Ranaldo
6. Five - Louis Carnell & Coby Sey
7. Eleven - Louis Carnell & Laraaji
8. Fourteen - Louis Carnell & Nailah Hunter
9. Three - Louis Carnell & Ben Vince
10. Six - Louis Carnell & KMRU
11. Nine - Louis Carnell & Green-House
12. Twelve - Louis Carnell & Marta De Pascalis
13. One - Louis Carnell & Keeley Forsyth
14. Eight - Louis Carnell & Wu-Lu
15. Fifteen - Louis Carnell & Damsel Elysium

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”).

Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories.

In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

STAFF COMMENTS

Millie says: It’s been three long years since his last album, ‘Hugo’ takes a moment for self reflection for Loyle Carner. There’s some incredible tracks and I’ve only dipped in briefly (so it’s only going to get better) ‘Nobody Knows’ has a killer beat while paired with personal subject matter alongside a gospel choir sample which sets it alive. Another highlight is ‘Hate’ doing what Carner does best, within every bar is just fierce. Cue listening on repeat.

TRACK LISTING

Hate
Nobody Knows
Georgetown
Speed Of Plight
Homerton
Blood On My Nikes
Plastic
A Lasting Place
Polyfilla
HGU 

Loyle Carner has Mercury and Brits nominations, NME Awards, global brand campaigns, and 2 top #3 albums! After performing at a SOLD-OUT Royal Albert Hall on his 29th birthday, the multi-talented artist is looking to make history once again with this release.

TRACK LISTING

Hate
Plastic
Georgetown (feat. John Agard)
Polyfilla
Desoleil (Brilliant Corners) (feat. Sampha)
Homerton (feat. JNR Williams)
Blood On My Nikes (feat. Wesley Joseph & Athian Akec)
Nobody Knows (Ladas Road)
Still
Loose Ends (feat. Jordan Rakei)
A Lasting Place
Speed Of Plight
The Cycle
HGU
Ottolenghi (feat. Jordan Rakei)

Not Waving, But Drowning’ follows Loyle’s BRIT (Best Male, Best Newcomer) and Mercury Prize nominated, top 20 debut ‘Yesterday’s Gone’. The bedrock of honest and raw sentimentality that you heard on ‘Yesterday’s Gone’ left an inextinguishable mark on music in general and UK Hip Hop in particular, standing out as an ageless, bulletproof debut.

‘Not Waving, But Drowning’, Loyle’s new album, gives yet more evidence - as if it were needed - of his razor-sharp flow and his unique storytelling ability. Yes, he can rap, but he allies that with the sensitivity of a poet, the observational skills of a novelist, and warmth of your best friend. The album opens with ‘Dear Jean’, a letter to his mother in which he’s telling her that he has found the love of his life, “a woman from the skies”, and he’s moving out.

STAFF COMMENTS

Millie says: Loyle Carner’s poetic and distinctive rap makes him stand out from the crowd by miles, consistently making innovative music. His ability to weave in touching narratives and heartfelt open letters are captured perfectly on ‘Not Waving, But Drowning’, a truly beautiful and awe inspiring listen from start to finish.

TRACK LISTING

Dear John
Angel Artist Ft. Tom Misch
Ice Water
Ottolenghi Ft. Jordan Rakei
You Don’t Know Ft. Rebel Kleff & Kiko Bun
Still
It’s Coming Home
Desoleil (Brilliant Corners) Ft. Sampha
Loose Ends Ft. Jorja Smith
Not Waving, But Drowning
Krispy
Sail Away Freestyle
Looking Back
Carluccio
Dear Ben

A gradual crescendo of spirit-lifting gospel introduces "Yesterday's Gone", perfectly fitting for the debut longplayer from the young master of 'confessional hip hop'. Indeed as Ben Coyle-Larner spits sombre bars over "The Isle Of Arran"s soulful grooves, the South Londoner touches on family, bereavement and religion, all with the same intricate flow and honest delivery. It's a sound that's at odds with the current slew of mumbling, stumbling, gangtas who dominate the charts and mixtapes, celebrating gold, diamonds and designer footwear as they breeze through meme-references and barely decipherable hooks. Rather, Loyle Carner takes his cues from Mos Def, Talib Kweli and London's own Roots Manuva, delivering conscious rhymes over gentle, jazzy grooves. Intimate, intricate and tough to imitate, Loyle Carner is entirely relatable as he treats us to everyday tales of family, food, romance and regret, laying his growing pains bare across a dozen tracks and a couple of well placed skits. If the recent ATCQ LP's put you in the mood for some proper hip hop, then this is your new jam.

TRACK LISTING

1. The Isle Of Arran
2. Mean It In The Morning
3. +44
4. Damselfly (Ft. Tom Misch)
5. Ain't Nothing Changed
6. Swear
7. Florence (Ft. Kwes)
8. The Seamstress (Tooting Masala)
9. Stars & Shards
10. No Worries (Ft. Rebel Kleff And Jehst)
11. Rebel 101
12. No CD (Ft. Rebel Kleff)
13. Mrs C
14. Sun Of Jean (Ft. Mum And Dad)

Though most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with Rose Colored Corner, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on LHI Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story.

In the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny & Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’

Her sole 1967 45 “The Lady Barber" b/w "Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now.

Just because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” - Lynn Castle

TRACK LISTING

1. The Forest
2. I’m Getting Tired
3. New York
4. What In The World Would I Do
5. She Thinks She Feels
6. Rose Colored Corner
7. Lonesome Look-Out
8. The Stranger
9. The Puppet
10. Who Knows
11. The Lady Barber With Last Friday’s Fire
12. Rose Colored Corner With Last Friday’s Fire

By the close of the 1960s, Lloyd ‘Charmers’ Tyrell was firmly established as one of Jamaica’s premier talents, having previously made his mark as a key member of leading vocal outfits, The Charmers and The Uniques. His move into record production in 1968 swiftly resulted in numerous Jamaican hits, with his success attracting the attention of London-based reggae music giant, Trojan Records, with whom he swiftly signed a licensing deal in 1969. As the ‘60s drew to a close, Trojan released ‘Reggae Is Tight’, on which the multi-talented Charmers demonstrated his keyboard-playing talents over a dozen fast-passed rhythm tracks. This is from the golden age of boss reggae sounds. A must for all true fans of vintage Jamaican sounds.

TRACK LISTING

Side A
1. 5 To 5
2. Follow This Sound
3. Golden Moon
4. Higher Heights
5. Psychedelic Reggae
6. Summer Face

Side B
1. Crimson And Clover
2. Rat Trap
3. Everybody Needs Love
4. Safari
5. Reggae Is Tight
6. Stronger

Lucinda Chua is a singer, songwriter, composer, producer and multi-instrumentalist based in South London. Primarily using her voice, a cello, and an array of effects units, Chua writes ambient pop songs that are intimate, atmospheric, and totally enchanting.

Whilst studying photography at university in Nottingham, Chua took an elective course in music production and the resulting experimental tracks she created and uploaded online caught the attention of US label kranky. Before long she was touring with Stars of the Lid as a cellist and string arranger and went on to release two albums with her first band Felix – all while barely into her 20s. After Felix broke up, Chua spent a few years in London exploring the city’s creative scene and began experimenting with the cello. Those explorations became her 2019 debut EP Antidotes 1 which flitted between hushed songwriting and expansive textural soundscapes and was released shortly before she joined FKA twigs’ live band for her Magdalene tour. Earning praise from Pitchfork, The Guardian, Dazed and gal-dem, Antidotes 1 led to Chua participating in NTS Radio’s Work In Progress scheme as well as performing one-person shows across the UK and Europe including Red Bull Music Festival London, MUTEK Barcelona, Tate Modern and Somerset House.

A sister release to Antidotes 1, Antidotes 2 expands Chua’s unique sonic vocabulary, with subliminal textures that bleed into each other before fading away. If Antidotes 1 was Chua building the landscape and scenery for her music, then Antidotes 2 is her living within it. Some of the songs were written during the same period whilst others, like EP opener ‘Until I Fall’, are brand new.

The vinyl edition of Antidotes will include both EPs.

STAFF COMMENTS

Barry says: Having played with ambient luminaries Stars Of The Lid as a cellist, it's no surprise that Chua's work is very much in the slow-moving ambient vein, but on 'Antidotes' we see her wonderful ear for production and singularly unique ambient talent come shining through. It's beguiling and emotive avant-classical with subtle elements of slow-moving synth, and is a sound all of her own.

TRACK LISTING

Feel Something
Whatever It Takes
Semitones
Somebody Who
Until I Fall
An Avalanche
Torch Song
Before

If Chua’s 2022 release "Golden," written from the perspective of her younger self, was the meditative prelude to the world of YIAN, then her new single “Echo” places us firmly in its first chapter. A pop song about ancestral trauma, “Echo” is the antihero’s journey, walking the line between respect for the past and the freedom to carve out a new future. (“I won’t carry your shame / Won’t be your echo again… I couldn’t be anyone else / I look to you, I see myself”). Chua delivers with her uniquely intimate, yet otherworldly sound in this self-produced and engineered song, capturing sensuous echoing harmonies and delicate soul-infused piano.

Following intensive studies in Chinese dance forms, Chua joined forces with film director Jade Ang Jackman and movement director Chantel Foo to create the visual for “Echo”; Chua’s take on a choreographed pop MV. The short film is a moving and innovative homage to Chinese fan dance and martial arts; an internal journey through the shifting seasons of emotional weather. Grounded by a stone circle, Chua dances with her handmade Chinese silk fans as the mood shifts from thorny rose garden to blizzard. “Sometimes I think we are all just footprints in the snow,” Chua says.

“YIAN” (燕), means swallow in Chinese, and is part of “Siew Yian,” the name given to Chua by her parents to preserve her connection with her Chinese heritage. Just as the migratory songbird lives between places, so did Chua, the artist living in the in-between of the English, Malaysian and Chinese cultures that make up her heritage. In the absence of Mandarin as a mother tongue, music became a way to express the parts of herself that couldn’t be described in words; “YIAN” emerged as a way to heal.

A deeply introspective and fully realized vessel of creative expression (Chua self-produced and engineered eight of the ten tracks), “YIAN” emerges as less an album than a worldview, a commitment to learning and uncovering one’s own selfhood honed over Chua’s lifelong reconciliation with her own personal history and identity.

Through this process she found new language through which to express her experiences, language which lay in the practices she developed and the creative community with whom she built solidarity along the process: co-authoring visual identities with main collaborators Tash Tung, Jade Ang Jackman and Nhu Xuan Hua and set designers Lydia Chan, Jonquil Lawrence and Erin Tse. Chua also constructed the album’s physical language through dance with movement directors Chantel Foo and Duane Nasis, this expression shown most vividly through the short film made for “Echo,” out today.

TRACK LISTING

1. Golden
2. Meditations On A Place
3. I Promise
4. You
5. An Ocean
6. Autumn Leaves Don't Come
7. Echo
8. Do You Know You Know
9. Grief Piece
10. Something Other Than Years

Lou Clarke and the All-Scars Band

Lou Clarke spent most of the 70's not of this Earth, a greatly formative time for him and those around him. The intervening period was spent retrospectively constructing a back catalogue of music to rival even the most seasoned of 'straight to charity shop' vinyl ghosts.

The All-Scars are a collection of well-trodden troubadours from a variety of Mancunian haunts who've generously come together to present these songs in something close to their original form as once might have been heard.

The 'Greatest Hits' album is a preventative measure precluding necessary high standards for a second work. All of the tracks have been taken from the future back catalogue including the upcoming demand avoidant '4th Album'.

Informed by New Orleans, built in Manchester, songs to drink dance or drown to.

STAFF COMMENTS

Barry says: Encompassing all the best gloomy moments of Nick Cave and the sozzled pub-rock of the Pogues, but drawing in perfectly measured elements of jazz, lounge and classic rock, Clarke et. al. perfectly soundtrack our austere political climate with wry, tipsy tongue-in-cheek commentary and damn good music to boot. Great stuff.

TRACK LISTING

1. Configure Your Life 02:59
2. Anyman 04:39
3. Blue Eyes 03:13
4. Down Again 04:05
5. My Beautiful Girl 03:17
6. Intoxicated Man 02:53
7. Run Deep 03:36
8. Co-Dependency Suicide Blues 03:25
9. Walking 02:55
10. I Got Nothing 02:43
11. Wrung Out 02:43

By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most original and influential singer-songwriters, building a large and legendary body of work that continues to inspire artists and listeners alike. Much of Cohen's reputation and mystique was established by his early work for Columbia Records, particularly the five albums he recorded between 1967 and 1974. Now, these five classic albums, unavailable on vinyl for two decades, have been lovingly restored to their original LP format. For their new Sundazed editions, all five albums have been meticulously remastered and have been sourced from the original Columbia Records stereo masters in order to preserve the sound of the original albums. In keeping with the exacting standards for which Sundazed has become known, each album is pressed on high-definition vinyl, with complete original cover art. 

Cohen's sophomore effort "Songs From A Room" (recorded with producer Bob Johnston, renowned for his work with Bob Dylan, Johnny Cash, the Byrds and Simon and Garfunkel) was a worthy follow-up, boasting such enduring compositions as "Bird On The Wire", "Story Of Isaac" and "A Bunch Of Lonesome Heros".

'A breathtaking and perfect debut, "Songs of Leonard Cohen" marked the emergence of one of the most enduring, unique, and brilliant voices in popular music. Led off by the gorgeous "Suzanne," previously a hit for both Judy Collins and Noel Harrison, the album is an exposed nerve, a Fellini-esque parade of losers, victims, and fallen angels. Brittle and unforgiving, tracks like "So Long, Marianne," "Winter Lady," and "Sisters of Mercy" are unflinchingly honest and desolate; the subdued beauty of the songs' spartan backdrop only adds to their force — Cohen takes acoustic folk, for so long a musical expression of empowerment and hope, and bleeds it dry of all its redemptive qualities. A masterpiece of perversity and pain.'

By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most original and influential singer-songwriters, building a large and legendary body of work that continues to inspire artists and listeners alike. Much of Cohen's reputation and mystique was established by his early work for Columbia Records, particularly the five albums he recorded between 1967 and 1974. Now, these five classic albums, unavailable on vinyl for two decades, have been lovingly restored to their original LP format. For their new Sundazed editions, all five albums have been meticulously remastered and have been sourced from the original Columbia Records stereo masters in order to preserve the sound of the original albums. In keeping with the exacting standards for which Sundazed has become known, each album is pressed on high-definition vinyl, with complete original cover art.

1967's "Songs of Leonard Cohen" is one of the decade's most audacious debut albums, with producer John Simon's artful arrangements animating such haunting Cohen standards as "Suzanne", "Sisters Of Mercy" and "So Long, Marianne".

STAFF COMMENTS

Darryl says: The word classic springs to mind!!! A haunting masterpiece - "Suzanne", "Sisters Of Mercy", "So Long, Marianne" what more needs to be said - shut the door to the rain, get your PJ's on and croon along..

TRACK LISTING

1 Suzanne
2 Master Song
3 Winter Lady
4 The Stranger Song
5 Sisters Of Mercy
6 So Long, Marianne
7 Hey, That's No Way To Say Goodbye
8 Stories Of The Street
9 Teachers
10 One Of Us Cannot Be Wrong

Leonard Cohen’s Hallelujah & Songs from His Albums is the first-ever official, career spanning album from songwriter, musician, poet, novelist, and visual artist Leonard Cohen. Comprised of 17 classic tracks from Cohen’s expansive career, this anthology features an unreleased and unforgettable live performance of “Hallelujah” from the 2008 Glastonbury Festival. The album is inspired by the new documentary, Hallelujah: Leonard Cohen a Journey, a Song.

TRACK LISTING

SIDE A 
1 Hallelujah (Live At Glastonbury)
2 Suzanne 
3 Bird On The Wire 
4 Famous Blue Raincoat
SIDE B
1 Chelsea Hotel #2 
2 Who By Fire 
3 Dance Me To The End Of Love
4 I'm Your Man  
SIDE C
1 Anthem
2 The Future
3 In My Secret Life
4 Recitation W/ N.L. (Live In London)
SIDE D
1 Show Me The Place
2 Come Healing
3 You Got Me Singing
4 You Want It Darker
5 Thanks For The Dance

180g vinyl repress of Leonard Cohen’s 1998 album which Includes “First We Take Manhattan” and “Everybody Knows”. His eighth LP, and one that marked the move to a more modern sound, encompassing synthesizer in many of the compositions. It reached no. 1 in many European countries, catapulting Cohen into a best-selling artist. A highly acclaimed album, right across the board, it was voted 495 in the third edition of Colin Larkin’s ‘All Time Top 1000 Albums’ in 2000.

On the 'We Are Vinyl' label' - This is the 50th anniversary edition of singer-songwriter Leonard Cohen's third studio album. Produced by Bob Johnston, the album was originally released in March 1971 through Columbia Records. An x8 song album, pressed on 180gm heavyweight, Black LP Vinyl.

TRACK LISTING

Avalanche
Last Year's Man
Dress Rehearsal Rag
Diamonds In The Mine
Love Calls You By Your Name
Famous Blue Raincoat
Sing Another Song, Boys
Joan Of Arc

In a posthumous new album, Leonard Cohen has robbed death of the last word. 'Thanks for the Dance' is not a commemorative collection of B sides and outtakes, but an unexpected harvest of new songs, exciting and vital, a continuation of the master's final work.

Seven months after his father passed, Adam Cohen retreated to a converted garage in his backyard down the street from Leonard's house, to work with his father again, to stay in the company of his voice. From their previous collaboration on 'You Want It Darker' there remained bare musical sketches, at times little more than vocals. Leonard had asked his son to bring these works to completion.

"In composing and arranging the music for his words, we chose his most characteristic musical signatures, in this way keeping him with us" - Adam Cohen

STAFF COMMENTS

Andy says: Brand new songs, NOT odds'n'sods and leftovers; this record feature material L.Cohen was working on in the months before his death. Who better to bring them to fruition than his son, Adam.

TRACK LISTING

1. Happens To The Heart
2. Moving On
3. The Night Of Santiago
4. Thanks For The Dance
5. It's Torn
6. The Goal
7. Puppets
8. The Hills
9. Listen To The Hummingbird

It was a strange twist of fate which saw Leonard Cohen die so shortly after the release of his 14th, and ultimately final studio album. Unlike Bowie though, earlier in the year, "You Want it Darker" wasn't composed with his own death in mind. Naturally, mortality gets mentioned, but on which Leonard Cohen album didn't it!?

In his second interview to promote the record, Cohen had backtracked on a previous recent statement that he was "ready to die" and when distant muse and lover Marianne passed away earlier this year, Cohen's email to her in her final days had been made public, saying "I think I will follow you very soon". But his backtracking was funny and flippant saying he'd always had a gift for drama and intended to "live forever". Two further records were also suggested. As we now know, this wasn't to be.

"You Want It Darker" is definitely more sombre in tone; minimal and stately, he uses a co-writer for the instrumentation, and tastefully takes in soul, doo-wop and ofcourse folk traditions. But lyrically, whilst he mentions putting his "house in order", he's far from singing his own last rites. He does say in the title track that he's "ready Lord", but then treats us to such beautiful poetry and subtly varied sounds that the listener can't help but respond, " fair enough, but not YET!?"

An excellent album then, made instantly more dramatic by his sudden demise, but whilst the record comprises "lullabies for suffering" and yes it's soothing (and funny) as ever, he also notes that he "struggled with demons, they were middle class and tame." Acceptance, humour, just as you'd expect. A noble and fitting ending for one of the counter-culture's (remember that!?) true greats.

STAFF COMMENTS

Andy says: Stunning final album from the master poet.

TRACK LISTING

1 You Want It Darker
2 Treaty
3 On The Level
4 Leaving The Table
5 If I Didn't Have Your Love
6 Traveling Light
7 It Seemed The Better Way
8 Steer Your Way
9 String Reprise / Treaty

How curious it is that this collaboration should come about so late in the day and how marvellous that it transpired at all. Lloyd Cole, this most ingenious of British singer-songwriters, and Hans-Joachim Roedelius, a patriarch of German electronic music, did not actually meet in the studio, choosing instead a mode of material exchange more in keeping with the age, sending files across the ether for the other to complement.

How did they come to work together? Lloyd Cole released "Plastic Wood" in 2001, an instrumental, electronic album, most unusual by his standards. Listening to "Plastic Wood", one can clearly hear that Cluster's "Sowieso" album (1976) is one of Cole's all-time favourites. A friend of Cole's who also knew Roedelius, sent the latter a copy of the Englishman's album. Roedelius liked it so much that he immediately set about remixing the whole LP, or rather he added overdubs to the existing tracks - without asking and without having been asked! On receiving the results, Cole was not only flattered, he was also very impressed with the Roedelius remixes.
"Plastic Wood" had already been released and Cole felt that the project had run its course, so the Roedelius reworks were consigned to the archives. Nevertheless, the idea of collaborating appealed to the pair of them, and they did write to one another from time to time.

A good ten years later, the two finally met in person, when Lloyd-Cole passed through Vienna on tour. Now things could begin in earnest. The first results of their endeavours, now released, are modestly entitled "Selected Studies Vol. 1". Studies, strictly speaking, represent incomplete explorations of compositional and tonal possibilities. And yet this album reveals mature, carefully composed music, as if Cole and Roedelius had been working together for years already. Both artists focus on electronic sounds in a selection of succinct, direct pieces, free of musical garrulousness. Cole neither sings nor plays guitar and Roedelius rarely touches the keys of his grand piano. Instead, both musicians have developed a subtle soundscape which only drifts towards pure noise on one track, "Wandelbar". All of the other "studies" on the album move within a vast spectrum of harmonic wonder and rhythmic stepping stones.

However paradoxical it may sound, "Selected Studies Vol. 1" is reminiscent of the music of Claude Debussy, if electronic instrumentation had been available to him 120 years earlier. Highly impressionistic images flicker around the listener, airy, transparent, lost in time, each its own window on a bright, yet mysterious world. Far removed from kitsch, ambient and feel-good music, "Selected Studies Vol. 1" demands to be listened to attentively if the serious artistic expression of these two musicians / composers is to be appreciated fully. This opens up the album's beauty and depth. Cole and Roedelius seek to present fantastic, aural topographies in opposition to the dullness of the real world, inviting us to enter a friendly labyrinth of constant surprise, a place one can still leave at any time, without fear of getting hopelessly lost.

Lloyd Cole is mostly know for his outstanding pop music, but he certainly has a taste for electronic music. In 2013 he released an highly acclaimed album together with electronic music legend Hans-Joachim Roedelius (BB124 "Selected Studies Vol. 1") for whom he also curated a compilation of his electronic music recordings (BB187 "Kollektion 2. Roedelius - Electronic Music. Compiled by Lloyd Cole"). Finally we are happy to announce the release of a solo album with lloyd's electronic music on September 4th: "1D Electronics 2012-2014". Some pieces were originally created with overdubs by another in mind. Some were simply experiments. One or two may have had loftier ambitions…. None of the pieces involves the use of a piano keyboard or a computer, except to record it. Some modulations were executed by hand. Most were generated by programmed sequencers and logic. Each piece is a self contained electronic circuit.

Lloyd Cole's new album 'Standards' on Tapete Records was recorded in late 2012 /early 2013 in Los Angeles, New York and at his home in Easthampton, Massachusetts, 'Standards' is produced by Lloyd and mixed by maverick German producer Olaf Opal. All songs are by Lloyd Cole apart from 'California Earthquake', which was written by American folk artist John Hartford.

Inspired in part by the vitality he found in septuagenarian Dylan's acclaimed 2012 album 'Tempest' - says Cole, 52: "I took it as a kick up the backside" - 'Standards' is a gloriously electric rock'n'roll record and arguably the best thing he has made since his groundbreaking debut with the Commotions, 1984's 'Rattlesnakes'.

The band Lloyd assembled for 'Standards' comprises Fred Maher (Material, Scritti Politti, Lou Reed) on drums and Matthew Sweet on bass reforming the rhythm section from Lloyd's debut solo album 1990's 'Lloyd Cole' and its follow up '91's 'Don't Get Weird On Me Babe'. With Joan (As Police Woman) Wasser on piano/backing vocals, and Lloyd not only singing but playing synths amidst some of the crispest, stormiest, most stinging electric guitar, it's a tight ship with a tight sound which tautens and relaxes according to the temper of the song. Augmenting the basic band are Mark Schwaber, Matt Cullen and Lloyd's son Will on guitars, Commotions keyboardist Blair Cowan, percussionist Michael Wyzik and backing vocalist and Negative Dave Derby.

Says Lloyd: "I wanted to make an album with a small fixed palette of sounds, like a Van Gogh, like 'Highway 61'. The format is supposedly dead, but I still want to make albums. Not bunches of songs - albums. For the last 10 years I've been primarily an acoustic musician but this is an album for electric guitars, electric bass and loud drums, with piano and a synthesizer for measure. Not quite monochrome, then, but not ever-changing either: it has a sound."

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super- producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

TRACK LISTING

Rich
Why I Love Country Music
Pretty Gone
Grace
Cut Me Down
Brand New Friend
Lost Weekend
James
Minor Character
Perfect Blue

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

By the time of Mainstream in October 1987, the group had taken a break and had spent time trying to find the right producer for their new material. Working with Ian Stanley, then fresh from the success of Tears For Fears' Songs From The Big Chair, the album allegedly cost ten times the budget of Rattlesnakes. Despite its 80s opulence – for example, guest appearances from Jon Hassell on trumpet, Tracey Thorn on vocals – it sounds untouched by the decade's excess. Its singles, My Bag, Jennifer She Said and From The Hip were all well received.

TRACK LISTING

My Bag
From The Hip
29
Mainstream
Jennifer She Said
Mister Malcontent
Sean Penn Blues
Big Snake
Hey Rusty
These Days

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Signing to Polydor Records, the group's debut single, Perfect Skin, was released in early 1984 followed in October of that year by their debut album, Rattlesnakes. Produced by Paul Hardiman with strings arranged by Anne Dudley, it became one of the most cherished albums of the 80s. Including further singles Forest Fire and the title track, the group found themselves as the darlings of the music press, at a time when a university education was still a relative rarity. Cole wasted little time in cramming cultural allusions in his material – listeners were introduced to a world of Norman Mailer, Eva Marie Saint and Truman Capote, all wrapped in delightfully written pop music.

TRACK LISTING

Perfect Skin
Speedboat
Rattlesnakes
Down On Mission Street
Forest Fire
Charlotte Street
2CV
Four Flights Up
Patience
Are You Ready To Be Heartbroken?

“Guesswork”, as the title suggests, is a record about the uncertainty of the world as one enters their third act. In terms of song count, it is Lloyd Cole's shortest, however, it is the longest in terms of minutes but the shortest in terms of word count. This is symbolistic for the authorial confidence that comes with the passing of time.

Going beyond Cole's latest “songs” album, the critically acclaimed “Standards” in 2013, “Guesswork's” musical style is mostly comprised of electronic sounds. Once Lloyd Cole had formulated a sonic picture of the record he wanted to make, the arrival of each new song gradually brought that picture into focus. His distinguishable voice and sophisticated lyricism invite the listener into the mindset of someone who has reached old age and is coming to terms with this.

As Cole puts it: “Because really what have we got to lose?”. At times, the experience of listening to Guesswork is akin to sitting in a sleek, state-of-the-art departure lounge, unsure of quite where you're waiting to go.

Louis Cole, Jules Buckley and the Metropole Orkest team up on “nothing” for a raucous musical trip that veers from funk-fuelled mayhem to sombre balladry with the orchestra dialling up the emotional power to 11. Louis Cole is an LA-based singer-songwriter and sickeningly talented multi-instrumentalist with a strong DIY aesthetic. Thundercat describes him as “one of Los Angeles's greatest musicians”. He composed a suite of brand new music for this project – bigger, bolder, and more expansive than ever – plus there are nods to his GRAMMY-nominated 2022 album “Quality Over Opinion”. Based in Netherlands, Metropole Orkest is the world’s leading pop and jazz orchestra, having shared the stage with the likes of Herbie Hancock, Snarky Puppy, Jacob Collier and Robert Glasper. Conductor, arranger, curator and composer, Jules Buckley is a unique and rare breed of artist. The GRAMMY winner has redefined the rulebook of orchestral music and the role of a conductor. 

TRACK LISTING

A1. Ludovici Cole Est Frigus
A2. Things Will Fall Apart
A3. Life
A4. It All Passes

B1. Cruisin’ For P
B2. A Pill In The Sea
B3. Nothing
B4. Who Cares 1
B5. Who Cares 2

C1. Wizard Funk
C2. Weird Moments
C3. High Five
C4. These Dreams Are Killing Me
C5. Shallow Laughter : Bitches (orchestral Version)

D1. Let It Happen (orchestral Version)
D2. Doesn’t Matter
D3. You Belonged

Louis Cole is a singer-songwriter and sickeningly talented multi-instrumentalist with a strong DIY aesthetic from Los Angeles, California. He is on a mission to create deep feelings through music and is the figurehead of an LA jazz-adjacent scene that includes Genevieve Artadi (with whom Cole co-founded the alt pop / electrofunk band Knower in 2009), Sam Gendel, Sam Wilkes, Jacob Mann, Dennis Hamm, Pedro Martins and more.

His new album “Quality Over Opinion” is 20 tracks deep, it was written, performed and produced on his own in his modest home studio, but Louis did invite a handful of close friends to contribute, namely Genevieve Artadi (“my no.1 music collaborator”); saxophonist Sam Gendel – Cole’s friend for 17 years; pianist Chris Fishman; Nate Wood from the band Kneebody; Marlon Mackey (“a pillar of the Bakersfield music scene”); and guitarist Kurt Rosenwinkel. “This album is a representation of me trying to make the best, most powerful and listenable music I can. For myself and also others,” he says.

Louis’s main instrument is the drums and he has a background in jazz although the music he writes bears little resemblance to jazz in any pure or classical sense. His connection to the movement is more conceptual: “The root of jazz is pure freedom… no limits… just what you’re thinking right at that moment… a pure blast of limitlessness”. Accordingly Cole’s touchstones for “Quality Over Opinion” include boundary-pushing composers such as Gustav Mahler and György Ligeti alongside jazz icons like Miles Davis, the Swedish extreme metal band Meshuggah, Morten Lauridsen (distinguished professor of music and American Choral Master) and Super Mario Kart. “There is no continuous thread of a story on this album, each song expresses its own moment in my life and time,” explains Louis. “I was inspired by joy, pain and the constant mission to pull something out of life around me”.

New single ‘I’m Tight’ arrives hot on the heels of ‘Let it Happen’ – “a timeless modern power ballad classic” released earlier this month. In contrast, ‘I’m Tight’ is a sleek, laser-focused Funk rocket, based on an utterly irresistible bassline. “It comes from me recording about 100 different cells of funk, choosing my favorite ones and quilting them together into a song,” says Louis. “I had to practice the bass part a lot for this one,” he adds, smiling.

Cole’s insane musicianship is no secret – he’s been sharing performance videos on YouTube for a decade – growing a dedicated fanbase who appreciate both his craft and off-the-wall style. Drums, bass, keys… he has a monk-like attitude to practice and perfecting his art. Thundercat describes him as “one of Los Angeles's greatest musicians” and earlier this year invited him to play drums on his recent tour of Japan. The pair have frequently written together including on the aptly titled ‘I Love Louis Cole’ from Thundercat’s Grammy-winning album “It Is What It Is”, ‘Bus in the Streets’ and ‘Jameel’s Space Ride’ (from Thundercat’s 2017 opus “Drunk”) and ‘Tunnels in the Air’ for Louis’ 2018 album “Time”. Flying Lotus has also expressed admiration for Louis, calling him “super inspirational” during the writing of his 2019 album “Flamagra”.

TRACK LISTING

A1. Quality Over Opinion
A2. Dead Inside Shuffle
A3. Not Needed Anymore
A4. Shallow Laughter
A5. Bitches (feat. Sam Gendel)
A6. Message (feat. Chris Fishman & Nate Wood)
B1. Failing In A Cool Way
B2. Disappear
B3. I’m Tight
B4. True Love
C1. Planet X
C2. Let Me Snack (feat. Marlon Mackey)
C3. Forgetting
C4. Park Your Car On My Face
C5. Don’t Care (feat. Genevieve Artadi)
D1. Laughing In Her Sleep
D2. Outer Moat Behavior
D3. When (feat. Kurt Rosenwinkel)
D4. Let It Happen
D5. Little Piano Thing

"Arborvitae" opens and closes with the pairing of David on piano and Loren on an electric guitar played so quietly that at times his pedal-stomping is wondrously distinct. "Blossom Time" and the title track positively float, with Loren alternating between soaring single-note lines and playing the rough, barnacled anchor to David's relentless tide.

Two more floor-friendly 45s from the Deptford Northern Soul Club’s record box.

Featuring fifty quid’s worth of excellent brasspowered psyche soul that originally turned up on Buddah Records in 1969. An absolutely huge Blackpool Mecca 45 with a backflip moment at around 40 seconds that repeats for all stomping excessives.

Backed with the legendary Lee Dorsey’s mighty ‘Give It Up’ from the same year. A swampy soul stew with a funky feel by the hugely underrated singer. An Allen Toussaint

TRACK LISTING

Lou Courtney ‘Trying To Find My Woman’
Lee Dorsey ‘Give It Up’

Lee F Cullen is predominantly a multi- instrumentalist/ bedroom-based producer who has written in excess of 500 songs. For live work Lee has the help of an ever changing group of musicians collectively named 'The Corvidae Family' who radically alter the songs on stage to keep them breathing and organic. After the break up of his last band, the funk orientated Big Wow he returned to his first love of psychedelia and 'song' orientated material. Drawing inspiration from The Nice, Procol Harum, July, Bill Fay, Barclay James Harvest, Baroque Music, Ray Manzerek, John Carpenter and the D.I.Y ethic of home taping artists – Lee strives to create swirling technicolour music. Working with a P.C. and Reel-to-Reel Tape Machines lee writes, records, and produces songs at an alarming rate, "Wild Honey Arabesques" is the first work of a series of albums. "Wild Honey Arabesques" was written during the fallout of Lee's last band Big Wow. Using instrumentation such as Mellotron, Organ, Harpsichord and Piano as the main voices Lee concedes that he doesn't remember writing any of these songs! Being, as they were, little more than fragments amassed from hours of tapes written while experiencing writers block. The album is about the 'Dispossession Of The Self' and what happens when one is led astray from their own path. This is not nostalgic psychedelia; psychedelia is used here, as it is the chosen medium for artistic expression with clichés subverted to produce introspective psych closer in spirit to singer songwriters like Leonard Cohen and Bill Fay than Tintern Abbey. Actually think Tintern Abbey covering a Bill Fay Song and you're not so far off!

“Cinematic feasts of dramatic strings and cascading pianos that will satisfy fans of Nils Frahm and Ólafur Arnalds” The Ransom Note.

That certainly seems the case as the crushing emptiness of "Her Dreams" slowly emerges into the sonic space. Old school veterans Richard Dorfmeister and Stefan Obermaier are on hand to remix the track - transforming it into a epically mournful piano piece, galvanized with droning electronics and rumbling sub oscillators. "Screaming Silence" is touched up by Howie B who does a sterling job of organizing all the elements into a dreamy, crisp, high definition soundscape. Drifting synth parts meeting frenetic percussion and detailed low end perfectly, a blissed-out electro-disco missiv for the up-all-weekend dreamers. Check! 

TRACK LISTING

A - Her Dreams (Richard Dorfmeister & Stefan Obermaier Remix)
B - Screaming Silence (Howie B Retouch)

Richmond, VA-based songwriter Lucy Dacus is the latest addition to the renowned Matador Records roster.
Lucy Dacus's No Burden is full of surprises—sharp lyrical observations, playful turns of musical phrase, hooks that'll embed themselves in your frontal lobe for days. But the most surprising thing about this album might be the fact that it's a debut; it has a keen sense of self about it, and it nearly glows from the self-possession held by the woman at its core.

The 21-year-old Dacus grew up in Richmond; she was adopted at a young age, an experience that informed her curious, openhearted songwriting. "When my parents were explaining what adoption was—which was very early on in my childhood—they always said that my birthmother thought I was worthwhile even though she couldn't be my mom," she says. "And so from essentially infancy, I was taught that life was innately worthwhile because a bunch of people had worked together to set me up with one.”

Dacus started playing around Richmond while in college, opening for local acts and eventually meeting Jacob Blizard, a guitarist who invited her to make a record for a college project of his. No Burden, which originally came out in February on the Richmond label EggHunt Records, opens with the forthright, almost brutally honest "I Don't Wanna Be Funny Anymore," the last song Dacus wrote before the album's day-long recording session at Starstruck Studios in Nashville. Dacus delivers scalpel-sharp observations about resisting pigeonholing over chunky guitars, ticking off ideals of femininity and youth until the track's not-quite-resolution.

These themes extend to the lyrics of songs like "Strange Torpedo," a whirling portrait of a friend whose "bunch of bad habits" who, Dacus sings, has "been falling for so long… [and hasn't] hit anything solid yet." "I've been that friend watching a loved one do what they know is bad for them and not understanding why," says Dacus. The song offers a simple message: "I love you, why don't you love you? You're the one in your body so you get to choose what to do with it, but if I were you I'd treat me differently.”

The rest of No Burden, which was produced by Collin Pastore, puts Dacus's voice center stage, allowing the glinting poetry of her lyrics to shine even more brightly. "Trust," which Dacus wrote in late 2013, showcases her alone with her guitar, her faint vibrato floating over strummed chords as she sings of self-redemption. And the diptych "Dream State…" and "…Familiar Place," which revolve around Dacus repeating "Without you, I am surely the last of our kind/ Without you, I am surely the last of my kind," capture disappointment and loss in a jaw-dropping way; the music trembles around her while her voice stays steady, anticipating whatever might come next.

No Burden is a forthright, disarmingly catchy statement. And while it's a sterling debut, it only hints at the potential possessed by this passionate, thoughtful young woman.

Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock's most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured 10-track statement of intent. "This is the album I needed to make," says Dacus, who views Historian as her definitive statement as a songwriter and musician. "Everything after this is a bonus."

Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

STAFF COMMENTS

Millie says: Dacus' light Americana leanings of the superb No Burden are sidelined slightly for her grander, more expansive new outing, Historian. Though her smouldering guitar work and unmistakable voice are ever present, they are skillfully woven into an intricate and all-encompassing web of orchestration, grandeur and beauty. This is a stunner, and every bit the successful follow-up.

TRACK LISTING

Night Shift
Addictions
The Shell
Nonbeliever
Yours & Mine
Body To Flame
Timefighter
Next Of Kin
Pillar Of Truth
Historians

Recorded in here-and-there studio spurts over the last two years, ‘2019’ is made up of originals and cover songs tied to specific holidays, each of which has dropped/will drop around their respective date: Valentine’s Day, Mother’s Day (and Taurus season!), Independence Day, Springsteen’s Birthday (not an official holiday, though Chris Christie often took that day off, aaparently), Halloween, Christmas and New Year.

Lucy Dacus uses her gift as a songwriter to help understand and cope with the world around her, including making sense of national holidays, often more geared towards social media boasts and manufactured consumerism than authentic celebration. “What is going on,” she asks herself on these days, retreating from the heightened expectations of holidays to figure out what to make of them and to find her own meaning. “I’ve collected some songs from trying to answer that question,” she says, and “this EP seems like the right place to put them next to each other. These songs are self-contained, not indicative of a new direction, just a willingness to do something different and sometimes even out of character.”

STAFF COMMENTS

Millie says: Lucy Dacus’ warm vocals are a welcoming bliss in this miserable November weather. Her ability to cover classics such as ‘In The Air Tonight’ and give it an entirely different tone is breath-taking, while her own song writing in ‘Fools Gold’ are stunningly original and moving.

TRACK LISTING

Fool’s Gold
La Vie En Rose
My Mother & I
Forever Half Mast
Dancing In The Dark
In The Air Tonight
Last Christmas

Widely regarded as “one of the best songwriters of her generation” (Rolling Stone), Lucy Dacus returns with Forever Is A Feeling. Following a career defining run with boygenius that earned her three GRAMMY® Awards, her fourth solo studio album explores falling in and out of love, the tumult of desire, and larger than life romance. Across 13 tracks that range from lush arrangements to simple declarations, Dacus makes a serious inquiry into what it looks like to dedicate one’s life to true love, and a valiant attempt to capture the elusive, fleeting feeling of forever.

STAFF COMMENTS

Barry says: A fittingly grand, majestic outing from Dacus of Springsteenian melodicism and slowly growing atmospheres, wonderfully orchestrated and finely balanced to result in an album that's definitely her most cinematically intense to date. A stunningly voiced, perfectly curated selection from one of the greatest songwriters of our generation.

TRACK LISTING

Calliope Prelude
Big Deal
Ankles
Limerence
Modigliani
Talk
For Keeps
Forever Is A Feeling
Come Out
Best Guess
Bullseye (with Hozier)
Most Wanted Man
Lost Time

Lucrecia Dalt channels innate sensory echoes of growing up in Colombia on her new album ¡Ay!, where traditional instrumentation encounters adventurous impulse and sci-fi meditations on atemporality in an exclamation of liminal delight.

Dalt’s introspective approach to composition, last surfaced on her entrancing 2020 album No era sólida, refracts across ¡Ay! in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and merengue rooted in Dalt’s early surroundings awaken on ¡Ay! and give glow to the album’s contours. The intuitive melodic structures of this music, processed by memory and modular synths, led Dalt to a mirage of her creative origins and the album she has always wanted to make.

¡Ay! is a tincture of rich acoustic textures filtered through the warmth of Dalt’s signature machinic distortion, diffused of easily-defined edges as previously explored on No era sólida and her 2018 album Anticlines. Here, vivid incantations of upright bass, wind ensembles and brass form shimmers of harmonic motif, distilled across radiant rhythms. Dalt worked closely with friend and collaborator Alex Lázaro to cultivate new shapes and colors for slowed down tumbaos and bolero percussion patterns. Together they deconstructed the traditional drum kit into serpentine expansions of congas, bongos, temple blocks and timbales, all of which they tuned to dance among Lucrecia’s lucid vocal processions.

Into this hallucinatory crossing of time and space, Dalt projects a sci-fi mythology rendered through theoretical exchanges with philosopher Miguel Prado. Their mutual interest in consciousness and atemporality summoned the tale of a metaphysical odyssey, cast by Dalt through silken lyrics in her native Spanish tongue. The lush musical world of ¡Ay! offers a soft but obscure landing for an alien entity called Preta, who has gathered a body in the hydrosphere from evaporated dead skin. We follow her first experiences of containment and composure as she navigates our geology and earthly markers of love and time, in contrast with her state as a timeless entity.

Through Dalt’s soaring vocals, the intimate monologues of this ethereal being oscillate with the album’s vibrant instrumental arrangements. ¡Ay! stages a rare encounter between tropical rhythms and sci-fi storytelling, where Dalt devises her amorphous character to explore love without the expected cliches of romantic genres. Dalt brings lightness and humor to the arc of this melodramatic tale, once again shedding the restraints of convention to break boundaries into abstract, fragmentary relics.

¡Ay! is an interjection through which Dalt enters a new dimension in her work – one which connects her legacy of electronic revelations with the moment she reaches a panoramic view of her musical source. In sound and spirit, ¡Ay! is a heliacal exploration of native place and environmental tuning, where Dalt reverses the spell of temporal containment. Through the spiraling tendencies of time and topography, Dalt has arrived where she began.

On behalf of Lucrecia Dalt and RVNG, a portion of the proceeds from this release will benefit Fundación Mareia, an interethnic, Chocó, Colombia-based organization led by women promoting Afro-centered emancipatory education around black feminism, decolonialism, and community, and encouraging activism, protection of nature, an ancestral care.

TRACK LISTING

A1. No Tiempo
A2. El Galatzó
A3. Atemporal
A4. Dicen
A5. Contenida
B1. La Desmesura
B2. Gena
B3. Bochinche
B4. Enviada
B5. Epílogo

London-based vocalist, songwriter, and producer Lynda Dawn returns with her signature blend of classic soul grooves and contemporary R&B. Since her critically acclaimed debut At First Light (2019) and the collector's-favourite Roses (2021), Lynda has cultivated a loyal following, establishing herself as a notable voice in the UK soul scene.

Her highly anticipated sophomore project 11th Hour, showcases eight tracks that delve into themes of love, transformation, and self-discovery. Led by the groove-laden single Where You Are (produced by Al Dobson Jr.) and the standout title track 11th Hour, the release has already received major support from BBC Radio 6 Music, BBC Radio 1Xtra, Jazz FM, and more. Celebrated with a sold-out headline show at Barbican on October 4th, Dawn continues to attract praise from fans and music icons alike, including Azymuth, Patrice Rushen, Jimmy Jam, and Arthur Verocai.

11th Hour is now available on vinyl, offering a timeless addition for aficionados of funk, soul, and jazz.

TRACK LISTING

1. Cosmic Symphonic (Intro)
2. Where You Are
3. Play Fair
4. Memories (Interlude)
5. Love Is Callin'
6. Do You Dream?
7. 11th Hour
8. Altogether (Reprise) [feat. Marco Bernardis]

"This very first release on "Oonops Drops" has its very own story behind it. I planned to found my own label for more than half a year when my wife Lisa worked on her songs and when the idea came to me how this would sound if Japanese Jazz trio Nautilus would arrange some of them. I have known Toshi for six years now, met him personally here in Hanover and he's such a magnificent musician, so the idea became reality and they started working on the first two tracks until a total amount of nine songs was created. I'm so proud to share this very personal project with you (which was finally produced and mastery simultaneous to the foundation of my label by accident) and I hope you like it as much as we do. For the first single release of the album I directly had the uplifting track "Everytime" in my mind and a remix which should transport the good vibes in a different direction. Pat Van Dyke, a longtime known producer and multi-instrumentalist from New Jersey took his hands on it and created a horns-loaden feel good version of it including a little guest appearance by Brooklyn based lyricist John Robinson.”

TRACK LISTING

1. Everytime
2. Shooting Star
3. Let Me Be
4. Rain
5. Words
6. Dandelion
7. Doing Nothing
8. Everything
9. Home

Lana Del Rey’s highly anticipated eighth studio album, Blue Banisters, features the previously released songs 'Blue Banisters,' 'Wildflower Wildfire' and 'Text Book.'

STAFF COMMENTS

Barry says: It's always a welcome arrival when Lana Del Rey brings out a new LP, and Blue Banisters has everything you'd expect. Gorgeous downplayed melodies and minimalistic instrumentation, topped with her instantly recognisable athletic country-tinged vocal style. It's hard to imagine anyone else pulling off this sound, classic Lana.

TRACK LISTING

1. Text Book
2. Blue Banisters
3. Arcadia
4. Interlude - The Trio
5. Black Bathing Suit
6. If You Lie Down With Me
7. Beautiful
8. Violets For Roses
9. Dealer
10. Thunder
11. Wildflower Wildfire
12. Nectar Of The Gods
13. Living Legend
14. Cherry Blossom
15. Sweet Carolina

"Born To Die" the album is a collection of tracks about which Lana says "The songs I've written are an homage to true love and a tribute to living life on the wild side." Album tracks include "Video Games", "Million Dollar Man", "Off To The Races", "Blue Jeans" and "Carmen".

STAFF COMMENTS

Darryl says: For sure this is a slick 'pop' album, but with her sultry vocal delivery (ALA Mazzy Star's Hope Sandoval) and stunning dark cinematic songs such as "Video Games" and "Blue Jeans", there's more than enough here to keep an indie kid happy.

TRACK LISTING

Side 1:
01 Born To Die Album Version 04:46
02 Off To The Races 05:01
03 Blue Jeans Album Version Remastered 03:29
04 Video Games Album Version Remastered 04:42

Side 2:
01 Diet Mountain Dew 03:43
02 National Anthem 03:49
03 Dark Paradise 04:04
04 Radio 03:35

Side 3:
01 Carmen 04:09
02 Million Dollar Man 03:50
03 Summertime Sadness 04:25
04 This Is What Makes Us Girls 04:00

Side 4:
01 Without You 03:51
02 Lolita 03:41
03 Lucky Ones 03:45

Today Lana Del Rey releases her new song and visual ‘Chemtrails Over The Country Club’. The song is co-written by Lana Del Rey and Jack Antonoff, with the visual being directed by BRTHR.

Following the success of her 2019 GRAMMY®-nominated album Norman Fucking Rockwell, Lana has announced that March 19th, 2021 is the official release date for her highly anticipated seventh studio album Chemtrails Over The Country Club.

STAFF COMMENTS

Barry says: Lana's 7th album, Chemtrails Over The Country Club brings all of the latent melodicism and swooning pop of her previous outings but with a more melancholic leaning, resulting in a hugely enjoyable distillation of pop with more esoteric production elements.

TRACK LISTING

1. White Dress
2. Chemtrails Over The Country Club
3. Tulsa Jesus Freak
4. Let Me Love You Like A Woman
5. Wild At Heart
6. Dark But Just A Game
7. Not All Who Wander Are Lost
8. Yosemite
9. Breaking Up Slowly
10. Dance Till We Die
11. For Free

Did you know that there's a tunnel under Ocean Blvd is the ninth studio album from acclaimed singer-songwriter Lana Del Rey, comprising 16 tracks and interludes with features including Father John Misty, Tommy Genesis, Jon Batiste, Bleachers and more. It follows the prolific artist's 2021 albums Chemtrails Over The Country Club and Blue Banisters. 

STAFF COMMENTS

Liam says: I've only semi-recently become, as you kids say, a Lana stan after her one-two punch releases of 'Norman Fucking Rockwell!' and 'Chemtrails over the Country Club'. I can safely say, this is another banger in her catalogue. Clocking in at just under 80 minutes, 'Did You Know That There's a Tunnel Under Ocean Blvd' is a sprawling opus full of rich storytelling and absolutely spellbinding vocals and instrumentation - perfection!

The album was recorded between Los Angeles and New York.

This is the 3rd studio album from Lana Del Rey, her last record ‘Ultraviolence’ when to #1 in 74 countries and she has worldwide album sales in excess of 9 million. Following the global first play and interview on Zane Lowe's Beats1 show, Annie Mac had 'High By The Beach' as her Hottest Record on Radio 1which included two spins of the track back to back and an interview with Lana. 

Global superstar Lana Del Rey releases her 4th album ‘Lust For Life’ which features collaborations with A$AP Rocky, Playboi Carti, Sean Ono Lennon, The Weeknd and Stevie Nicks.

The highly anticipated album was mainly produced and co-written with Jack Antonoff and will include ‘Venice Bitch,’ ‘Mariners Apartment Complex,’ ‘hope is a dangerous thing for a woman like me to have - but I have it,’ and the current release, a cover of Sublime’s ‘Doin’ Time’.

TRACK LISTING

Norman Fucking Rockwell
Mariners Apartment Complex
Venice Bitch
Fuck It I Love You
Doin’ Time
Love Song
Cinnamon Girl
How To Disappear
California
The Next Best American Record
The Greatest
Bartender
Happiness Is A Butterfly
Hope Is A Dangerous Thing For A Woman Like Me To Have – But I Have It

'Paradise' single LP in oversized slipcase to also hold 'Born To Die' LP.

(please note that this does not contain 'Born To Die' 2lp, sold seperately).

"Even after selling nearly three million copies of her debut album worldwide, Lana Del Rey still faced a challenge during 2012: namely, proving to critics and fans that Born to Die wasn't a fluke. In that spirit, she released Paradise, a mini-album close to Christmas, one that finds her copying nearly wholesale the look and feel of her vampish Born to Die personality. The sound is also very familiar. Strings move at a glacial pace, drums crash like waves in slow motion, and most of the additional textures in these songs (usually electric guitar or piano) are cinematic in their sound and references."

TRACK LISTING

1. Ride
2. American
3. Cola
4. Body Electric
5. Blue Velvet
6. Gods & Monsters
7. Yayo
8. Bel Air

Brand new album from platinum, Grammy nominated recording artist Lana Del Rey! The album features the hit songs 'West Coast' and 'Shades of Cool' along with typically Del Rey-ish songs: 'Fucked My Way To The Top' and 'Pretty When You Cry'. She's not veered to far away from the script of her first album: 50s noir meets Blue Velvet atmospherics meets modern day pop nouse, and if you're a fan then you won't be disappointed.

STAFF COMMENTS

Andy says: Wow! Incredibly, this record is much stronger than Lana's smash debut!? There's no "Video Games", obviously but you don't need it when every track is deeper, darker, grander and sadder than before. A brilliant surprise.

TRACK LISTING

1.Cruel World
2.Ultraviolence
3.Shades Of Cool
4.Brooklyn Baby
5.West Coast
6.Sad Girl
7.Pretty When You Cry
8.Money Power Glory
9.Fmwuttt
10.Old Money
11.The Other Woman

Lana Del Rey reads fourteen select poems from her upcoming debut poetry book Violet Bent Backwards Over the Grass accompanied by music from frequent collaborator, Grammy Award-winning musician Jack Antonoff.

"Violet Bent Backwards Over the Grass is the title poem of the book and the first poem I wrote of many. Some of which came to me in their entirety, which I dictated and then typed out, and some that I worked laboriously picking apart each word to make the perfect poem. They are eclectic and honest and not trying to be anything other than what they are and for that reason I’m proud of them, especially because the spirit in which they were written was very authentic."- Lana

TRACK LISTING

Vinyl
Side A
LA Who Am I To Love You
The Land Of 1,000 Fires
Violet Bent Backwards Over The Grass
Past The Bushes Cypress Thriving
Salamander
Never To Heaven

Side B
SportCruiser
Tessa DiPietro
Quiet Waiter Blue Forever
What Happened When I Left You
Happy
My Bedroom Is A Sacred Place Now – There Are Children At The Foot Of My Bed
Paradise Is Very Fragile
Bare Feet On Linoleum

CD TRACKLISTING:
LA Who Am I To Love You
The Land Of 1,000 Fires
Violet Bent Backwards Over The Grass
Past The Bushes Cypress Thriving
Salamander
Never To Heaven
SportCruiser
Tessa DiPietro
Quiet Waiter Blue Forever
What Happened When I Left You
Happy
My Bedroom Is A Sacred Place Now – There Are Children At The Foot Of My Bed
Paradise Is Very Fragile
Bare Feet On Linoleum

* Remastered from the original tapes
* Essay by “Punk Professor” Vivien Goldman, interviewing key players
* LP Includes download card for full album + 6 bonus tracks
* CD includes full album plus 6 bonus tracks

By the time bohemian singer/poet/artist Lizzy Mercier Descloux recorded her fifth album, 1988's 'Suspense', she'd enjoyed a recording career that was as far from the clichés of music lore as is possible, flitting between genres, continents and collaborators, enjoying great success and equally great failure and even stealing the final breaths of master trumpeter Chet Baker for 1986's One For The Soul. When she came to make 'Suspense' she was, for the first time, working without her longtime muse, partner and manager Michel Esteban, with whom she'd first moved from their native France to New York, where it all began.

The pressure was on to repeat the success of “Mais Où Sont Passées Les Gazelles”, a smash hit in France, and Descloux's label were keen to make a conventional artist of her, pairing her with John Brand, an in-vogue producer with a style geared to a big, shiny 1980s chart sound - an approach Lizzy had never experienced before, nor intended to.

In Vivien Goldman's new liner notes, Esteban notes that Suspense sounds "less Lizzy than the other records, less open," but in splitting herself into two – English and Francophone – the album has two personalities too; oddly, it shines a light on the real Descloux that her cultural experiments never did.

Though the initial aim was to make a folky, acoustic album, the pop sound suited the singer, and “A Room In New York” is as fine and sparky as AOR gets. But when early single “Gueule D’Amour/Cry of Love” stiffed, EMI lost confidence and buried the LP. Bound by her contract to the label, Descloux moved away from music and focused on painting. She eventually settled in Corsica, the French island, where she died, aged 48, of cancer. Descloux's musical career ended, therefore, with the aptly titled Suspense. It was only a matter of time before this furiously creative artist's work was re-evaluated, and with these deluxe reissues, that time is now.

TRACK LISTING

01 Gueule D’amour
02 Cape Desire
03 Salomé
04 Vroom, C’est La Voie Lacée
05 The Long Goodbye
06 2 Femmes À La Mer
07 L’heure Bleue
08 Once Upon A Time Out
09 Echec Et Mat
10 A Room In New York
11 Gypsy Flame (English Version) (Bonus Track)*
12 Lucky Strike Drive (English Version) (Bonus Track)*
13 Playtime 4:13 (English Version) (Bonus Track)*
14 Hurricane 4:26 (English Version) (Bonus Track)*
15 Calypso Moguls (7” Version) (Bonus Track)*
16 Calypso Moguls (Tender Dub) (Bonus Track)*
* Bonus Tracks Available On CD And LP Download Card

For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon. Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct. They also perfectly illustrate Larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through. This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago’s toughest neighborhoods. Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive – what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul. Each format includes a unique booklet with the story of Larry Dixon and his friends, written by Jacob Arnold, along with numerous pictures and documents previously never published. Artwork is by Al Kent from Million Dollar Disco.

TRACK LISTING

CD:
CD1 - Larry Dixon - I’am So In Love + Can’t Price Love
1 - I'm So In Love
2 - Together
3 - Hey Girl
4 - Free Me
5 - What I Am
6 - Body
7 - Show Me The Way
8 - Star Time
9 - Can't Price Love
10 - Make Up Your Mind
11 - Dance To The Beat
12 - Can't Price Love - Instrumental
13 - Wait For Me
14 - The Only One
15 - Doing What Comes Naturally
16 - Wait For Me (Instrumental)

CD2 - Larry Dixon & Friends - Rare Singles, Instrumentals And Lost Tapes. Chicago 1971-85.
1 - Larry Dixon Group Soulful Spades - Next Time (Part 1) *
2 - Larry Dixon - The Only One
3 - Larry Dixon - Don’t It Make You Dance
4 - Larry Dixon - Star Time 7” Version
5 - Larry Dixon - You’re On Your Own
6 - Charles Parks III & The High Society Players - Space Caravan *
7 - Charles Parks III & The High Society Players - Groove It All Night *
8 - Larry Dixon - Feelings (Feel So Fine) *
9 - Larry Dixon - Being With You *
10 - Charles Parks III & The High Society Players - Love We Had Demo Instru. *
11 - Chuck-A-Luck - Ready For Your Touch *
12 - Larry Dixon - Love In Your Heart
13 - Chuck-A-Luck - That Kind Of Love *
14 - Larry Dixon - Love Has Come Back
15 - Larry Dixon - Saturday Night
16 - Chuck-A-Luck - Ready For Your Touch (Jerome’s Dub) *
17 - Larry Dixon - Feelings (Feel So Fine) (Instrumental) *
18 - Larry Dixon Group Soulful Spades - Next Time (Part 2)
19 - Charles Parks III & The High Society Players - Space Caravan Instrumental *
18 - Chuck-A-Luck - Ready For Your Touch (Instrumental) *
* Previously Unreleased

4 X 12” LP Boxset:
LP1 - Larry Dixon - I’am So In Love
A1 I'm So In Love
A2 Together
A3 Hey Girl
A4 Free Me
B1 What I Am
B2 Body
B3 Show Me The Way
B4 Star Time
Originally Released In 1980 By LAD Productions Inc. Cat# LD – 8002

LP2 - Larry Dixon - Can’t Price Love

A1 Can't Price Love
A2 Make Up Your Mind
A3 Dance To The Beat
A4 Can't Price Love - Instrumental
B1 Wait For Me
B2 The Only One
B3 Doing What Comes Naturally
B4 Wait For Me (Instrumental)
Originally Released In 1984 By LAD Productions Inc. Cat# LD - 8404

DLP 3/4 - Larry Dixon & Friends - Rare Singles, Instrumentals And Lost Tapes. Chicago 1971-85.

A Side
1 - Larry Dixon Group Soulful Spades - Next Time (Part 1) *
2 - Larry Dixon - The Only One
3 - Larry Dixon - Don’t It Make You Dance
4 - Larry Dixon - Star Time 7” Version
5 - Larry Dixon - You’re On Your Own

B Side
1 - Charles Parks III & The High Society Players - Space Caravan *
2 - Charles Parks III & The High Society Players - Groove It All Night *
3 - Larry Dixon - Feelings (Feel So Fine) *
4 - Larry Dixon - Being With You *
5 - Charles Parks III & The High Society Players - Love We Had Demo Instru. *

C Side
1 - Chuck-A-Luck - Ready For Your Touch *
2 - Larry Dixon - Love In Your Heart
3 - Chuck-A-Luck - That Kind Of Love *
4 - Larry Dixon - Love Has Come Back
5 - Larry Dixon - Saturday Night

D Side
1 - Chuck-A-Luck - Ready For Your Touch (Jerome’s Dub) *
2 - Larry Dixon - Feelings (Feel So Fine) (Instrumental) *
3 - Larry Dixon Group Soulful Spades - Next Time (Part 2) *
4 - Charles Parks III & The High Society Players - Space Caravan Instrumental *
5 - Chuck-A-Luck - Ready For Your Touch (Instrumental) *
* Previously Unreleased

10 X 7” LP Boxset:

1 - Larry Dixon Group Soulful Spades - Next Time
A - Next Time (Part 1) (Unreleased Version)
B - Next Time (Part 2)
Originally Released In 1971 By Square Deal, MRDA Inc. Cat# 8313.

2 - Larry Dixon - Star Time
A - Star Time
B - You’re On Your Own
Originally Released In 1979 By LAD Productions Inc. Cat# LD 7901.

3 - Larry Dixon - The Only One
A - The Only One
B - Don’t It Make You Dance
Originally Released In 1982 By LAD Productions Inc. Cat# LD-8203.

4 - Larry Dixon - Dance To The Beat
A - Dance To The Beat
B - Wait For Me
Originally Released In 1984 By LAD Productions Inc. Cat# LD-8405.

5 - Larry Dixon - Love In Your Heart
A - Love In Your Heart
B - Love Has Come Back
Originally Released In 1985 By LAD Productions Inc. Cat# LD-8506.

6 - Larry Dixon - Saturday Night
A - Saturday Night
B - Saturday Night Instrumental
Originally Released In 1985 By LAD Productions Inc. Cat# LD-8707.

7 - Larry Dixon - Being With You
A - Being With You
B - Feelings (Feel So Fine)
Previously Unreleased. Cat# LD-1508

8 - Charles Parks III & The High Society Players - Space Caravan
A - Space Caravan
B - Space Caravan Instrumental
Previously Unreleased. Cat# LD-1509

9 - Charles Parks III & The High Society Players - Groove It All Night
A - Groove It All Night
B - The Love We Had (Demo)
Previously Unreleased. Cat# LD-1510

10 - Chuck-A-Luck - Ready For Your Touch
A - Ready For Your Touch
B - That Kind Of Love
Previously Unreleased. Cat# LD-1511