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

Listen - https://www.youtube.com/watch?v=aWgDKIr3VmQ&feature=youtu.be 2000 only worldwide on pink vinyl. Who’s Been Having You Over is the first single from Peter Doherty, The Libertines and Babyshambles new band, The Puta Madres. Paradise Is Under Your Nose will be the second single. This special RSD release brings both digital only singles together. These mixes are exclusive to this RSD release and wont be on vinyl again. Peter Doherty & The Puta Madres release their eponymously titled debut album on Friday 26th April though Strap Originals. ‘Peter Doherty & The Puta Madres’ was recorded live to beautifully capture the essence and spirit of the Puta Madres at a family home overlooking a fishing village in Étretat Normandy, over 4 days last summer and mixed at Urchin Studios (East London). The album is engineered by Dan Cox (Laura Marling, Thurston Moore, Florence & The Machine)and produced by Jai Stanley (long time friend and manager). ‘Peter Doherty & The Puta Madres’ is a devastatingly intimate portrait of love, loss, being lost, happiness, tragedy, addiction and the power of the human soul to transcend its darker levels. All the songs from the album were road tested over the last 18 months across Europe at Festivals and headline shows. Tracks : Who's Been Having You Over (CT Single Mix) - 3.41 / Paradise Is Under Your Nose (Single Version) - 4.41

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

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

A hidden but much loved  gem from the band's early 90s output, the Dixie-Narco EP was released in 1992. Recorded at Ardent Studios, Memphis, it marked a continuation of the experimentation explored on the preceding Screamadelica album, taking in acid house, country blues and a rare Dennis Wilson cover across its four tracks. Long out of print, the 2021 RSD edition is the first official reissue since 1992. Artwork and packaging replicates that of the original EP

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 18TH 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 JUNE 20TH.

Originally released in 1998, Live OnTwo Legs documents the band's US Summer tour that year in support of the Yield album. 16 tracks, 2-LP gatefold packaging.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND 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 24TH).

TRACK LISTING

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND 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 24TH).

Peaness' double EP "Are You Sure?", featuring songs from their first ever EP "No Fun" plus previous 7" and cassette releases such as "Oh George" and "Seafoam Islands" which was originally released in 2017. As a firm fan favourite, their 'Petite Pois' as they have so affectionately named their fanbase, will be over the moon that they are finally getting a repressing of this record. Limited one off pressing on Splatter (green and yellow) coloured vinyl.

TRACK LISTING

A1 Oh George
A2 Seafoam Islands
A3 Sam Place
A4 Skin Surfing
A5 Ugly Veg
B1 Summer Song
B2 Fortune Favours The Bold
B3 I'm Not Your Problem
B4 No-One
B5 Breakfast

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Double LP expanded re-issue of Pearls Before Swine's follow up to "One Nation Underground", plus a second disc of unreleased extras including demos, rehearsals and alternative versions. With a faithfully recreated original sleeve and extensive notes, produced in collaboration with the Tom Rapp Estate. "The near-brilliant follow-up intended as a defiant condemnation of the Vietnam War, it doesn't offer anthemic, fist-pounding protest songs. Instead, Tom Rapp vented his anger through surrealist poetry, irony, and historical reference." AllMusic. "A high point in his recorded output." Goldmine. "A high of psychedelic delicacy and deceptive urgency, one of his masterpieces." Rolling Stone.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Double LP expanded re-issue of Pearls Before Swine's classic debut, plus unreleased extras, including demos, rehearsals and alternative versions. With faithfully recreated original sleeve and extensive notes, all created in collaboration with the Tom Rapp Estate. The psychedelic-folk debut from "one of the most erudite, literate minds in rock" a stunning piece of work, from the nightmarish sleeve art - the "Hell Panel" from Hieronymus Bosch's 15th century painting "Garden Of Delights" - to the strange yet powerful songs." AllMusic. "From moody, poetic gems to the anger and intensity of the bitter anti-war anthem, "Uncle John". Fiercely unique and individual sounding." Goldmine. "A high of psychedelic delicacy and deceptive urgency, one of his masterpieces." Rolling Stone.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND 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 24TH).

"Formed in 1986 in Boston, Massachusetts, Pixies are one of the key acts associated with the late 1980ís American alternative rock scene and were also considered a big influence on acts such as Nirvana, Smashing Pumpkins and Radiohead.

"Demos" comes in a Limited Edition 10î EP pressed on purple vinyl with a printed inner sleeve. The songs on this release were recorded by Pixies in March 1987 and were included in what has come to be known by diehard fans as "The Purple Tapes".

From this collection of 17 songs, 8 were chosen to comprise Pixies' first album 'Come On Pilgrim'. The 9 remaining songs are featured on this release. Available for the first time on 10" vinyl, including original demo recordings of "Here Comes Your Man", "Broken Face", "Down To The Well" & "Rock A My Soul".

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND 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 24TH).


In 2009 the reunited Pixies (Black Francis, Kim Deal, David Lovering and Joey Santiago) celebrated the 20th anniversary of their seminal album 'Doolittle' with a world tour Each night, the band performed the album in full alongside B sides from the 'Doolittle' period.

Demon Records is proud to present 'Doolittle Live In Brussels, 2009 a new essential document of this historic tour The epic 25 song set features raucous versions of 'Doolittle' era classics such as ' Debaser', 'Tame' and 'Gouge Away', fan favourite deep cuts 'Dancing The Manta Ray' and 'Weird At My School', plus an encore of Pixies' classics including 'Where Is My Mind?'.

The complete show has been newly mixed by Pixies' producer Tom Dalgety, and mastered and cut by Robin Schmidt at 24-96 Mastering.

Now released on vinyl for the first time, this Record Store Day 2023 exclusive features the complete show pressed on two translucent green and blue 140g vinyl, housed in an outer sleeve with brand new artwork with spot UV detailing and printed inner sleeves.

TRACK LISTING

Dancing The Manta Ray
Weird At My School
Bailey's Walk
Manta Ray
Debaser
Tame
Wave Of Mutilation
I Bleed
Here Comes Your Man
Dead
Monkey Gone To Heaven
Mr. Grieves
Crackity Jones
La La Love You
No. 13 Baby
There Goes My Gun
Hey
Silver
Gouge Away
Wave Of Mutilation (UK Surf)
Into The White
U Mass
Vamos
Gigantic
Where Is My Mind?

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Poison Girls "Hex" was first recorded and released in 1979. The recordings were produced by Penny Rimbaud and the band was led by vocalist Vi Subversa. Poison Girls came up on the punk wave, but Vi was obviously not your typical frontwoman. She was a 44-year-old mother, singing about life as a single parent. A unique and powerful voice both then and now. The album was recorded live in the studio, with precious few overdubs. This creates an immediacy and urgency to the performances. It bristles with the energy of anger, paranoia, hopelessness, helplessness, mental fragility and full-on anguish. Vi Subversa took no prisoners. The stunning gatefold sleeve contains new insightful liner notes by founding guitarist Richard Famous. In addition, an insert is included with complete song lyrics and rare archival band photos overseen by the Poison Girls bass player, Bernhardt Rebours. This vinyl format of ëHexí is a 2023 Record Store Day exclusive. It is an 8 song 12ì LP, to be played at 45 RPM, and pressed on Blood Red vinyl. This record, from 1979, was streets ahead of its time. Is it as important and relevant to 2023 as it was then? Listen and learn. (btw, the answer is yes)

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

POLIÇA, founded by vocalist Channy Leaneagh and producer Ryan Olson out of the ashes of Minneapolis collective Gayngs, and featuring Drew Christopherson, and Ben Ivascu on drums and Chris Bierden on bass, came seemingly from nowhere with their debut ‘Give You The Ghost’, released in April 2012 and which became one of that year’s most beloved albums. 

Born out of a tumultuous, head spinning subsequent 18 months POLIÇA released their second album Shulamith in October 2013, the album named in homage to pioneering feminist activist and thinker Shulamith Firestone with cover banned by Apple and hit singles including “Chain My Name” and the Justin Vernon featuring “Tiff”.

Musically, ‘Shulamith’ demonstrated an increased mastery and extension of the unique sonic palette that POLIÇA mined on their debut album. The recording process was naturally a more collaborative process than their debut, with the band reacting to and working off Olsen’s beats, drawing on elements of R&B, electronica and dub to create a sound that, already, this early in their career, is uniquely and identifiably their own. Leaneagh’s continued exploration of, and increased control over the effects processor to manipulate and enhance her already outstanding voice take her vocals to new and unusual heights.

'Shulamith' reaffirmed POLIÇA as one of the most fascinating and vital groups in forward-thinking pop. Ultimately, Channy succinctly summed up the ideas and themes behind ‘Shulamith’, and POLIÇA as follows: “Drums. Bass. Synths. Me, Women”.

2023 marks 10 years since the release of 'Shulamith' and this double LP edition comes on blue opaque vinyl.

TRACK LISTING

Chain My Name
Smug
Vegas
Warrior Lord
Very Cruel
Torre
Trippin
Tiff (featuring Justin
Vernon)
Spilling Lines
Matty
I Need $
So Leave

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND 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 24TH).

This is the first-ever physical pressing of fan favourite track ì7 Secondsî and includes never previously heard demo of track from Top 40 Album - 'Waterslide, Diving Board, Ladder To The Sky'. The release will be hand numbered and limited to 1000. ì7 Secondsî has amassed over 3.4 million streams and the bandís press/radio history includes: 6Music Playlist (A Rotation), The Observer/Guardian, Pitchfork, Rolling Stone UK, Line of Best Fit, i Paper & Mojo alongside a Mercury Nomination.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND 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 24TH).

On vinyl for the first time, these lost recordings from my wilderness years of 1989-1996 contain two of my favourite ever solo compositions in ëAstral Girlí and ëSunken Shipsí. For me, the latterís incendiary guitar, played by a then very young Micheal Mooney (Psychedelic Furs, Julian Cope, Spiritualized) is worth the price of admission alone. - Paul Simpson 2022 Paul Simpson was a founder member of The Teardrop Explodes, and is best known for his work as frontman of Liverpool post-punk band The Wild Swans. Their single ëThe Revolutionary Spirití so typified the genre that Cherry Red Records chose it to name their box-set focussing on the ësecond waveí of Merseyside music. Alongside a new Wild Swans album, Paulís autobiography ëRevolutionary Spirit - A Post-Punk Exorcismí is published in 2023. ìNot only was Revolutionary Spirit by far the best single that we put out at Zoo, but The Wild Swans captured that young manís idealistic vision thing better than any other bunch of English young men since The Brotherhood first put paint to canvas back in the 1950s.î All copies come with a signed Art print and it is pressed on 'Astal Girl Blue' Vinyl

First ever vinyl reissue of Paul Weller’s sixth solo studio album Illumination. Originally released in September 2002, the UK #1 album includes the hit singles “It’s Written in The Stars” (#7) and “Leafy Mysteries” (#23) with guest performances from Carleen Anderson, Jocelyn Brown, Kelly Jones and Noel Gallagher. Features faithful original packaging replication including bespoke sleeve with rounded corners, cut at London’s Metropolis Studios and pressed on 180g vinyl at MPO in France.

Science City is the second LP from dream pop duo Parekh & Singh. If their debut Ocean conjured a lush landscape populated by magical creatures, Science City sees our sharpsuited star-gazers materialising in another dimension - a retro-future world of doctors and scientists, quantum mechanics and plans to unlock the secrets of the “Universosphere”. Parekh’s divine vocals once again backed by vintage synths and Singh’s expertly effervescent percussion. Opener Sunbeam depicts an ‘AI being’ blinking in the sun whilst contemplating its own obsolescence. Down at the Sky is an Escher-like search for truth and Hello is described curiously as “creamy music for advanced nighttime driving on deserted streets”. The ennuidrenched Summer Skin opens a hazy portal to the bucolic, where we find our singer alone with an acoustic guitar, pondering the “momentariness of life”. Be Something’s squelchy synths and xylophone runs channel a rainy day Steely Dan. While Evening Sun soars over circuit board landscapes, with 8-bit laser gun FX pulsing by, Monkey depicts a video game set in a luminous forest biosphere. Following Surgeon’s dissection of the dark heart of the infosphere, the prog-pop splendour of 100 Shadows journeys below “our troubled surface world” to a secret kingdom of synthesisers. For all the talk of “particle physics” and “aerodynamics”, it’s love that sustains life in the dreamlike Fwd Slash. The limpid beauty of soul-pop gem Crystalline brings Science City to a suitably sublime conclusion.

TRACK LISTING

1. Sunbeam
2. Down At The Sky
3. Hello
4. Summer Skin
5. Be Something
6. Evening Sun
7. Monkey
8. Forward Slash
9. Surgeon
10. One Hundred Shadows
11. Crystalline

Science City is the second LP from dream pop duo Parekh & Singh. If their debut Ocean conjured a lush landscape populated by magical creatures, Science City sees our sharpsuited star-gazers materialising in another dimension - a retro-future world of doctors and scientists, quantum mechanics and plans to unlock the secrets of the “Universosphere”. Parekh’s divine vocals once again backed by vintage synths and Singh’s expertly effervescent percussion. Opener Sunbeam depicts an ‘AI being’ blinking in the sun whilst contemplating its own obsolescence. Down at the Sky is an Escher-like search for truth and Hello is described curiously as “creamy music for advanced nighttime driving on deserted streets”. The ennuidrenched Summer Skin opens a hazy portal to the bucolic, where we find our singer alone with an acoustic guitar, pondering the “momentariness of life”. Be Something’s squelchy synths and xylophone runs channel a rainy day Steely Dan. While Evening Sun soars over circuit board landscapes, with 8-bit laser gun FX pulsing by, Monkey depicts a video game set in a luminous forest biosphere. Following Surgeon’s dissection of the dark heart of the infosphere, the prog-pop splendour of 100 Shadows journeys below “our troubled surface world” to a secret kingdom of synthesisers. For all the talk of “particle physics” and “aerodynamics”, it’s love that sustains life in the dreamlike Fwd Slash. The limpid beauty of soul-pop gem Crystalline brings Science City to a suitably sublime conclusion.

TRACK LISTING

1. Sunbeam
2. Down At The Sky
3. Hello
4. Summer Skin
5. Be Something
6. Evening Sun
7. Monkey
8. Forward Slash
9. Surgeon
10. One Hundred Shadows
11. Crystalline

Poppy Ajudha epitomises the uniquely diverse musical culture that exists in London. Her South London, St. Lucian-British background, the scene she has grown up in, and the musicians and creatives she regularly works with have all been pivotal in the forward thinking, socio-politically aware unique blend of R&B, Soul and Pop that she creates. Unafraid to stand up for what she believes in, her lyrics speak of the feminism, colonialism, gender politics, current social issues and more.

Speaking on her upcoming debut album, Poppy says:
“This album is made up of all the things swimming in my mind, from women’s rights, to the right to cross borders, to the power of young people to inspire and be unafraid to rock the boat in the name of progress. Women don’t have to be just what they are taught to be, there is so much more to us than Mothers, Sisters, Daughters, Girlfriends and our relation to men. I want men to engage more heavily in feminism and really see how their defiance against it only holds both women and men back. There are so many boxes we put ourselves in; I want us all to break out of them. We are in an era of so much information and I feel the weight that young people take on because we are the generation bombarded with global politics and a million causes that need fighting for. This calls for better understanding around mental health and a society that nurtures us rather than demands of us everything we have until all that is left is our Demons. Every song on this album touches on these issues because they are all I think about everyday, all I see around me in my friends and my family. I hope it flips a switch in your mind, like it did for mine.”

The album features a host of stellar production including Joel Compass (Jorja Smith, Snoh Allegrah, FKA Twigs, Mabel), Karma Kid (Dua Lipa, Octavian, Arlo Parks, Shy Girl), Wyn Bennett (Janelle Monet, Goldlink, Haim), Itai Shapira (Grammy nominated, Baby Rose, Rhye, Kadjha Bonet), Wesley Singerman (Anderson Paak, Kendrick Lamar, Pink Sweat$)

TRACK LISTING

1. Who's Future? Our Future!
2. Playgod
3. Holiday From Reality
4. Mothers Sisters Girlfriends
5. Interlude / Reclaim Yourself
6. Demons
7. Interlude / All For You
8. Fall Together
9. Fall Together Outro (Ft. Nubya Garcia)
10. Land Of The Free
11. London's Burning
12. Power You Might Share

With the onset of the 1990s and the conclusion of The Weather Prophets, Pete Astor was in the mood for some artistic regeneration. To this end, he recruited a new group of musicians and friends, forming The Holy Road. The band consisted of erstwhile Felt and Everything But The Girl guitarist Neil Scott, bassist Chris Clarke, (soon to become a key member of both The Rockingbirds and Danny and the Champions of the World), and drummer Russell Lax, late of The Oyster Band and Billy Childish's Pop Rivets. And so arrived Paradise, becoming for many the album in which Astor, along with The Holy Road, most perfectly expressed his indubitable facility as a singer and songwriter. Only ever released in France, in 1992 twenty-seven years later, with Tapete's re-release, Paradise is a vital addition to a body of work which sounds as good now as it did then. 

This is a record born through time; seasoned and erudite Indie auteur, ex leader of Creation Records favourites The Loft and The Weather Prophets, Pete Astor brings together strands and tributaries in his work over the years, mining timeless guitar pop to frame wry lyrical insights and melodic hooks, making music for today, with a true line from the past and an eye to the future. Having released Spilt Milk (Fortuna Pop!) in 2016 to an overwhelmingly positive response, Astor continues the musical spirit of that album with James Hoare (Ultimate Painting, Proper Ornaments, Veronica Falls) remaining a mainstay on guitar. He is now joined by The Wave Pictures rhythm section of Franic Rozycki on bass and Jonny Helm on drums; Pam Berry of Withered Hand and Black Tambourine contributes vocals. 

This is a record born through time; seasoned and erudite Indie auteur, ex leader of Creation Records favourites The Loft and The Weather Prophets, Pete Astor brings together strands and tributaries in his work over the years, mining timeless guitar pop to frame wry lyrical insights and melodic hooks, making music for today, with a true line from the past and an eye to the future. Having released Spilt Milk (Fortuna Pop!) in 2016 to an overwhelmingly positive response, Astor continues the musical spirit of that album with James Hoare (Ultimate Painting, Proper Ornaments, Veronica Falls) remaining a mainstay on guitar. He is now joined by The Wave Pictures rhythm section of Franic Rozycki on bass and Jonny Helm on drums; Pam Berry of Withered Hand and Black Tambourine contributes vocals. 

In my 50s I realised that the past slowly becomes a bigger country than the future. As always, the future is where I’m headed, but now the past and all that comes with it is stacked up behind me. And, as time on earth passes, more and more of my contemporaries have started to disappear from the planet.

I’ve made 11 albums of new material since 1987. I realise that anything I’ve ever thought that mattered, that told the real story, is in those records. It’s been 5 years since my last album of new songs. Perhaps more than before, there’s been plenty of time over the last few years to think and reflect. Like every set of work, Time on Earth is an attempt to make sense of life by making work about it.

As erstwhile editor of the NME and Q, journalist Danny Kelly wrote recently while interviewing The Loft: ‘a lifetime of listening to them has led me to believe that Pete Astor’s songs would have always found a way to reach an audience. If he’d been a Californian baby boomer, he’s have ended up in the Capitol Records building in Los Angeles, laying down late-night grooves with the Wrecking Crew for a largely-neglected, slightly gloomy, pop album that’d now be worth a fortune. If he’d been born into post-War Britain, earnest girls in sweaters would’ve fallen in love with him, and his songs, in Embassy-fogged folk clubs.’ Of course, I love this quote. And I believe that Time on Earth is most of these things. But then I would say that, wouldn’t I?

Time on Earth has songs which were written in direct response to loss and bereavement (Undertaker, Fine and Dandy); songs striving for different kinds of belief (New Religion, Time on Earth, Miracle on the High Street); stories from either end of the cycles of life (Sixth Form Rock Boys, English Weather). And a few still searching for fulfilment of the heart. (Stay Lonely, Grey Garden, Soft Switch).

I was lucky enough to be able to make the music with the help of multi-instrumentalist Ian Button (Wreckless Eric, Death in Vegas, Papernut Cambridge) on the drums, bass maestro Andy Lewis (Spearmint, Paul Weller, and DJ at London’s legendary Blow Up Club and Soho Radio), long time guitarist Neil Scott (Everything But the Girl, Denim) and last but by no means least, Sean Read (Dexys, Edwyn Collins, Rockingbirds) who recorded and produced the album at his Famous Times Studios. As you would expect, I’m convinced it’s the best record I’ve made.

Pete Astor is a musician, writer and educator. He led Creation Records’ groups The Loft and The Weather Prophets, writing songs and releasing records that helped define the sound of the label and the emerging Indie genre. He has gone on to a lengthy solo career since then; writing, recording and releasing music on a range of labels including Matador, Heavenly, Warp, EMI and Fortuna Pop. He is Senior Lecturer in Music at the University of Westminster. As well as touring extensively, he also makes records with David Sheppard as Ellis Island Sound and releases his spoken word work as The Attendant on his label Faux Lux with the help of Ian Button. Since 2017 Astor has been signed to Tapete Records, home to Robert Forster, Lloyd Cole and Comet Gain among many estimable others.

TRACK LISTING

1) New Religion
2) English Weather
3) Stay Lonely
4) Time On Earth
5) Miracle On The High Street
6) Sixth Form Rock Boys
7) Soft Switch
8) Grey Garden
9) Undertaker
10) Fine And Dandy

Spilt Milk is the brand new album from indie auteur Pete Astor (The Loft, The Weather Prophets). It was recorded onto ½ inch tape at the home studio of James Hoare of Ultimate Painting, The Proper Ornaments and Veronica Falls, with James playing guitar, bass, drums, keyboards and singing backing vocals. “He was”, says Astor, “an amazing band.” Other contributions came from members of Astor's live band, with Pam Berry (Black Tambourine, Withered Hand) supplying vocals, Jack Hayter (Hefner) on pedal steel, Alison Cotton (The Left Outsides) on viola, and Robin Christian (Male Bonding) and Susan Milanovic (Feathers) on drums.

The album has all the hallmarks of a future Pete Astor classic, drawing together key strands and tributaries of his work over the years, blending intuitive songwriting, acute lyrics and incisive melodies. After many years making more experimental, electronic music Astor has come full circle to the sound that made his name. From the opening track “Really Something” to the recent single “Mr Music” (a favourite of Marc Riley and Gideon Coe on BBC 6 music) the album’s re-connects Astor’s bespoke guitar pop with his long-standing embrace of The Velvet Underground’s musical DNA. Other standout tracks include “My Right Hand”, a hymn to everyone’s best friend, with guest appearances from Tony Hancock, Marvin Gaye, Philip Larkin and a host of ex-girlfriends; the slow burning drama of “The Getting There” recalling the atmospheres of Astor’s 80s kindred spirits, The Go-Betweens. Also, there is the wry drive of “Very Good Lock”, summed up by Astor as “a description of an injurious medical condition that often affects the male of the species”.

Elsewhere there are the gorgeous harmonies of the grown up country lament “Good Enough”, which wouldn’t be out of place on one of George Jones’ most heartbroken albums. Spilt Milk is part of a continuum: from Astor’s beginnings with The Loft and The Weather Prophets on Creation Records in the 1980s, via his solo work through the 1990s and his more left field albums with The Wisdom of Harry and Ellis Island Sound on Matador Records, Heavenly and Peacefrog, through to his return to solo work with the Songbox album in 2012.

TRACK LISTING

1. Really Something
2. Mr. Music
3. My Right Hand
4. Perfect Life
5. The Getting There
6. Very Good Lock
7. Good Enough
8. There It Goes
9. Sleeping Tiger
10. Oh You

‘SEE HOW’ is Pete’s first solo album since 2007’s ‘You, Me and Bill Withers’ (“imagine if Gil Evans and Miles Davis had written for the band in Trumpton.” Uncut Magazine). ‘SEE HOW’ explores the life Pete has lived since then - what it's like to be a divorced, homeless, fifty-year-old father of two with a guitar and a head full of great songs. Pete’s earlier work received much critical acclaim, but ‘SEE HOW’ contains a truthfulness and grit that only a decade of difficult times can produce. Although the album explores themes of emotional upheaval and life-changing events, which should be familiar to many people Pete’s age, his lyrics always manage a wry smile at life’s vicissitudes. All this is set to seductive melodies melded with lilting arrangements. It’s sophisticated songwriting taking in folk, country and pop, amongst which, in the past, has seen Pete compared to Squeeze and The Beatles, as well as vocally compared to Stephen Duffy and Kevin Rowland at his quiet best. ‘See How’ also features some very fine guitar playing – playing that has seen Pete in high demand as a session guitarist. See How’ also includes a cover of Pharrell's 'Happy'. Aside from his solo output Pete has played guitar with the High Llamas for many years and worked with Lee Hazlewood, Petula Clark, Nick Lowe, Shirley Collins, The Lost Ladies Of Folk and Harry Hill among others. 

TRACK LISTING

Just Like A Song
Cold Llamas
God Bless The Poor
Rien De Rien
To His Recumbent Infants
Happy 
Blues For Bob & Cliff
Words Idle Words
The Complainant
Baybee Dayz

Peter Barclay recorded at home and produced two barely-released albums, 1990’s dreamlike Acceptance and 1992’s synth pop What Kind Of World, winning over the few who heard them. But fame outside his small circle was not to be, and Barclay was lost in the late-’90s crest of the AIDS epidemic. Rediscovered for a new generation, this is queer music at its finest.

From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. His first two solo works are now being reissued with extensive liner notes and rare photographs. The influence of Tangerine Dream can clearly be heard on "Romance 76", although the arrangements are comparatively minimalist-a state of affairs for which David Bowie can be held partially responsible (see below).

With Peter Baumann on board, Tangerine Dream grew into one of the most influential bands in electronic Krautrock, sited somewhere between experimental electronica and progressive rock. Open to new ideas, Baumann's positive aura and eagerness to experiment galvanized the band's music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts.

After five years of chart appearances and extensive touring through Europe and North America, punctuated by several albums-including "Atem", John Peel's nominated import album of 1973-Baumann called time on his solo career with "Romance 76". "We found some time between tours and record productions, so Edgar recorded a solo disc and helped Christoph and me to develop our own music too. 'Romance 76' resulted from the urge to create new music. I felt we had begun repeating ourselves in Tangerine Dream and I was keen to discover new things, to carry on experimenting. Improvisation had been common to us all, but on your own it isn't quite so simple. I started to work on my own pieces." This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history, but that's another story.

Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record "Romance 76". Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system christened "The Big One" can be detected on "Romance 76", for example, along with a Mellotron.

Some tracks on the album, such as "Romance" and "Phase By Phase", are relatively minimalist in character. This airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: 'Leave it as it is, there's enough there already.'" At which point Baumann decided to look at the tracks in question as finished.

TRACK LISTING

1. Bicentennial Presentation (4:52)
2. Romance (6:08)
3. Phase By Phase (7:41)
4. Meadow Of Infinity Part I (3:48)
5. The Glass Bridge (3:45)
6. Meadow Of Infinity Part II (6:45)

Following my recent phone call with Prof. Benson, I left him to continue his 92nd birthday celebrations with his family. We'd talked about his life, his music, his achievements. Throughout our conversation it struck me what a kind, humble and pleasant man he was. I felt that I was in the presence of greatness – not the egotistical greatness that emanates so often from high achievers, but that of someone who had simply won at life.

"I was a music teacher. I wasn't trying to make a record to compete, I was trying to make a record so the students would have something to remember the experience that we had... I was doing it for the kids."

It was 1973 that Prof. James Benson had self-funded his private press LP for the benefit of the teenage musicians he tutored at Cal Poly, California. The album was a momentous achievement for him and his young protegees, something they were all proud of, and rightly so. Taking inspiration from their recent trip to Africa and blended with the radical jazz associated with the young minds of early '70s black America, the Gow-Dow Experience is a unique foray into the enthusiastic mindset of up-and-coming jazz musicians, as encouraged by their mentor Prof. Benson.

We present the album as it was released in 1973 with a heavyweight tip-on jacket and 180g vinyl or on CD. We also include an insert with liner notes and photos provided courtesy of Prof Benson. The LP and CD come with 4 additional tracks taken from the recording session. Until now these tracks have never been heard since the day they were recorded - believe me, they're worth the wait!

Made with love from Jazzman - because we love to dig deeper!

TRACK LISTING

1. Nigeria, West Africa
2. Song For My Black Mother
3. Barry Rae
4. Compared To What
5. Malcolm IX
6. Spring 2000
7. Brother Don
8. Psychedelic Sally
9. Compared To What (Alternate Take)
10. You Are Arrogant
11. Brother Don (Alternate Mix)

The Liverpool ‘Kitchencore’ band follow up their critically received album England’s Up For Sale in 2020 with their most commercial and musically ambitious album to date. Full of razor-sharp lyrics and musical twist and turns, What’s On The Inside Has To Come Out is briming with energy and ideas.

Whereas the previous album was an observational, sparse, post-punk style snap-shot of a Brexit Britain, the new record has a more personal style with witty tales of northern, working class life in songs like I’m Shy, Mum & Dad, Money & Art and the title track What’s On The Inside Has To Come Out, that you can easily relate to.

Through the bands constant gigging and riotous theatrical live shows, they have gained a big reputation as a great live act with festivalflyer.com including them in their list of the top festival bands in the UK. However, behind the fun and theatrics, the band have always had something serious to say.

The album has their usual garage punk and artrock sound fused with post-punk, folk and even gospel elements for a more eclectic record that should please their hardcore fans and those new to their lo-fi but accessible sound. This is a joyous, life-affirming record for the post-Covid era, by the ultimate people’s band... This is Kitchencore!

TRACK LISTING

1. What's On The Inside Has To Come Out
2. Mum & Dad
3. I'm Shy
4. Money & Art
5. In Toxteth
6. Elvis In My Dreams
7. Life Is Beautiful
8. Kind
9. Happy Birthday Syd
10. Jarg Bizzie
11. Badges
12. Everybody Has A Song

Hell Yeah heads to Brazil and the cultured sounds of Pedro Bertho for a hot new 12" that features Mariana Gehring and remixes from Romain FX and My Friend Dario. The digital version includes two bonus cuts while the vinyl is the first to have all-new artwork by FJD.

Now based in France, inclusive party promoter Pedro Bertho’s music is a melting pot of sound that draws on his own personal heritage and a life spent digging for records. That means that afro rhythms, Italo melodies, rolling reggae, deep house, and plenty more all get mixed up into something new.

They have come on the likes of Cracki Records and always search out innovative ways to bring euphoria to the dance floor.

For the first tune, he works with Mariana Gehring, a Sao Paulo-based singer and composer influenced by new MPB and other signature Brazilian sounds like Forro, Maracatu and Samba.

Their excellent 'Tornei' is a mix of full-fat bass and sensuous vocals. Fizzing synths, percussion and FX bring the energy while Gehring arrives in the breakdowns to bring the spine-tingling soul. Romain FX is a scene mainstay, label head at fauve, boiler room veteran and has released on the likes of Kalahari oyster cult and many more.

His version is a retro workout with lush cosmic melodies and slinky grown-up grooves sure to get the floor full.

Next is 'Elephants au 5eme', a busy mix of analogue drums and hits, wild elephant trumpets and fleshy synths that bring unusual tropical heat to any party. The same track is remixed by label regular and new school Balearic boss my Friend Dario.

He plays with the vocals, layers in shimmering chords, and keeps things dubby to make for another of his signature grooves.

TRACK LISTING

A1. Tornei Feat. Mariana Gehring
A2. Tornei Feat. Mariana Gehring (Romain Fx Remix)
B1. Elephants Au 5eme
B2. Elephants Au 5eme (My Friend Dario Remix)

Perry Blake, Sligo-born singer / songwriter, is one of music’s great untapped resources. After his first three singles - taken from his debut album - received Single Of The Week on Jo Wiley BBC Radio 1, Blake moved to France, where he was met with critical acclaim with his next four albums, touring Europe with Carla Bruni and writing two songs for Francoise Hardy’s Platinum-selling album ‘Tant de belles choses’, appearing on various TV shows in France as her special guest.

You may very well wonder what to expect of an album with American West Coast orientations from an Irishman who happens to be critically acclaimed on the Continent but is largely ignored in Britain. Thankfully, Blake lives up to his billing with apparent ease. His song writing is evidently mature and melodic; he incorporates lush orchestral arrangements with tender vocals; and combines pop-like hooks with a deep sonic texture.

‘California’ is a thriving and absorbing collection of songs in which orchestral arrangements strain with emotion, melodies thrive and bloom, like The Verve at their peak, though far more fragile and balmy.

‘California’ is ether for the soul - a truly magnificent and touching collection of frankly beautiful songs, which is up there with class of Bryan Ferry, The Blue Nile and anyone else who can turn a night around.

Blake’s glimpses of people living a state of mind is one of those great escapes it’s very hard to get away from. His gift here is to take a subdued, grown-up collection of songs but make them sound like they deserve daytime radio.

TRACK LISTING

This Life
California
Pretty Love Songs
Saying Goodbye
The Road To Hollywood
How Can The Knower Be
Known
Ordinary Day
A Face In The Crowd
Morning Song
Venus Of A Canyon
The Earth From Above

Bonus 7”
Brown Eyes
The Earth From Above

Released for the first time on vinyl, Perry Blake's critically acclaimed, self-titled debut album will be released with 3 stunning bonus tracks, Killing Time, Ulysses The Sorrow of Spring...

Perry Blake is a deep and complex album, full of dark melancholic masterpieces that is a swirl of deep, emotional & haunting vocals, which gained him an abundance of 5 star reviews across the UK & Europe...

With his first 2 singles from this album, ‘The Hunchback of San Francisco’ and ‘Genevieve’ were Jo Whiley singles of the week on BBC Radio 1 in the UK...

Perry Blake, Sligo-born singer / songwriter, is one of music’s great untapped resources. After his first 3 singles taken from his debut album, received Singles of the week on Jo Wiley BBC Radio 1, Blake moved to France, where he was met with critical acclaim with his next 4 albums, touring Europe with Carla Bruni and wrote 2 songs for Francoise Hardy’s platinum selling album ‘Tant de belles choses’ appearing on various TV shows in France as her special guest…

TRACK LISTING

1. Little Boys & Little Girls
2. The Hunchback Of San Francisco
3. 1971
4. Anouska (I Want To Come Home)
5. Broken Statue
6. Genevieve (The Pilot Of Your Thighs)
7. So Long
8. Naked Man
9. Widows By The Radio
10. Weeping Tree
11. House In The Clouds
12. Killing Time (Bonus Track)
13. Ulysses (Bonus Track)
14. The Sorrow Of Spring (Bonus Track)

Balearic Blah Blah is Back! After a 4 year hiatus meditating in a Mediterranean cave to escape the pandemic, the incognito label re-emerges with aplomb delivering you 4 very special edits from man of the moment – Pete Blaker. Pete Blaker is the man behind a bunch of magical edits which made their way into DJ Harvey’s record box and lit up the world’s best dancefloors including Barbarella’s and Pikes Ibiza throughout summer 2019 and 2021, 2022. Harvey attendees will be familiar with the sensational edits of ‘You Got the floor’ Donna not Donna’ ‘One Of These Nights’ ‘Elkie’ and ‘You Don’t Fool Me’ and so many others which provided ‘moments’ on the dancefloors to remember.

TRACK LISTING

A1. Grace
A2. Slave & Jones
B1. Tina
B2. Elkie

To commemorate the latest release from French house genius/madhead Pepe Bradock, I'd like to share an anecdote from Piccadilly regular Phil Wynn. Way back in the mists of early millenial time, Phil was rocking the decks at the Music Box in support of the master of all things deep and dislocated. Pepe arrived to the party late but far from louche, impeccably clad from head to toe in a freshly pressed and pristine Judo uniform, without the merest hint of a sense of humour. If that isn't proof of pure musical eccentricity, then perhaps "Willplayasong4u" is, moving our bodies with growling bass swells, blasts of syncopated jazz drumming, filtered keyboard vamps, modem madness and celestial keys, all blended into a churning mass of lysergic dancefloor delight. It's absolutely, 'Matt-Ward-talking-about-sparrows' insane, but so infectious. I don't know how he does it, or even what it is he does, but he certainly does the trick. "KM Zero" sees Pepe repurpose a dial-up modem, dissect a ouija board and wrap the whole thing around a fizzing rhythm section of bassy bubble and percussive shuffle to create a dense and dislocated slice of outsider funk for the cosmic weirdos out there. Pepe dives straight through the interdimensional portal with "@#&$* Square Tones", a skewed sound experiment with only a hint of rhythm, before "Pepe XXX" takes that well trodden path into yacht rock shangaan electro trap (new genre section?) - Mint!

Daylight Saving Records release the new solo album by Field Music’s Peter Brewis. The record is Peter’s first solo venture since 2008’s The Week That Was and follows collaborative albums with Paul Smith (on 2014’s Frozen By Sight) and Sarah Hayes (on 2019’s You Tell Me). The album was recorded over the last year at the Field Music studio in Sunderland, and features contributions from Peter’s brother David, Sarah Hayes and Peter’s son Alexander.

Peter’s work with Field Music, and across all the parallel projects he’s undertaken, has always been characterised by curiosity; an urge to find new musical and lyrical avenues to explore, to mine under-appreciated influences, to combine disparate musical strands. Blowdry Colossus makes this tendency more explicit than ever.

“I wanted to make something where the music was the focus.” says Peter, “With songs, the lyrics tend to carry the meaning: ‘This song is about...'. I wanted the music to be the meaning - the melodies, harmonies, sounds, structures.”

The mostly-instrumental album takes cues from the knowing exotica of Yellow Magic Orchestra, the quizzical tunefulness of Thelonious Monk and the pastoral abstractions of Penguin Cafe Orchestra. It also has more than a touch of the hyperactive fizz of 8-bit game soundtracks. And like Kraftwerk’s records of the mid and late-70s, this is synthesizer music as art music rather than dance music. But where Kraftwerk took the melodic purity of Schubert and gave it a chilly formality, on Blowdry Colossus, Peter takes the same elevation of melody and plunges it into a kind of playful chaos, heavy with rhythmic ingenuity.

The record is also heavy with sonic mutation. A piano is fed through a ring-modulator until it resembles a flute. A flute combines with an old casio and becomes a ghostly, tuneful breath. Synth drum loops morph into arpeggios of bubbles, or are remade as overdriven hiccups. And, of course, there’s the eponymous hero of the title track: a hairdryer fugue gradually giving way to a squelching, off-balance take on Zeppelin-esque riff rock.

The only lyrics on the album appear on Dog Bark Dark, a surreal wild-dog chase. “I thought I’d have one actual song on here, for something different!” says Peter, “I was thinking of YMO, Quincy Jones, early 90s dance and Captain Beefheart. And the guitar solo was meant to be the discarded bits from Steve Miller’s Abracadabra.”

Throughout the album, it feels like we’ve been diligently following the steps of the KLF’s seminal Manual, but once we were sitting in the studio, drinking tea and tinkering with the sequencer, we decided to give up on having a number one hit and keep playing purely for the joy. Hence, the foray into New Jack Swing on Generation Dial Up or the Eno-esque interlude of Warm Wind.

TRACK LISTING

Drumeoscene
Lemoncadabra
Blowdry Colossus
Second Hand Slow
Warm Wind
Generation Dial Up
Dog Bark Dark
Smith Made Up
Panda Tonic

Phoebe Bridgers doesn’t write love songs as much as songs about the impact love can have on our lives, personalities, and priorities.

Punisher, her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of Punisher cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era.

Bridgers is the rare artist with enough humour to deconstruct her own meteoric rise. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter, deadpanning meditations on the humiliating process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, Punisher is fascinated with, and driven by, that kind of impossible tension. Whether it’s writing tweets or songs, Bridgers’s singular talent lies in bringing fierce curiosity to slimy and painful things, interrogating them until they yield up answers that are beautiful and absurd, or faithfully reporting the reality that, sometimes, they are neither.

Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys). The album was mixed by Mike Mogis, who also mixed Stranger In The Alps. On the album’s epic, freewheeling closer, “I Know The End,” Bridgers orchestrates wails and horns, drums and electric guitar into a sumptuous doomsday swirl, culminating in her own final whispered roar.

This is Punisher in a nutshell: devastating elegance punctuated by a moment of deeply campy self-awareness.

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she’d caught the ear of Ryan Adams, who listened to her perform her song ‘Killer’ in his LA studio, inviting her to come back and record it there the next day. The session blossomed into the three song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City And Colour, Violent Femmes, Mitski, Television and Blake Babies among others.

Now Phoebe Bridgers releases her debut full-length, ‘Stranger In The Alps’. From the weeping strings and ‘Twin Peaks’ twangs of opening track ‘Smoke Signals’, to the simple heartbreak of ‘Funeral’ and melancholic crescendo of ‘Scott Street’, ‘Stranger In The Alps’ is a swooningly beautiful record with a gothic heart.

‘Stranger In The Alps’ features guest vocals by Conor Oberst and John Doe.

TRACK LISTING

1 Smoke Signals
2 Motion Sickeness
3 Funeral
4 Demi Moore
5 Scott Street
6 Killer
7 Goergia
8 Chelsea
9 Would You Rather
10 You Missed My Heart

Manchester solo artist, Patrick Briscoe, releases his second full length album "Colours Will Fly". The mood of this ambitious second offering undulates throughout, with the simplistic beauty of the Drake-esque "Brighter Days" to the driving virtuoso instrumental of "Behind the Light", a must have for all lovers of the acoustic guitar. Within "Portrait of England" Briscoe opens up his scrap book, revealing a Larkin like reverie which revolves in the ghostly charms of a violin in an empty room. Elements of the classic pop song appear in "Just Drifting" and the devout guitar workout of "Scars and Mountains", with the album culminating with the hypnotic "Raising Stones". Briscoe sites his influences as John Coltrane, Mozart, Mark Hollis, Beethoven, Robert Johnson and Miles Davis.

After an exhaustive five-year period in the studio re-examining and developing the relationship between himself and song writing he has arrived at a point where all the pieces have suddenly come together. His music is thick with atmosphere and images provided by innovative acoustic guitar and luscious vocals. This debut release "Give" is a collection of four songs: from the opening hypnosis of "Gone" to the final themed progressions of "Home", this record has a spell all of its own which has been captured with vital honesty.

Born January 20, 1987, he grew up in a small town in Oregon. Coming from a musical family, he started violin lessons at age 7, and in high school became interested in all different kinds of instruments. He started to play piano, guitar, banjo, mandolin, musical saw, and anything else he could find. After high school he moved to Portland, OR, where he studied music theory and filmmaking. During this time he began to play in multiple bands around town, and was able to establish himself as a regular session musician at various recording studios for artists like M. Ward. In late 2007 he was miraculously invited by some of his musical heroes, the Danish band Efterklang, to move to Copenhagen and join the live band. So he did, and since then he has toured with the band all around the world, playing hundreds of concerts, and opening many of them as a solo act. Since this move he has released several solo recordings as well. Starting with a few primarily instrumental, piano-based releases in 2007, then branching out into a completely different world with the more folky "Home" in late 2008, which has all but established Broderick as the young composer to watch – with critical acclaim from music magazines (NME/Mojo/Uncut) and broadsheet press alike. "Music For Falling From Trees", a 30-minute piece, in seven sections, created for a contemporary dance by London-based choreographer Adrienne Hart (Neon Productions). Adrienne was looking for a score of piano and strings, so he left the guitar and his voice aside and focused entirely on those two timbres. 'I decided to take this literally and make a rule not to use any other instrument. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails.'

LIMITED EDITION CD VERSION OF THE NEW PETER BRODERICK RELEASE: ITS COMES IN A SPECIAL SLIPCASE, WITH AN EXTRA BOOKLET, EACH ONE AUTOGRAPHED BY PETER BRODERICK.

October 22, 2012 will see Peter Broderick release his brand new studio album on Erased Tapes, entitled These Walls of Mine. Held together by a dialogue of voices, this album reveals Peter’s innermost thoughts in an intimate yet playful way. An exploration from gospel and soul to spoken word, beatboxing and rap – this is Peter at his most natural.

IN HIS OWN WORDS: “I had recently been experimenting at home with a microphone and a laptop, recording and uploading new songs for free online, each one alongside a photo and some words, and open to comments from the outside world. At some point Robert (Erased Tapes label founder) started listening to the music and felt compelled to encourage me to compile an album with all this material. His reaction to ‘These Walls of Mine’ (the song, not the album) was exactly how I felt about the music. I wasn’t sure if I loved it or hated it. But I loved the feeling of that uncertainty, of surprising myself and others around me. And in the end Robert got behind all the songs, which gave me the courage to finish the music for this release. These songs are best viewed as a collection of lyrical and vocal experiments. Of course the instruments and the music are important, but this album is held together by a dialogue of voices. Conversations with myself and with others. Several tracks contain lyrical contributions from friends and strangers, made possible with the help of the internet. And then I sang and sang and sang. I love singing. And I love cats.” – PETER BRODERICK.

This autumn, Erased Tapes are set to release ‘Give It to the Sky: Arthur Russell’s Tower of Meaning Expanded’ by composer and producer Peter Broderick and French 12-piece group Ensemble 0; a complete re-recording of Russell’s epic minimalist orchestral composition originally released in 1983. Released 6th October, ‘Give It to the Sky’ also includes unreleased tracks by Russell which have been restored and re-recorded, resulting in an 80-minute reanimation that threads several lost songs into a meticulous and gorgeous rendering.

Ensemble 0 weave in and out of Broderick’s additions. ‘Corky’, a poignant cowboy ballad that Russell never finished, appears, disappears, and reappears three times, the droning exhalations of ‘Tower of Meaning’ making it feel sweeter and sadder. Arriving just after the triumphant halfway mark, the title track is a sublime meditation on mere existence, about staring at some simple rural scene and marcelling at the miracle of being anywhere at all. It is an apt encapsulation of how this entire project feels – a glorious way to hear something that might have seemed familiar as if for the very first time.

Russell was never much for definitive versions, of course. He was constantly rethinking the possibilities of a piece, of wondering what else it could do. ‘Give it to the Sky’ is a powerful affirmation of those principles, using Tower of Meaning’s framework to build outward and upward, to shape something that functions within Russell’s wondrous, paradoxical world. And ‘Give it to the Sky’ is also not intended to be some definitive last word. Broderick and Ensemble 0 speak already of the ways it may shift on stage, of where else it might lead.

TRACK LISTING

A1.Tower Of Meaning I
A2. Tower Of Meaning II
A3. Tower Of Meaning III
A4. Tower Of Meaning IV
A5. Corky I / White Jet Set Smoke Trail I
A6. Consideration
B1. Tower Of Meaning V
B2. Tower Of Meaning VI
B3. Tower Of Meaning VII
B4. Tower Of Meaning VIII
B5. Tower Of Meaning IX / Corky II
C1. Tower Of Meaning X
C2. Give It To The Sky
D1. Tower Of Meaning XI
D2. Tower Of Meaning XII
D3. Corky III
D4. White Jet Smoke Trail II

There is no end to composer Peter Broderick’s creative output, and so we present to you his new album titled All Together Again - available worldwide on November 17th 2017 via Erased Tapes.

They say music takes you on a journey, and this collection of commissioned work by Peter quite literally does that. From a ferry boat ride in Istanbul, to walking down the aisle at a wedding, these songs were created for particular situations, yet Peter found a way to work without any sort of limitations and on his own terms. The result is an assortment of works from the past ten years, coming together as one: Peter’s new album.

Words from Peter, October 2017:

Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I’d be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays . . . but every so often I get the odd request for something a little different. Peter, would you write a song for my wedding? My one year anniversary? A ferry boat ride?

In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week. I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show . . . but a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model.

It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade . . . it’s All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily). And indeed, there’s a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie’s Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes).

In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it’s a return to that original approach . . . playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing. I’ve always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it?

The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track. 

TRACK LISTING

1. If I Were A Runway Model
2. Robbie's Song
3. A Ride On The Bosphorus
4. Emily
5. Our Future In Wedlock
6. The Walk
7. Atlantic
8. Seeing Things
9. Unsung Heroes

Blackberry is Peter’s first vocal album in five years, since 2015’s Colours of the Night. The entire album was recorded in Peter’s bedroom in London during the summer of 2019, hence Peter’s description of it as “Experimental-Bedroom-Folk-Pop”. All instrumentation is by Peter with additional vocals on the last track by his wife, singer Brigid Mae Power, and his stepson, Seán Power.

The subject matter of Blackberry is wide-ranging. He touches on family and on the connection we all need as social animals. He writes about technology and whether it will save or doom us. And of course, he writes about nature, about foraging, about the importance of engaging with the outside world in cities and in the country. Peter and his family recently returned to Co. Galway as they have a great love for the Irish countryside, having lived there before their move to London in 2019.

Peter explains the idea behind the album and its name, saying: “It is with all seriousness and great reverence that this album is named Blackberry. In a time when us humans are coming face to face with the impact of our actions on the environment at large, I strongly advocate for engaging with our local landscapes. When I first became obsessed with foraging edible wild plants a few years back, I wasn’t particularly excited about the humble blackberry, but I would soon return with great passion to this familiar fruit of my youth. Even in our most urban environments, the gnarled and resilient blackberry vines continue to weave themselves throughout, as if to keep reminding us where we come from.”

Peter Broderick is perhaps most well known as a live member of Efterklang, the Danish indie-rock group with whom he played from 2007-2013. In recent years he’s been kept busy working on the archives of Arthur Russell, being hired to perform audio restoration, editing and mixing for the latest posthumous release by the cult icon. Peter has also released over twenty solo recordings in the last thirteen years, as well as composed music for film and dance, most recently the multi-award winning animated film Two Balloons. Not wanting his creativity to be reined in by any one genre, Peter has explored gospel and soul, spoken word and beat boxing, through to folk and rock and classical. He thrives on constant experimentation and collaboration with like-minded creators. Early 2020 saw him performing in the band of Tim Burgess (Charlatans), whose latest chart topping solo album features Broderick on violin.

The first vocal line on Blackberry is “You can only be as happy as the world that you live in…” — a sentiment that all of us can relate to as we struggle with climate change, with a global pandemic and resulting lockdown, with an uncertainty about the future that the modern world generates in us all. But as musicians like Peter soundtrack these turbulent times, they provide us with a lifeline, a way of looking at the world that is hopeful and full of wonder.

STAFF COMMENTS

Barry says: The transformation from restful modern classical serenades to brittle folky ballads has been a smooth one for Broderick, and 'Blackberry' is a perfect meeting of the sounds of each. We get subtle acoustic guitar and more fully-fledged, melodic numbers. A beautiful development of his sound.

TRACK LISTING

1. Stop And Listen
2. But
3. What Happened To Your Heart
4. The Niece
5. Ode To Blackberry
6. Let It Go
7. What’s Wrong With A Straight Up Love Song
8. Wild Food

Not long after the release of Peter Broderick’s seventh solo album ‘Partners’, the composer closes 2016 with his equally exceptional ‘Grunewald’ recordings via Erased Tapes.

Born in just one night inside the four walls of the discrete yet majestic Grunewald Church, situated on the outskirts of Berlin, this five-track EP is an exploration of the alluring partnership between the acoustic space and Broderick's solo performance on piano and violin. Reflecting the grandeur of the room and the natural interaction between the instruments and their surrounding environment, 'Grunewald' pays homage to a very unusual space that's become a haven for an entire generation of contemporary composers.

Words from Peter, October 2016:
“In the few years between 2008 and 2011 or so, the Grunewald Church in Berlin was something of a hotspot for a group of us musicians. It started when Nils scouted it as a location in which to record The Bells . . . and then it seemed like we were in there every month or two for a while, either for recordings or for concerts.

There was a lady living just down the street from the church, and we’d just knock on her door, give her a couple hundred euros, and then she’d hand over the keys to the church! To be given unsupervised access in a space like that is really quite unheard of most of the time… For anyone who likes reverb, the Grunewald is a dream come true. That in combination with the beautiful old Bösendorfer piano made it the perfect place for both recording and performing.

When mixing the recordings that comprise this EP, simply titled Grunewald in homage to that old haven of ours, there were no artificial reverbs or delays used . . . only the natural sound of that epic space. Originally these piano recordings were released as part of a split album on a small Japanese label, and the violin piece was included on a compilation, also Japanese . . . but all these pieces were recorded on the same night, in the same space, and it is with great pleasure that I see them reunited for this release.”

TRACK LISTING

1. Goodnight
2. Low Light
3. Violin Solo No.1
4. It's A Storm When I Sleep
5. Eyes Closed And Traveling

Not long after the release of Peter Broderick’s seventh solo album ‘Partners’, the composer closes 2016 with his equally exceptional ‘Grunewald’ recordings via Erased Tapes.

Born in just one night inside the four walls of the discrete yet majestic Grunewald Church, situated on the outskirts of Berlin, this five-track EP is an exploration of the alluring partnership between the acoustic space and Broderick's solo performance on piano and violin. Reflecting the grandeur of the room and the natural interaction between the instruments and their surrounding environment, 'Grunewald' pays homage to a very unusual space that's become a haven for an entire generation of contemporary composers.

Words from Peter, October 2016:
“In the few years between 2008 and 2011 or so, the Grunewald Church in Berlin was something of a hotspot for a group of us musicians. It started when Nils scouted it as a location in which to record The Bells . . . and then it seemed like we were in there every month or two for a while, either for recordings or for concerts.

There was a lady living just down the street from the church, and we’d just knock on her door, give her a couple hundred euros, and then she’d hand over the keys to the church! To be given unsupervised access in a space like that is really quite unheard of most of the time… For anyone who likes reverb, the Grunewald is a dream come true. That in combination with the beautiful old Bösendorfer piano made it the perfect place for both recording and performing.

When mixing the recordings that comprise this EP, simply titled Grunewald in homage to that old haven of ours, there were no artificial reverbs or delays used . . . only the natural sound of that epic space. Originally these piano recordings were released as part of a split album on a small Japanese label, and the violin piece was included on a compilation, also Japanese . . . but all these pieces were recorded on the same night, in the same space, and it is with great pleasure that I see them reunited for this release.”

TRACK LISTING

1. Goodnight
2. Low Light
3. Violin Solo No.1
4. It's A Storm When I Sleep
5. Eyes Closed And Traveling

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker’s Basement) — a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist’s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work.

A comprehensive collection of Peter Broderick’s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book.

This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon—the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to ‘throw the recordings into the well’, for a more dynamic and conscious listening experience.

“We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback,” explains Broderick.

STAFF COMMENTS

Barry says: Peter Broderick is a lovely man and a fine composer, with his interests and abilities spanning a huge variety of genres, but for my money is at his most profoundly moving (apart from on the spine-tingling 'Home') when he's behind the piano. Piano works is, predictably, exactly that (piano pieces) and spans all of his albums to date. Nuanced, tender piano pieces with Broderick's perfect melodic ear.

TRACK LISTING

1. Sonata For The Sirius
2. A Snowflake
3. Diverge
4. Pulling The Rain
5. Low Light
6. Bernard & Elba’s Waltz
7. Under The Bridge
8. Moment
9. Query
10. It’s A Storm When I Sleep
11. Eyes Closed And Traveling
12. Planes (Solo)
13. Ceasefire
14. Carried
15. Laden
16. Three Floats
17. Up Niek Mountain
18. Conspiraling
19. When I’m Gone
20. Dearest

Peter Broderick returns with new EP ‘The Wind That Shakes The Bramble’ on 10 September 2021.

It’s the mid 1800s in Ireland, and a local poet from Limerick by the name of Robert Dwyer Joyce has written a ballad called ‘The Wind That Shakes The Barley’:
…
A bullet pierced my true love’s side

In life’s young spring so early

And on my breast in blood she died

While soft winds shook the barley
…

The recurring imagery of the barley standing tall amidst the breeze was meant to symbolise the resilience of Irish people amidst oppressive British rule. In 2006, the song title and its theme served as the inspiration for a powerful and heartbreaking film starring Cillian Murphy. Now, in 2021, Peter Broderick pays homage once again, weaving this motif into his latest EP, The Wind That Shakes The Bramble.

Following on from his 2020 album, Blackberry, Broderick shares some additional work from the same sessions, as well as a beautiful two-part rework from Bing & Ruth (4AD) and the new 22-minute title track . . . an expansive and meditative ambient odyssey . . . a balm for the baffling chaos of the current era.

Broderick’s obsession with and devotion to the Blackberry plant go well beyond his music. Last year, along with the release of the new album, he shared an eight-part video series (Blackberry Diaries) in which he demonstrated all the different uses of this incredible, ubiquitous plant . . . everything from Blackberry jam to weaving baskets and hats with the Bramble vines . . . from making tea of out the young leaves to making artwork with late-season berries past their prime.

He draws attention to the fact that the Blackberry plant itself is an incredible symbol of resilience. It weaves itself all through our countrysides, playing an important role in holding the soil together, and also makes its way into our cities, proliferating even in such hyper urban environments as London. And while most modern people have lost the ability to identify the wild plants growing around us, the Blackberry remains a commonly foraged plant all around the globe. It’s as if the more domesticated we become and the more our technology separates us from the natural.

TRACK LISTING

1. Some People Don’t Have Gonads
2. A Year Without Summer
3. What Happened To Your Heart (Bing & Ruth Rework - Part I)
4. What Happened To Your Heart (Bing & Ruth Rework - Part II)

American-born multi-instrumentalist, singer and composer Peter Broderick will releases 'Two Balloons' via Erased Tapes. Available as a limited edition 10” vinyl and digital download, it features the score for the award-winning animation of the same name, inspired by an early recording of his, plus a 9-minute electronic rework on the B-side titled Techno For Lemurs.

Fairly often we see albums of “Music inspired by the film __”, but less common is a film inspired by music. Such is the case with Two Balloons. Director Mark C. Smith got the idea for his nine-minute stop frame animation film while out at sea, looking at a majestic funnel cloud in the distance. Shortly after he heard a song by Peter Broderick from one of his earliest recordings — 4 Track Songs — and the music struck a chord so strongly, he knew he wanted to make a film to fit the melody. And so began the five-year labour of love that would eventually produce this enchanting little film, currently circulating film festivals around the world and racking up countless awards and accolades including ‘Best Original Music Score’ at the New Renaissance Film Festival in Amsterdam.

Even though the film was inspired by an older Broderick composition, the score for Two Balloons was recorded from scratch, revised and expanded to fit each frame. The process of stop frame animation is a labour intensive and painstaking one, but the attention to detail didn’t stop at the picture for this film. The score was an integral part of the film from the very beginning, with both the director and composer going to great lengths to experiment not only with the composition itself, but also the fidelity. The first sound heard on the score is a piano playing a waltz figure, and the sound is noticeably lo-fi, but this isn’t just some modern digital trickery. This piano was recorded on a wire recorder, a recording technology that predates magnetic tape and has been virtually forgotten about.

In the process of recording the score, many different technologies were experimented with. In addition to purchasing and refurbishing several wire recorders, the director at one stage acquired several massive AM radio consoles as well as an AM radio transmitter, so that a digital recording from the computer could be broadcast through the AM radio waves and then captured through one of these nostalgic sounding old radios. A variety of these technologies from different eras were used to create a score that both sounds like it’s from several different time periods and from no specific time at all.

The B-side, if you will, is more than just a remix that recycles the original recordings. In fact none of the original parts have been re-used. ‘Techno For Lemurs’ is a homage to the two main characters in the story, the ring-tailed lemurs Bernard and Elba. Serving as Broderick’s first foray into the world of techno, this playful piece reinterprets the melodic themes from the original score by adapting them with electronic instrumentation. In Peter’s own words: “Let’s pretend for nine minutes that we’re ring-tailed lemurs and get this party started!” 

TRACK LISTING

A1. Two Balloons (Part 1)
A2. Two Balloons (Part 2)
A3. Two Balloons (Part 3)
A4. Two Balloons (Part 4)
A5. Two Balloons (Part 5)
B1. Techno For Lemurs

October 28, 2013 will see the reissue of 26-year old American composer Peter Broderick's 2008 debut album 'Float'. Returning to his home in Oregon, where his musical journey began, Peter completes the circle with the release of 'Float 2013', accompanied by a 7" single with exclusive material. 'Float 2013 Addendum' features album track ‘Something Has Changed’ re-arranged as a duet for violin and viola, with the new title ‘Something Has Remained’. The b-side holds an alternative version of 'Stopping On The Broadway Bridge' entitled 'Continuing On The Broadway Bridge'. Both have been mastered by the gifted hands of Nils Frahm.

Brought up in a musical household in Oregon, Peter quickly became a popular session musician for the likes of M. Ward in the Portland area. Later discovered by the Danish band Efterklang he joined their live band and spent the next six years based in Europe where he collaborated with many like-minded contemporaries. Through relentless touring, multiple album recordings and film scores Peter has established himself as a solo artist, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs.

TRACK LISTING

A1. Something Has Remained
B1. Continuing On The Broadway Bridge

October 2013 will see the reissue of 26-year old American composer Peter Broderick's 2008 debut album Float. Returning to his home in Oregon, where his musical journey began, Peter completes the circle with the release of Float 2013. Remastered by the gifted hands of Nils Frahm, Float 2013 will also include two additional bonus tracks with each album download and will be reissued on CD and vinyl.

Brought up in a musical household in Oregon, Peter quickly became a popular session musician for the likes of M. Ward in the Portland area. Later discovered by the Danish band Efterklang he joined their live band and spent the next six years based in Europe where he collaborated with many like-minded contemporaries. Through relentless touring, multiple album recordings and film scores Peter has established himself as a solo artist, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs.

IN HIS OWN WORDS:
’A dialogue was started with Robert, about the idea of one day giving Float a second chance. And a bit later I found myself in the studio of my dear friend Nils, remastering these songs which on one hand felt so far away, but on the other felt right at the core of my musical heart, the foundation of my aspirations as a musician. And what Nils did to the sound, how he worked his magic as he always does, filled me with the conviction that this project had not previously reached its potential. In so many ways I've found myself coming around the circle, back to the place I started, only perhaps the circle itself has moved. But the dream is the same. And my little baby has a new pair of shoes: Float 2013.’ – PETER BRODERICK.

TRACK LISTING

01. A Snowflake
02. Floating/Sinking
03. A Glacier
04. A Simple Reminder
05. Stopping On The Broadway Bridge
06. Another Glacier
07. Something Has Changed
08. Broken Patterns
09. An Ending
10. A Beginning

New-Berliner Peter Broderick has established himself as a composer in his own right, may it be as a touring member in Efterklang, collaborating with label mates Nils Frahm and Dustin O'Halloran, or most recently, working on the Last Night soundtrack with Clint Mansell. His innate gift as a musical medium, picking up any instrument to turn his musings into songs, has won the 24-year old American composer many hearts worldwide. Following on from his contemporary dance scores Music For Falling From Trees and Music For Congregation, November 28th, 2011 will see Broderick return with a brand new work released on Erased Tapes Records, entitled Music For Confluence. Created for documentary filmmakers Jennifer Anderson and Vernon Lott, the soundtrack takes the listener through waves of stark emotions. The release of Music For Confluence will be preceded by the double A-side single Old Time / Solace In Gala on November 8th.

IN HIS OWN WORDS: "It was November 2010 when I started to seriously think about relocating to Berlin. I knew my Danish visa would run out sometime in 2011 and if I wanted to stay in Europe I'd need to either renew it or get another visa elsewhere. Berlin pulled me in like a magnet, with so many of my friends and inspirations living and working there, and also being so central for my frequent European travels. And just when I started to think about finding a place, I heard about a friend of a friend who was renting out a spacious two-floor apartment in the middle of town. I was told the building was owned by a man who only wanted musicians to live there, so I could make all the noise I wanted, and on top of that I was given a key to the piano store on the bottom floor so I could play anytime the store was closed... the place was made for me! All winter, when I wasn't traveling and playing concerts, I was locked away in this new space creating. I had been asked to make the score for a documentary film called Confluence. The film is based in the Lewiston, Idaho area, not too far from where I grew up in the USA, and it chronicles several mysterious cases of young girls found murdered or gone missing around 1980, all of which seem to lead back to one man who for a variety of reasons has not been able to be charged with these crimes. So with my minimal equipment and a key to Die Klavier Etage (the piano store), I set out to create some textural soundscapes which could compliment the building tension of the story without being too intrusive or suggestive. Days and nights, snowed in and experimenting with layers and layers of whichever instruments I had around, finding a murky atmosphere that fit with the uneasy feeling which the film gave to me. On New Year's Eve I was inside, recording the final notes for the score. I had finished everything except the piece for the credits. After speaking with one of the directors of the film, Vernon Lott, we decided the song for the credits should be different from the rest of the score. So while the fireworks were exploding outside my window, I was recording Old Time, a song which for me felt like a breath-of-fresh-air after story which can only leave you wondering..." - Peter Broderick.

Through relentless touring and multiple album recordings, Portlandbased Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs. The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter.

Created in 2011 for Jennifer Anderson and Vernon Lott’s spell binding documentary film on five unsolved murders in Idaho, the soundtrack takes the listener through waves of stark emotions.

IN HIS OWN WORDS: “It was November 2010 when I started to seriously think about relocating to Berlin. I knew my Danish visa would run out sometime in 2011 and if I wanted to stay in Europe I'd need to either renew it or get another visa elsewhere.
Berlin pulled me in like a magnet, with so many of my friends and inspirations living and working there, and also being so central for my frequent European travels. And just when I started to think about finding a place, I heard about a friend of a friend who was renting out a spacious two-floor apartment in the middle of town. I was told the building was owned by a man who only wanted musicians to live there, so I could make all the noise I wanted, and on top of that I was given a key to the piano store on the bottom floor so I could play anytime the store was closed… the place was made for me! All winter, when I wasn't traveling and playing concerts, I was locked away in this new space creating. I had been asked to make the score for a documentary film called Confluence. The film is based in the Lewiston, Idaho area, not too far from where I grew up in the USA, and it chronicles several mysterious cases of young girls found murdered or gone missing around 1980, all of which seem to lead back to one man who for a variety of reasons has not been able to be charged with these crimes.
So with my minimal equipment and a key to Die Klavier Etage (the piano store), I set out to create some textural soundscapes which could compliment the building tension of the story without being too intrusive or suggestive. Days and nights, snowed in and experimenting with layers and layers of whichever instruments I had around, finding a murky atmosphere that fit with the uneasy feeling which the film gave to me. On New Year's Eve I was inside, recording the final notes for the score. I had finished everything except the piece for the credits. After speaking with one of the directors of the film, Vernon Lott, we decided the song for the credits should be different from the rest of the score. So while the fireworks were exploding outside my window, I was recording Old Time, a song which for me felt like a breath-of-fresh-air after story which can only leave you wondering…” – Peter Broderick.

TRACK LISTING

01. In The Valley Itself
02. The Last Christmas
03. We Didn't Find Anything
04. Some Fisherman On The Snake River
05. We Enjoyed Life Together
06. She Just Quit Coming To School
07. It Wasn't A Deer Skull
08. What Was Found
09. He Was Inside That Building
10. The Person Of Interest
11. Circumstantial Evidence
12. Until The Person Is Aprehended
13. Old Time

Through relentless touring and multiple album recordings, Portlandbased Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs. The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter.

Created in 2011 for Jennifer Anderson and Vernon Lott’s spell binding documentary film on five unsolved murders in Idaho, the soundtrack takes the listener through waves of stark emotions.

IN HIS OWN WORDS: “It was November 2010 when I started to seriously think about relocating to Berlin. I knew my Danish visa would run out sometime in 2011 and if I wanted to stay in Europe I'd need to either renew it or get another visa elsewhere.
Berlin pulled me in like a magnet, with so many of my friends and inspirations living and working there, and also being so central for my frequent European travels. And just when I started to think about finding a place, I heard about a friend of a friend who was renting out a spacious two-floor apartment in the middle of town. I was told the building was owned by a man who only wanted musicians to live there, so I could make all the noise I wanted, and on top of that I was given a key to the piano store on the bottom floor so I could play anytime the store was closed… the place was made for me! All winter, when I wasn't traveling and playing concerts, I was locked away in this new space creating. I had been asked to make the score for a documentary film called Confluence. The film is based in the Lewiston, Idaho area, not too far from where I grew up in the USA, and it chronicles several mysterious cases of young girls found murdered or gone missing around 1980, all of which seem to lead back to one man who for a variety of reasons has not been able to be charged with these crimes.
So with my minimal equipment and a key to Die Klavier Etage (the piano store), I set out to create some textural soundscapes which could compliment the building tension of the story without being too intrusive or suggestive. Days and nights, snowed in and experimenting with layers and layers of whichever instruments I had around, finding a murky atmosphere that fit with the uneasy feeling which the film gave to me. On New Year's Eve I was inside, recording the final notes for the score. I had finished everything except the piece for the credits. After speaking with one of the directors of the film, Vernon Lott, we decided the song for the credits should be different from the rest of the score. So while the fireworks were exploding outside my window, I was recording Old Time, a song which for me felt like a breath-of-fresh-air after story which can only leave you wondering…” – Peter Broderick.

TRACK LISTING

01. In The Valley Itself
02. The Last Christmas
03. We Didn't Find Anything
04. Some Fisherman On The Snake River
05. We Enjoyed Life Together
06. She Just Quit Coming To School
07. It Wasn't A Deer Skull
08. What Was Found
09. He Was Inside That Building
10. The Person Of Interest
11. Circumstantial Evidence
12. Until The Person Is Aprehended
13. Old Time

Through relentless touring and multiple album recordings, Portlandbased Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs. The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter.

2009’s Music for Falling From Trees, a 30-minute piece in seven sections, was created for a contemporary dance by London-based choreographer Adrienne Hart at Neon Dance. Adrienne was looking for a score of piano and strings, so Peter left the guitar and his voice aside and focused entirely on those two timbres. The dance tells the story of a man in a psychiatric hospital, and his struggle to maintain his identity. The music is sometimes melancholic, sometimes playful, sometimes chaotic, but with the combination of piano and strings, full of beauty, reverence and awe.

IN HIS OWN WORDS: “In late 2008, Adrienne Hart contacted me about scoring her new work, Falling From Trees. In Adrienne's words, ‘the piece is set in a psychiatric hospital and centered around one man's struggle to retain his identity in the most extreme of circumstances.’ There are four dancers in the piece. One male playing the patient, and three female hospital workers. I had been making music for a variety of film projects, but the thought of scoring a dance was very exciting to me. I was on tour at the time, so I wasn't able to start writing the music until I had a break in early January. The dance premiered on January 21st, so I had about three weeks to create the score. I camped out up in the top of my father's barn with some minimal recording equipment, my violin and viola, and an old broken piano. Given the time constraints, I approached the music in a very open way. Rather than sit down and try to compose something, I just set up a microphone and started playing. After coming up with a couple of themes on the piano, I started recording, using those small themes and improvising around them. Most of the sections have a small core that is composed, and then the rest is improvised. Luckily for me this method seemed to work. I would work all day and then send a sketch over to Adrienne, and every time her response was positive. So in this way we worked very well together. I give my hugest thanks to Adrienne for trusting me to create the music for her wonderful work. Adrienne told me from the beginning she was looking for a score of piano and strings. So I decided to take this literally and make a rule not to use any other instruments. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails. The sound of an electric shock given to the patient is depicted by a quick, distorted piano chord. And all other droning and bass tones were made by extending and processing violin and/or piano tones, etc. Thank you very much for listening.” – Peter Broderick, March 2009.

TRACK LISTING

01. Part 1: An Introduction To The Patient
02. Part 2: Patient Observation
03. Part 3: Pill Induced Slumber
04. Part 4: The Dream
05. Part 5: Awaken/Panic/Restraint
06. Part 6: Electroconvulsive Shock
07. Part 7: The Path To Recovery

Veteran Erased Tapes recording artist Peter Broderick set to release new studio album Partners on 19th August 2016.

For close to a decade, Portland’s Peter Broderick has cut his own unpredictable path through the world of contemporary music. So far, his wanderings have led him from solo works into the realms of film, dance and documentary scores, as well as art installations.

Now Peter takes that unpredictability one step further. For his latest album, a series of voice and piano recordings, he experiments with chance, surrendering an entire song’s composition to the roll of dice.

As he explains below in an email to Erased Tapes founder Robert Raths, it was John Cage’s tendency to remove himself from his music, to somehow automate his own process, which inspired the strange mechanics with which this record was created.

In the words of Cage himself, ‘the world is teeming; anything can happen.’

STAFF COMMENTS

Barry says: He went a bit off-piste there for a bit didn't he? Not to say that 'It Starts Hear' wasn't great (not heard quite so many references to the World Wide Web in pop media since Sandra Bullock's magnum opus 'The Net') It clearly had it's moments, as did the following albums. This is a different beast altogether however, much like Broderick's modern-classical masterpiece 'Float', this is elegant and beautiful piano music. Reverb drenched piano glides along, slowed-down arpeggios segue into hurried note clusters before washing away into a stream-of-consciousness ambient wash. This is as mellow as I've heard Broderick's work for some time, and it's as moving as it ever was.

TRACK LISTING

1. Partners
2. In A Landscape
3. Carried
4. Under The Bridge
5. Conspiraling
6. Up Niek Mountain
7. Sometimes

Veteran Erased Tapes recording artist Peter Broderick set to release new studio album Partners on 19th August 2016.

For close to a decade, Portland’s Peter Broderick has cut his own unpredictable path through the world of contemporary music. So far, his wanderings have led him from solo works into the realms of film, dance and documentary scores, as well as art installations.

Now Peter takes that unpredictability one step further. For his latest album, a series of voice and piano recordings, he experiments with chance, surrendering an entire song’s composition to the roll of dice.

As he explains below in an email to Erased Tapes founder Robert Raths, it was John Cage’s tendency to remove himself from his music, to somehow automate his own process, which inspired the strange mechanics with which this record was created.

In the words of Cage himself, ‘the world is teeming; anything can happen.’

STAFF COMMENTS

Barry says: He went a bit off-piste there for a bit didn't he? Not to say that 'It Starts Hear' wasn't great (not heard quite so many references to the World Wide Web in pop media since Sandra Bullock's magnum opus 'The Net') It clearly had it's moments, as did the following albums. This is a different beast altogether however, much like Broderick's modern-classical masterpiece 'Float', this is elegant and beautiful piano music. Reverb drenched piano glides along, slowed-down arpeggios segue into hurried note clusters before washing away into a stream-of-consciousness ambient wash. This is as mellow as I've heard Broderick's work for some time, and it's as moving as it ever was.

TRACK LISTING

1. Partners
2. In A Landscape
3. Carried
4. Under The Bridge
5. Conspiraling
6. Up Niek Mountain
7. Sometimes

October 22, 2012 will see Peter Broderick release his brand new studio album on Erased Tapes, entitled These Walls of Mine. Held together by a dialogue of voices, this album reveals Peter’s innermost thoughts in an intimate yet playful way. An exploration from gospel and soul to spoken word, beatboxing and rap – this is Peter at his most natural.

IN HIS OWN WORDS: “I had recently been experimenting at home with a microphone and a laptop, recording and uploading new songs for free online, each one alongside a photo and some words, and open to comments from the outside world. At some point Robert (Erased Tapes label founder) started listening to the music and felt compelled to encourage me to compile an album with all this material. His reaction to ‘These Walls of Mine’ (the song, not the album) was exactly how I felt about the music. I wasn’t sure if I loved it or hated it. But I loved the feeling of that uncertainty, of surprising myself and others around me. And in the end Robert got behind all the songs, which gave me the courage to finish the music for this release. These songs are best viewed as a collection of lyrical and vocal experiments. Of course the instruments and the music are important, but this album is held together by a dialogue of voices. Conversations with myself and with others. Several tracks contain lyrical contributions from friends and strangers, made possible with the help of the internet. And then I sang and sang and sang. I love singing. And I love cats.” – PETER BRODERICK.

4 absolutely tearin' Amiga jungle bangers! The packaging alone is worth buying the record for - a retrotastic take on vintage Amiga computer magazines that were rife in the early 90s!

Music-wise expect heavily tiimmeessttrrretched and mangled breaks, growling subs and the odd smattering of hardcore vox twisted to oblivion through the Amiga's infamous sequencing program: Tracker. It's pretty mad to think that the development of jungle was heavily indebted to this piece of software - pretty much the equivalent of when loads of working class Chicago kids discovered the 303 ten years previous. Technology can often inspire and cause serious cultural shifts (just look at the Instagram-centric world we live in today!) but back then, it all seemed so much more creative and revolutionary! 

STAFF COMMENTS

Matt says: Real retrotastic jungle business here by Pete Cannon who unashamedly boasts the virtues of the Amiga's Tracker program, pivotal in the development of the genre during its embryonic phase. It's quite astonishing when you consider how limited the system was in terms of processing power, memory etc. A proper blast of innovation that's left a permanent mark on underground dance culture.

TRACK LISTING

A1. Booyaka
A2. Reaching Out
AA1. Come Rude Boy
AA2. Falling 

Released for the first time on vinyl, Sweet Dreams: The Complete Decca Studio Masters (1960 - 1963) is an absolute must for any country music fan. This beautiful collection gathers all 51 tracks that Cline recorded with Owen Bradley after she left a restrictive deal at 4 Star Records and joined on with Decca Records in 1960.

It's hard to believe that these songs were all recorded in such a small time frame; so many of her top hits and fan-favorites were all captured during this very fruitful period with Bradley at Decca. Right off the bat, the new sessions struck gold with the classic "I Fall To Pieces," Cline's first Country #1.

Most notably, working with Bradley led Cline to find her signature, distinctive sound - braiding wistful country music ballads with big-band pop sensibilities that shone a spotlight on her elastic, smooth vocals, forging the path for future country-pop crossovers. With her sound in place, the duo doubled-down on their successes, with sessions that produced chart-toppers "She's Got You," "Crazy" and "Sweet Dreams (of You)."

Featuring absolutely stunning, powerful, full-color photos printed on the interior of the gatefold 3xLP jacket, Sweet Dreams is as just as rewarding for the eyes as the ears. The songs on this 51 track collection form the crown jewels of her discography and cement Patsy Cline's legacy as one of country music's greatest of all time. 

“Boom Boom” is the follow up of 2015’s “Traité de guitarres triolec]ques à l’usage des portugaises ensablées” . 12 new songs written by Pascal Comelade & Lionel Liminana. Featuring “solo” guitarists long time friends of Pascal Comelade: Ivan Telefunken (from Bel Canto Orquestra, also playing live with The Liminanas), Xarim Aresté & Lalo Lopez.

TRACK LISTING

1. Le Riffifi Brille En Jaune
2. Elvis Has Left The Building
3. Hypnose En Bas De Gamme
4. Fin Du Monde
5. Playitloudornotatall
6. Le Retour De Black Sabata
7. Contortionne-toi Toi-même
8. Solo De Boxe En Conserve
9. Concinacion
10. J’entends Des Voix Qui Ont Mauvaise Haleine
11. Ceci Est Un Enregistrement Magnétique
12. One Ne Mange Pas La Choucroute De Veronica

Following 'Le Cut-Up Populaire', Pascal Comelade announces the release on September 9 of his new album 'Le Non-Sens Du Rythme'. Since his first record published in 1975, Pascal Comelade, a child of the frenzy rock of the 60’s and 70s’, has developed a profuse body of work including many musical collaborations (PJ Harvey, Robert Wyatt, Jaki Libezeit (Can), Lee Ranaldo, The Liminanas...) and non-musical collaborations (Jeanne Moreau, Sergi Lopez, Jean François Stévenin, Bob Wilson...).

His compositions are reminiscent of MC5, Erik Satie, Nino Rota, Ennio Morricone, Suicide: a language that dances on a musical skeleton in perpetual movement by successive fusions, mixing folklore and underground, repetitive music and french chanson, pataphysical riffs and toy instruments.

As a multiple artist, he has developed an aesthetic approach via a particular link to visual arts. He draws, paints and occasionally performs with painters Miquel Barcelo and Hervé Di Rosa.

On his new album, "Le non-sens du rythme" (to be translated "The nonsense of rhythm", the title says it all), Pascal Comelade almost plays all the instruments, not only multiple pianos but also the Rickenbaker e.bass, the indian harmonium, various keyboards and even the tin can. He remains the undisputed master of the instrumental ritornello inspired by popular music as well as krautrock.

This is a clear perspective on Comelade’s musical universe and can be considered as an ultimate “best of” and a radical introduction tothis chaotic and uncompromising instrumental music. "Rocanrolorama Abrégé" (“abbreviated rockandrolorama”, in English) is the short version of the complete works and reworks of Pascal Comelade published at the end of 2016 as a 6-CD box set in a sold-out limited edition of 1000 numbered and signed copies. Pascal Comelade made this album as if it was a new and separate album, with tracks that he considers best represent his work, from 1993 to 2016, according to the principle applied with the Rocanrolorama box set: songs in their original form, alternative versions, reworks, additions…
This short version was conceived especially for a double vinyl LP format: four sides with six tracks each, which you can listen to in the right order, from start to finish, according to a logical, thought-out progression for each side (slow tempo, medium tempo, orchestrations, electricity, etc.), paying tribute to the concept behind the collection Rhythm and Blues Formidable.

TRACK LISTING

A1. Arthur Cravan Was A Flor Fina /
A2. The Blank Invasion Of Schizofonics Bikinis /
A3. La Société Du Piano-Obstacle /
A4. Sardana Dels Desemparats /
A5. Il Luna-Park Galactico
A6. Paganini Paga Tot A Nono
B1. Le Fakir De La Chapelle /
B2. The Nothing-Twist /
B3. El Misteri Del Triangle Del Vermut /
B4. Rue Des Soeurs Noires /
B5. Europe Change Bad /
B6. Despintura (A) Fonica
C1. Stranger In Paradigm /
C2. Sense El Resso Del Dring /
C3. I Put A Barbara Steele On You
C4. Patafisiskal Polska /
C5. El Pianista Del Antifaz (= "Born In Candolle") /
C6. Vals Burlesco
D1. Hydropathes Marchant Sur Les Os /
D2. The Halucinogenic Espontex Sinfonia
D3. Spinoza Was A Soul Garagist /
D4. The Skatalan Logicofobism /
D5. Sans Les Mains
D6. Ha Passat Un Angel (Version Instrumentale)

Top dog at Exotic Robotics (alongside fellow sports-wear aficionado Sports Casual), Patrick Conway finally makes his debut on the label. Now gaining a fierce reputation in the studio, the international man of mystery delivers an absolute heater for his homegrown imprint - showcasing his gift for crafting crisp futurist techno, underpinned with heavy UK rave influences.

This is the 6th release on the label after their 5 previous sell-outs from the likes of Flora FM, DJ Guy, Fettburger, Textasy and Cofaxx.

DJ Python delivers a masterful remix on the flip.

TRACK LISTING

1. Spring Sonnet
2. Early Assembly
3. Vertical Society
4. Vertical Society (DJ Python Remix)

In 1981 Patrick Cowley and partner Mart Blecman chose "Get A Little" as the debut single for their brand new dance music label, Megatone Records. Originally the B-side opener to Cowley's first solo album, "Megatron Man", it's fitting that 40 years later this important dance song is getting a rerelease with fresh remixes from Alan Dixon (and amazing embossed disco bag to boot).

Disheartened by the lack of promotion and distribution off by Fusion, Patrick and Marty decided to set up their own label releasing not only Cowley's work, but by other synthesizer disco bands around the Bay Area and beyond. Megatone Records quickly captured the sound of the city's legendary gay nightlife.

"Get A Little" was one of the first releases on the label and perfectly captures the energy that surrounded this highly creative collaboration. With supreme vocals by J. Block, amazingly vibrant chorus and verse sections and highly frenetic instrumentation featuring the vast array of Patrick burgeoning synth collection - it must have sounding unbelievably fresh at the time! This new edition by Unidisc curates the original album version, a remix by Paul Parker from 1989 and two new mixes by Alan Dixon which, while beautifully faithful to the original material manage to give Cowley's music new life and vigor through some rugged and galvanized outboard mastering. This is unmissable stuff for your disco and hi-nrg collection! 

STAFF COMMENTS

Matt says: One of two ultra deluxe reissues from Unidisc. "Get A Little" is one of Cowley's most anthemic party tracks - fizzing with energy and with a stiffening hook that'll make you reach for the nitrates instantly. Boosted by two Alan Dixon remixes this is unmissable hi-nrg disco for your next chemsex party.

TRACK LISTING

A1. Get A Little (Alan Dixon Love Attack Mix)
A2. Get A Little (Alan Dixon DJ Friendly Mix)
B1. Get A Little (Album Version)
B2. Get A Little (Original Remix)

Alan Dixon remixes of Patrick Cowley here, part of the esteemed Unidisc campaign which seems intent on bringing the best of hi-nrg, disco and boogie straight back into our living room discos!

They don't get much more hi-nrg, and indeed crotch-thrusting than Cowley's ero-disco-throbber, "Lift Off". Originally released in 1983 (on the same album as "Megatron Man"), there's a poppers huffing, highly charged energy throughout; those raunchy synth nips and squiggles synonymous with the porn soundtrack producer all present and correct, whilst a rambunctious array of electronic instrumentation - not forgetting that forceful octave bassline sequence - all take us to hi-nrg heaven!

Alan Dixon contributes 2 mixes which offer up a galvanized patina, certain to tickle the speaker stacks that bit more aggressively than it's 1983 counterpart. Also included is the original album version and an alternative mix from the original release for completion and comparison! An absolute must for disco heads! 

STAFF COMMENTS

Matt says: Beautifully reissued by Unidisc with lush sleeve (I know! - I usually don't care!). Hi-nrg erotic disco from the singular visionary Patrick Cowley. Up to date power ups provided by Alan Dixon who beefs it up proper for the rigs. A truly deluxe edition!

TRACK LISTING

A1. Lift Off Ft. Paul Parker (Alan Dixon Love Attack Mix)
A2. Lift Off Ft. Paul Parker (Alan Dixon DJ Friendly Mix)
B1. Lift Off Ft. Paul Parker (Original Album Version)
B2. Lift Off Ft. Paul Parker (Original Remix)

Fans of the innovations and originality that sprang from the L.A. underground of the late 1970s and ’80s often ask, “What’s Paul B. Cutler been up to?” A vital participant in the Los Angeles music scene of that period as bandleader, songwriter, musician and producer, Cutler’s work—in particular his guitar playing— with The Consumers, 45 Grave, Vox Pop and The Dream Syndicate is still admired by fans and an influence on anyone interested in that period and the styles that developed from it.

In 2014, “Ryan Adams contacted me and wanted to form a band. He loved 45 Grave, he wanted to do some goth / punk, whatever you want to call it. That’s right up my alley. He’s amazingly talented and inspiring to work with. We did that for a while, and I wrote a bunch of songs.” Enthused about his new material, Cutler continued recording songs with just his signature electric guitar style and vocals. As this was developing, another vet of the early L.A. scene—Brad Laner of Medicine and Savage Republic—got in touch with Cutler. Soon Laner was mixing, co-producing, playing keyboards as well as adding the rhythm section. The overall process took some time, with songwriting beginning in 2014. When reflecting on the music that comprises Les Fleurs, “To me, and it does not sound like it, but because of the philosophy I had while producing it, it’s punk. I come from the original punk, before it was a genre. Before it was a ‘sound.’ When I got to LA in 1977 there were about twenty, maybe thirty bands and they all sounded very different. The Screamers, The Deadbeats, so many different takes on what music could be. There was no chance for commercial success so we all just did what we wanted. I never stopped. So philosophically I consider this punk rock, made in its original spirit although nobody would recognize it as such. I am a punk to this day.” So that, dear reader, is the basic story. Now it’s up to you to see what you recognize in Paul B. Cutler’s Les Fleurs.

TRACK LISTING

1. The Cold Light Of Day
2. Engineer
3. For The Children
4. Fly Away
5. Grinning Reaper
6. Medusa
7. Istanbul
8. The Game
9. Chains
10. Home Sweet Home
11. Eat Me
12. Last Kiss
13. Decay
14. Persistence
15. Body Shadow Spirit

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it.

Stunning. Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

TRACK LISTING

A1 Rythmiques N° 4 2:03
A2 Rythmiques N° 5 2:03
A3 Rythmiques N° 6 2:10
A4 Rythmiques N° 7 1:48
A5 Rythmiques N° 8 3:50
A6 Rythmiques N° 9 2:45
A7 Piano + Piano 2:30
B1 Auto Rythmiques 3:45
B2 Rythmiques N° 10 2:00
B3 Rythmiques N° 11 2:10
B4 Océan Horizon 2:45
B5 Super Carrousel 1:40
B6 Gay Shopping 2:10
B7 Suspense N° 1 3:50

Pierre-Alain Dahan & Slim Pezin's Neo Rythmiques is an absolute KILLER Tele Music library classic from 1976. It's absolutely sensational throughout, all scorching, uptempo jazzy soul funk that Mr James Brown himself would've been envious of. This is serious business with breaks for days. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet. With Neo Rythmiques, he's joined by his eternal guitar colleague Slim Pezin (Voyage, Manu Dibango, Nino Ferrer), so you know this Be With reissue is fundamentally vital.

Opener "Soul Car" is a swaggering, horn-drenched jazz-funk beast whilst the slick JBs funk of "Happy Penalty" is just plain irresistible. Definitely influenced by American funk flavours, it stands alone on its own right as a brilliant piece of music, no question about that. The blazing "Kuzi-Kuza" is again hornfuelled but has a more exotic, Latino feel, all loose grooves and bastard blues with funky organ and shredding guitars. The stomping, proto-disco of "Mercy Boa" is a guitar-sizzled Bohannon-esque hypno-groove for adventurous dance floors the world over. Outstanding. And if all that wasn't enough from one half of a 70s French library LP, the A side ends with the monumental, stratospheric "Slim Bertha"! I mean, what can you even say about this absolute monster?! Slo-motion, deep drama funk breaks with jazzy guitar and gleaming percussion. Just sensational.

Side B opens with "Country + Country", a rather forgettable slice of piano driven bluegrass funk (?!) Aaaaannyway, "Super Airship" follows and is a driving fuzz-guitar psych-rock workout of the highest order. We're back on track now. The brilliantly titled "Electronic Mutation" is a total highlight, the funk most definitely returning and, indeed, strong in this one with its deep clean breaks (with some particularly ace hi-hats), echoey effects and funky clavs. "Africa Semper" follows, all funky percussion, trippy echo and distorted, psychy guitar licks. To close out the set, "Neo Rythmiques 1 and 2" form a great salvo of top-tier, percussion-heavy synthy-funk-fusion. For our money, the bugged-out echoey space-soul of "N° 2" just about edges it.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member - alongside his partner here, Slim Pezin - in the legendary Arpadys, Disco & Co and Voyage. Dahan also featured in Tumblack (with Wally Badarou, Sauveur Mallia et al) and Jef Gilson Septet (alongside Henri Texier), whilst the CCCP Pezin backed, among others, Manu Dibango and Nino Ferrer. Some pedigree.

The audio for Neo Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

TRACK LISTING

A1 Soul Car 5:30
A2 Happy Penalty 3:20
A3 Kuzi-Kuza 3:55
A4 Merci Boa 3:05
A5 Slim Bertha 4:55
B1 Country + Country 4:50
B2 Super Airship 2:50
B3 Electronic Mutation 2:00
B4 Africa Semper 1:40
B5 Neo Rythmiques 1 4:35
B6 Neo Rythmiques 2 2:35

A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Continental Pop Sound has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

TRACK LISTING

A1 Rock Extra 3:00
A2 Slowrama 2:10
A3 Latin Pop Sound 3:30
A4 Morning Melody 1:12
A5 Islam Blues 0:55
A6 Phasing Drums N° 1 1:10
A7 Phasing Drums N° 2 1:16
A8 Phasing Drums N° 3 1:25
B1 Pacific Rock 2:25
B2 Quasimodo Pop 3:16
B3 Carmel Beach 3:25
B4 Auto Moto Rallye 1:32
B5 V.S.O.P Rock 2:10
B6 Rythmiques N° 10:53
B7 Rythmiques N° 2 0:45
B8 Rythmiques N° 3 0:53

Creating your own genre of music is not for the faint hearted and this is exactly what this album uncompromisingly sets out to do. Despite strong influences from the Mediterranean and the Middle East, it admirably keeps its feet firmly on the ground of Manchester and British Indie. Following in the footsteps of British bands Asian Dub Foundation and Transglobal Underground, the album layers exotic sounds like darbuka, saz and bouzouki over a strong, driving back beat. From electric guitar to the haunting Turkish çümbüş, each song holds small surprises from the unusual array of instruments arranged with loving attention to detail.

A mixture of Darwish's songs in English and modern rearrangements of Turkish and Kurdish songs, this album successfully fuses lyrics in English, Turkish and two Kurdish languages. Anatolian folk songs, some thought to be over 300 years old, sit comfortably next to some of the most biting English lyrics to have been written in recent times. The whole album has a meaningful weight to it but never becomes trite or pompous like so many of its world music counterparts.

The country and eastern sound is both uplifting and adventurous, never more exemplified than in the stomping cover of Dolly Parton's classic song "Jolene". Every listen reveals a new detail from the many intricate layers that go together to set this album in a world of is own. With anthemic and poetical comments on immigration and the Iraq war it is firmly set in the 21st century but the breathtakingly original mixture of languages and sounds from east and west takes you to a world where the only borders really are in your mind.

"The Fact of Being are happy to inform about the second step in a series of reissues of early works by Peter Davison. The long-awaited re-edition of a highly acclaimed and innovative album "Glide" 1981 to celebrate its 40th anniversary.

"Glide" was the second artist's album. Released in 1981 on vinyl and urgently repressed in 1982 due to high demand it was sold-out fast again and has not been reissued since that. To date, this is one of the rarest and wanted ambient recordings that finally available again with original artwork and short liner notes from Peter Davison himself. A fascinating ambient album less new-age more minimal ambient. An absolute classic in the spirit of Iasos, Brian Eno, Jon Hassell, Michael Stearns...

Peter Davison has composed music scores for Indie Features, the History Channel, A+E, Biography, PBS, Warner Bros., Disney, Universal, Discovery, Gaiam (Yoga/Relaxation music), and others. Over 25 CDs of his music are available on EMI/Higher Octave, Gaiam, Davisounds, and TSR/Baja.

His instrumental "Sip of Wine" (from his CD "Future, Present, Past") received the Best Song of the Year Award, Hollywood Music in Media Awards, (New Age/Ambient), 2010. Both "Fern Valley" and "Mount Tahquitz" from his CD "Forest Home" and "Possibility" (from his CD "Possibility") have also received nominations. Peter's score for the PBS Series "The Endless Voyage" was nominated for the "Best Score of the Year, TV Show." Peter Davison has composed the memorable music for over 45 of GAIAM's award-winning DVDs featuring master instructors yoga and meditations Rodney Yee, Patricia Walden, Suzanne Deason, David-Dorian Ross, and others." 

First album by new age and ambient music pioneer.

One of “The 20 best new age albums.“ by Facmag.

40th anniversary reissue on limited CD and VINYL.

Taken from Original Tapes and mastered by Grammy-nominated Jessica Thompson.

Fans of Peter Klaus Wiese, Steve Roach, Erik Wøllo, Anugama, Al Gromer Khan, Brian Eno, Robert Fripp, Steven Halpern, Pauline Anna Strom, Steven Halpern, Laraaji, Inoyama Land, Michael.

Ultimate collector’s item for those who deeply in Ambient Music history.

A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and international roots artists. "It's Time" blends spiritual Afro-jazz groove with free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.

Phil Dawson is a top London guitarist who has worked and schooled himself extensively in many different African, Latin and Brazilian music traditions together with styles that more typically cross the radar of someone with a similar British background: roots reggae, punk rock, blues, soul, R'n'B, jazz and funk. As a sideman, he's played with a host of living legends of Afro-fusion music including South African jazz trumpet giant Hugh Masekela, Nigerian afrobeat co-creator Tony Allen, Ethiojazz pioneer Mulatu Astatke, the Algerian "king of rai" Khaled, and London based Ghanaian afro-rock dons Osibisa. Heavy company for sure.

Now he's releasing a new mini 6 track album of original compositions under his own name and band - Phil Dawson ٤-tet - and he's joined by a stellar cast of London's finest players who include Rowland Sutherland (flutes - Airto Moreira, David Murray, Carla Bley), Khadijatou Doyneh (spoken word - The Heliocentrics, Danny Keane), Gaspar Sena (drums - Alfa Mist, Maria Chiara Argiro), Marius Rodrigues (drums - Oriole, Hermeto Hermeto Hermeto), Lekan Babalola (percussion - Cassandra Wilson, Ali Farka Toure) and Matheus Nova (bass - Antonio Forcione, Ed Motta, Jazzinho). Phil himself features on guitars, Fender Rhodes and piano.

TRACK LISTING

1. It's Time (Radio Edit)
2. Gnostic Hilife (Nag Hammadi Re-Edit)
3. It's Time (A.K.A. Ouaga Mama)
4. Gnostic Hilife (Flute Edit)
5. It's Time (Fully Spoken)
6. Gnostic Hilife (Original Edit)

‘Peter Doherty & The Puta Madres’ was recorded live to beautifully capture the essence and spirit of the Puta Madres at a family home overlooking a fishing village in Étretat Normandy, over 4 days last summer and mixed at Urchin Studios (East London). The album is engineered by Dan Cox (Laura Marling, Thurston Moore, Florence & The Machine)and produced by Jai Stanley (long time friend and manager).

‘Peter Doherty & The Puta Madres’ is a devastatingly intimate portrait of love, loss, being lost, happiness, tragedy, addiction and the power of the human soul to transcend its darker levels. All the songs from the album were road tested over the last 18 months across Europe at Festivals and headline shows.

Songs include the reflective ‘All At Sea,’ the raw ‘Punk Buck Bonafide,’ the upbeat and playful ‘Shoreleave,’ the joyous hymn of liberation ‘Paradise Is Under Your Nose,’ ‘Someone Else To Be’ Peter’s re-imagining of the Velvet Underground’s ‘Ride Into The Sun’ and Oasis’ ‘Don’t Look Back In Anger and ‘Who’s Been Having You Over’ with dialogue from the 1948 film adaption of Graham Greene ‘Brighton Rock’ and the cheeky poke at his own notoriety,“You’re so rock’n’roll.”

TRACK LISTING

Who’s Been Having You Over
Paradise Is Under Your Nose
Narcissistic Teen Makes First XI
Someone Else To Be
The Steam
Travelling Tinker
Lamentable Ballad Of Gascony Avenue
A Fool There Was
Shoreleave
Punk Buck Bonafide

Hamburg Demonstrations is the new album from the enigmatic The Libertines front man Pete Doherty. Produced & mixed by Johann Scheerer (Faust/Bosnian Rainbows/The Killers) and recorded at his analogue-based studio, Clouds Hill Recordings in Hamburg.

Hamburg Demonstrations includes the previously released singles ‘The Whole World Is Our Playground’ and a new recording of the Amy Winehouse tribute ‘Flags From The Old Regime’. The album also features ’Hell To Pay At The Gates Of Heaven’ written after the Paris attacks last November – it laments the fact that young people are now picking up guns instead of guitars “Come on boys choose your weapon J-45 or AK-47?”, ‘Kolly Kibber’ inspired by the newspaper man who meets a sticky end at the beginning of ‘Brighton Rock’ and ‘A Spy In The House Of Love’ a title borrowed from the Anaïs Nin novel.

STAFF COMMENTS

Barry says: Pete Doherty has grown up a bit hasn't he? For one, he's now called Peter, has laid off the hard stuff and has learned to remain in 'The Zone' long enough to pull out a great tune (or several). The sound of a renewed interest in the music Biz, and an invigorated energy in the studio. A refreshing take on a wholly successful formula, and a welcome return for Pete(r).

TRACK LISTING

1. Kolly Kibber
2. Down For The Outing
3. Birdcage
4. Hell To Pay At The Gates Of Heaven
5. Flags From The Old Regime
6. I Don't Love Anyone (But You're Not Just Anyone) (Version 2)
7. A Spy In The House Of Love (Demo Vocals)
8. Oily Boker
9. I Don't Love Anyone (But You're Not Just Anyone)
10. The Whole World Is Our Playground
11. She Is Far

Hamburg Demonstrations is the new album from the enigmatic The Libertines front man Pete Doherty. Produced & mixed by Johann Scheerer (Faust/Bosnian Rainbows/The Killers) and recorded at his analogue-based studio, Clouds Hill Recordings in Hamburg.

Hamburg Demonstrations includes the previously released singles ‘The Whole World Is Our Playground’ and a new recording of the Amy Winehouse tribute ‘Flags From The Old Regime’. The album also features ’Hell To Pay At The Gates Of Heaven’ written after the Paris attacks last November – it laments the fact that young people are now picking up guns instead of guitars “Come on boys choose your weapon J-45 or AK-47?”, ‘Kolly Kibber’ inspired by the newspaper man who meets a sticky end at the beginning of ‘Brighton Rock’ and ‘A Spy In The House Of Love’ a title borrowed from the Anaïs Nin novel.

STAFF COMMENTS

Barry says: Pete Doherty has grown up a bit hasn't he? For one, he's now called Peter, has laid off the hard stuff and has learned to remain in 'The Zone' long enough to pull out a great tune (or several). The sound of a renewed interest in the music Biz, and an invigorated energy in the studio. A refreshing take on a wholly successful formula, and a welcome return for Pete(r).

TRACK LISTING

1. Kolly Kibber
2. Down For The Outing
3. Birdcage
4. Hell To Pay At The Gates Of Heaven
5. Flags From The Old Regime
6. I Don't Love Anyone (But You're Not Just Anyone) (Version 2)
7. A Spy In The House Of Love (Demo Vocals)
8. Oily Boker
9. I Don't Love Anyone (But You're Not Just Anyone)
10. The Whole World Is Our Playground
11. She Is Far

This two track vinyl, which includes a stunning collaboration with prog rock musician Steven Wilson, is released on Too Pure records to celebrate their 100th release and is limited to only 500 copies.

TRACK LISTING

A. Feeling Your Heart Run Slow
B. No Ideas

'Cult Leader Tactics' is a self-help manual on how to become a complete cult in the music industry & is his first solo album since 2017's much- lauded 'Spooky Action'.

'Cult Leader Tactics' offers a satirical analysis of the self- help manual genre. A guide on how you can get to the top of your chosen profession, or ahead in life & in affairs of the heart, by acting in a Machiavellian manner, employing dirty tricks or 'Cult Leader Tactics' to achieve your life goals. After experiencing these types of human behaviours & themes, the album arrives at the conclusion that the only true answer in life is love.

Paul plays most of the instruments on the album, including lead vocals, guitar & various Moogs & synthesisers. An album produced with long-time collaborator & acclaimed producer Paul 'P-Dub' Walton (Massive Attack, The Cure, Bjork) at Loft Studios, it also includes guest appearances from Porcupine Tree's Steven Wilson & Gam of the band 'Sweat' as well as featuring a 288- person C.L.T. Lockdown Choir.

'Cult Leader Tactics' offers a selection of Paul's most focused & ambitious work so far, a brilliantly dark commentary on an industry he is all too aware of.

TRACK LISTING

1. Cult Leader Tactics ( 04:07 )
2. Internationalle ( 03:23 )
3. Dirty Trix ( 03:48 )
4. Cult Leader Tactics In E-Flat Minor ( 01:32 )
5. You've Got No Life Skills, Baby ! ( 03:57 )
6. U Killed My Fish ( 03:44 )
1. Everyone Becomes A Problem Eventually ( 03:31 )
2. Annie ( 04:22 )
3. Talkin' Behind My Back ( 02:59 )
4. Omega Man ( Feat Steven Wilson ) ( 04:07 )
5. Lyin' Bout Who U Sleep With ( 05:01 )

Bonus 7" W/ Indies Exclusive LP
1. Omega Man ( Feat Steven Wilson ) ( Extended Mix ) ( 06:09 )
2. Annie ( Acoustic Version ) ( 03:31 )

As the frontman and songwriter of one of the most iconic bands of the late ‘90s, the creative force that brought the classic hit single “Wide Open Space” and the Number 1 album ‘Attack Of The Grey Lantern’ with Mansun, and now more recently as a solo artist with his top 20 charting album ‘Spooky Action’, Paul Draper’s talent precedes him. As well as showing that his songwriting prowess is as strong as ever, Draper’s solo album also proved that the legion of Mansun fans who started the annual Mansun Convention and an online petition for Paul to write a new album following the band’s split in 2003 are still just as engaged in 2017.

This limited edition 7" features two of the fan favourites from ‘Spooky Action’ and is pressed on silver coloured vinyl.

“A growling electro-rock odyssey built on a grand scale. This has an impressive heft” - 8/10 UNCUT

TRACK LISTING

Grey House (7” Edit)
Who’s Wearing The Trousers ? (7” Edit)

Pierre Dutour's infamous Top Fiction is the epitome of a 5-tracker. Coming to light in 1979 on Tele Music, its collection of environmental themes are *all astounding*. We're talking all-time heavy hitters, here. They come recommended as tracks you'd choose to elegantly elevate deep selector sets or mixes.

Skip the irritating whistle-laced marching-band funk of "Captain Parade" and head straight to the glistening synths and proud horns of beatless ambient wonder "Mountain Echoes". Arguably worth the price of admission alone. It's that good. The sci-fi atmospherics of "Space Fiction" are definitely sampleable whilst the proud horns of "Mountain Trumpet" definitely contain blasts that could be of creative use. "Tambours Parade" is more marching-band funk, only this time the drums go hard and there's a lot to like about this one.

Truly, it's all about the B-Side. A real B-Side for the ages, in fairness. It opens with the gorgeous "Deer Forest". It's one of the most beautiful songs you'll ever hear. Like something off Brian Bennett's Voyage, it rides dreamily melodic synths, and comes on, as one fan claimed "like something Angelo Badalamenti would have co-written with Final Fantasy composer, 植松伸夫 [Nobuo Uematsu]". It's jaw-dropping. Be instantly beguiled by the deep eerie nostalgia and pretty delicate piano of "Magic Lake I" and the whistling-synthaugmented "Magic Lake II". The almost-title-track "Pop Fiction" is another hidden gem, containing dreamy, glistening arpeggios that are just begging to be sampled with a heavy knocking beat behind it. The set closes with "Damnation Space", 2 minutes of spooky Musique concrète.

So, 5 absolutely incredible tracks and 2-3 good ones. An excellent ratio for a library album, I think we can all agree. Trust us when we say that the heavy hitters are just absolute gold, rendering this one an essential, buy-on-sight purchase. Go listen and discover for yourselves...

The audio for Top Fiction has been remastered by Be With regular Simon Francis, ensuring this divisive release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original space-age sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

TRACK LISTING

A1 Captain Parade 3:25
A2 Mountain Echoes 4:09
A3 Discowboy
2:42 A4 Tombola Time 1 2:10
A5 Tombola Time 2 2:08
A6 Space Fiction 1:21
A7 Mountain Trumpet 0:58
A8 Tambours Parade 1:42
B1 Deer Forest 4:32
B2 Charly Guitare 3:01
B3 Magic Lake 1 2:45
B4 Magic Lake 2 2:45
B5 Pop Fiction 1:43
B6 Damnation Space 2:38

Paris ford is a well renowned bassist that has played with many of the greatest artists around all the way from the 70s until today. In 1976 his early years ford was one of the members of the soul/funk band tyrone thomas & the whole darn family (7 minutes of funk). In 1981 executive producer jacques fred petrus hired ford to participate on his new project, later known as the b. B. & q. Band. Ford experienced a highly successful period, perhaps his biggest, with the band including their smash hit "on the beat" that same year. Leaving for other engagements ford managed to release a solo single "be my girl" in 1982 reaching #69 on billboard's top 100 r&b/hiphop charts. 

France of Cinematic Orchestra fame has just signed a three album deal with Gondwana and is currently working on new material for release in Autumn 2017, but first up is a worldwide re-release for his debut solo recording, The Swimmer, a beautiful beguiling "soundtrack" for a film that hasn't been made yet.
Originally released in October 2013 it sounds even better now than it did then, deeply emotive and epic in scale it draws it influences from the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass. France's skill, in this album, as well as his work with The Cinematic Orchestra, is in soundtracking human emotion - The Swimmer is full of heartbreak and recovery, strength, honesty and frailty, it is meditative and hopeful and, in our opinion, you might not hear a better album this year.

STAFF COMMENTS

David says: Sounding even better now than it did when it was originally released in 2013, this is an unparalleled work of beauty that every home should own.

TRACK LISTING

1. The Swimmer
2. Transition
3. Kubrick
4. Joy Of Brass
5. London Park Hotel
6. December
7. Animator

The album has been Half-Speed Remastered and cut to lacquers at 33RPM, on 1x heavyweight black LP, to deliver maximum dynamic range in the sound.

Vinyl cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis. The album is true to the original LP design, but all images are newly re-scanned.

The album comes with a download card with a choice of digital download (Hi-Res 24bit or 16bit)

Recorded in 1984, and originally released in March 1985, Birdy marks the first occasion that Peter worked with French-Canadian producer and multi-instrumentalist Daniel Lanois who went onto co-produce both Peter’s So and US albums. The soundtrack to the Alan Parker movie of the same name – the tale of a Vietnam vet who harbours Icarus-like ambitions to fly – it finds Peter flexing his creative muscles free of any commercial pressures and has a number of tracks build out of elements of existing tracks from Peter’s third and fourth solo albums.

TRACK LISTING

SIDE A
A1 At Night
A2 Floating Dogs
A3 Quiet And Alone
A4 Close Up (from Family Snapshot)
A5 Slow Water
A6 Dressing The Wound
SIDE B
B1 Birdy's Flight (from Not One Of Us)
B2 Slow Marimbas
B3 The Heat (from The Rhythm Of The Heat)
B4 Sketchpad With Trumpet And Voice
B5 Under Lock And Key (from Wallflower)
B6 Powerhouse At The Foot Of The Mountain (from San Jacinto)

Lyrically unique, Morrissey saw 1980s Manchester differently. Where most recognised the derelict remains of a Victorian warehouse, he saw humour, where others saw post-industrial squalor, he felt the frission of romance. 

As a result, the city became as much a aprt of The Smiths' output as the guitars, drums, and vocals. Unusually, these places still exist and provide the devotee with a place of pilgramage. 

The most fundamental change any reader will notice are the continual changes to Manchester itself - a city in perpetual flux. Since the first edition, venues have been demolished, refurbished, or shorn of their identity. Now updated, Morrissey's Manchester has added new places to visit, more lyrical references and more background information on one of the world's most influential bands.

A raucous yet reflective look back at the evolution of the music press and the passionate rock and pop journalists who defined the music of the 20th century. Totally Wired is the definitive story of the music press on both sides of the Atlantic, tracing its rise and fall from humble beginnings nearly 100 years ago. Along the way, this potent creative breeding ground for scores of writers, publishers, photographers, designers and music-makers tested the very limits of journalistic endeavour and influenced the wider worlds of film, media and pop.

Focusing on developments from the 1950s to the 2000s, a period that witnessed rock 'n' roll, mod, the Summer of Love, glam, punk, pop, reggae, dance music, R&B and hip-hop, Paul Gorman chronicles the stories of individual magazines from their Tin Pan Alley beginnings and the countercultural foundation of Rolling Stone and the underground press. He explores the 1970s heyday of NME, Melody Maker and Sounds plus such punk-rock publications as Sniffin' Glue and Temporary Hoarding; tracks the emergence of dedicated monthlies Q, The Face and Mojo as well as dance-culture independents like Boy's Own and Jockey Slut; and spotlights feminist and Riot Grrrl 'zines Ben Is Dead and Girlfrenzy along with the rise of media by and for people of colour, from Black Music and Black Echoes in the 1970s to The Source, Vibe and XXL in the 1990s. Evoking the music press's kaleidoscopic visual identities, Totally Wired is illustrated with rare and legendary magazine artwork throughout.

Painting a complete picture of the scene, Gorman discusses the role played by such writers as Lester Bangs, Charles Shaar Murray and Nick Kent in the development of the careers of, among others, David Bowie, the Clash and Led Zeppelin. He also tackles the entrenched sexism and racism faced by women and those from marginalized communities by highlighting publications and individuals whose contributions have been unfairly overlooked. The resulting narrative, containing stories of unbound talent, blind ambition and sometimes bitter rivalry, makes Totally Wired a riveting and roller-coaster read.

Peggy Gou’s global chart-topping hit ‘(It Goes Like) Nanana’ lands on 12” vinyl via XL Recordings featuring the original extended mix and an exclusive ‘Nananadub’ b-side. Inspired by the eclectic house and pop classics that defined the Balearic sound, alongside 90s and 2000s dance anthems and Peggy’s own inimitable contemporary club production, “(It Goes Like) Nanana” is undoubtedly the song of the summer.

STAFF COMMENTS

Matt says: You've heard the hit all summer, now it finally arrives on vinyl. Peggy Gou's global smasher complete with dub version. I'm sure she's ripped off the keyboard preset from ATB's "Til' I Come"; whatever, it's a biggie!

TRACK LISTING

A1 - “(It Goes Like) Nanana” (Edit)
B2 - “(It Goes Like) Nanana” (Nanadub)

24 year old Mancunian alt pop star Phoebe Green's debut studio album 'Lucky Me' is due out in August 2022. Produced by Alex Robertshaw of multi time Mercy Award nominated outfit, Everything Everything and his production partner Tom Fuller, the album announcement comes off the back of supporting Self Esteem, Everything Everything & Baby Queen in one month alone, a BBC Radio 1 Maida Vale session & a Killing Eve sync.

TRACK LISTING

Break My Heart
Lucky Me
Make It Easy
Crying In The Club
Sweat
Clean
Just A Game
One You Want
Won’t Sit Still
DieDieDie
I Wish You Never Saw Me Cry
Leach
I Don't Wanna Make You Cold

In the swirl of underground music emerging from Dunedin, New Zealand in the 1980s, Peter Gutteridge stands as one of the era’s most intense and shadowy figures. Despite being a founding member of The Clean and The Chills, Gutteridge would eschew indie-rock fame for the hypnotic and driving sounds of his later bands such as Snapper. Fittingly, it is Pure—Gutteridge’s lone solo album of intimate home recordings—that serves as the most revealing and celebrated release of his career. As Peter Jefferies writes in the liner notes, “That’s what’s so good about Pure. Not only the songs, but the name, the name for the recording. It is as pure as you can get. That’s the real deal, when it goes from nothing to something and he catches it on his machine.”

Originally released on cassette in 1989 on Xpressway, Pure documents Gutteridge’s stunning use of 4-track as instrument. Featuring lo-fi pop gems and interstitial sketches, the LP combines densely layered keyboards and guitars, distorted drum machines and possessed-sounding vocals to create a truly singular work of undistilled artistic vision. While Gutteridge denied that he was the architect of the “Dunedin Sound,” Pure sits comfortably next to the most revered Flying Nun releases of its time. Shifting exquisitely from churning rattle to an airy ease without losing momentum, these twenty-one songs hold a lasting place in the canon of DIY music. Recommended for fans of Syd Barrett, Jim Shepard and early Fad Gadget. Includes drawing chosen by Peter’s family.

TRACK LISTING

Lonely
Exhibition I
First Instrumental
Hang On
Ocean
Dead Pony
Fuck Your Mother To Hell
Suicide
Oil
Pure (No. 1)
Thumbaline
Cause Of You
Rubout
Planet Phrom
Sand
Exhibition II
Having Fun
Bomb
Fifty-Seven Seconds
Chinese Garden
Pure (No. 2)

Paul Haig's last album, 2009's Relive, was described as a bone-rattling thrill that could energise the darkened corners of any dancefloor. After releasing three albums in quick succession Haig decided to devote a longer period to consider his next musical move, It was time to re-invent and investigate the latest sounds and technologies available with a view to incorporate some of them into a new project. Four years on and we have 'Kube', carrying pagan ,synthetic, human and organic themes which somehow co-habitate in an imaginary secluded forrest where top secret work is carried out. The sounds are fresh and modern with a mixture of electronic glitch and organic textures sourced over a two year period as Paul was re-thinking and re-learning his craft.

Standout tracks are 'UW2B', a bold mixture of trap brass/strings with slightly menacing vocals over punchy hiphop/urban beats/samples while retaining tradmark soundtrack elements heard in previous works. 'Red Rocks' has an indie jazz pop edge and rising anthemic chorus' which point to club and radio alike, while 'Four Dark Traps' is a brooding slow burner featuring hard yet hypnotic percussion with eastern sounding guitar floating above the mix.

Les Disques du Crepuscule present a remastered CD edition of Rhythm of Life by Paul Haig, the debut solo album by the enigmatic pop moodist who first made his name with Postcard label art-punk legends Josef K.

Rhythm of Life was originally released in November 1983 and recorded in New York and London by renowned producer Alex Sadkin. A collection of nine polished club pop tracks, the sessions featured a stellar case of guest musicians including Berni Worrell (Parliament/Funkadelic), Jack Waldman (Robert Palmer), Anton Fier (Feelies/Golden Palominos) and Tom Bailey (Thompson Twins). The album spawned no less than four singles in Heaven Sent, Justice, Never Give Up and Blue For You. Other standout tracks include Adoration, originally performed while Haig was still fronting Josef K.

The five bonus tracks are taken from the 1984 mini-album New York Remix. All are extended dance remixes by Big Apple deejay Bruce Forest, boosting the total playing time to 70 minutes. The booklet contains a detailed Haig biography and retains the original album artwork by Crepuscule design director Benoit Hennebert.

TRACK LISTING

1. Heaven Sent
2. Never Give Up (Party, Party)
3. Adoration
4. Stolen Love
5. Don’t Rush In
6. Blue For You
7. In The World
8. Justice
9. Work Together
10. Heaven Sent (US Remix)
11. Blue For You (US Remix)
12. Never Give Up (US Remix) 13. Stolen Love (US Remix)
14. Justice (US Remix) 

Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

Paul’s fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

‘We can think of the wood or forest as a metaphor for the mystery of the human psyche,’ says Paul. ‘Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.’

TRACK LISTING

1. Chasing The Tail
2. I Heard Music
3. Sun Flicker
4. Lights
5. Acoustic Mangles
6. The Walk
7. The Wood
8. Floaty Appy 

Dublin-based songwriter Paddy Hanna’s album The Hill features Girl Band’s Adam Faulkner and Daniel Fox on Drums & Double Bass, Daniel Fitzpatrick (Badhands, The Mighty Stef) on guitar & Keys and Jill Redmond on Vocals. The record was produced by Daniel Fox and the artwork was designed by Jill Redmond.

Paddy explains further about the album – “We lost ourselves on the Hill, Daniel, Daniel, Adam and I. a seemingly endless spell of isolation spent banging sheet metal, rusted hubcaps and blistering our fingers through non stop recording. The Hill is an internal musical about how the past and the present exist at the same time in our minds. It deals with the struggles of mental health, the sometimes difficult search for happiness and the moral conflict of growing up in Catholic Ireland.

As a listener I want you to take a seat inside my head, to smell the west cork air, to feel the gravel under your feet. In order to get this we set up ambient mics outside our makeshift studio to capture the natural landscape, we wandered boatyards and an abandoned train station recording old bits of metal we would clang, to give the album a sense of place. Sonically we also wanted to step away from the String sections used on Leafy Stiletto, opting instead to create melodies and tones using vocals and synthesisers. Most importantly however, I just wanted to put the past behind me on this record, I wanted to leave it on the hill. I hope you enjoy my therapy”. 

TRACK LISTING

1. Loss Of Their Kind
2. Cannibals
3. A Strange Request
4. Nameless
5. My Ladybird
6. Sinatra
7. Howling At The Duke Of York
8. My Wise Addiction
9. The Hill
10. Jog On Shall We?
11. Colosseum

The awesome 1992 debut album from one of the most unique and compelling female artists of the past 20 years. A powerful, groundbreaking set, "Dry" serves as an introduction to Harvey's fierce, blues-tinged guitar and highly visual lyrical angle that picks at the scabs of female iconography. On these raw, angry songs she's joined by musicians Stephen Vaughan (bass) and Robert Ellis (drums, vocals, harmonium). Includes classic songs "Sheela-Na-Gig", "Dress" and "Oh My Lover". Essential.

"Rid Of Me" was PJ Harvey's second album, circa 1993, but her first for major label Island. The set features the same line-up as the "Dry" sessions (Polly doing vocals, guitar, violin, cello and organ, Stephen Vaughan on bass and Robert Ellis on drums, vocals and harmonium), but the extra money shows in the much slicker production to the album's predecessor. Recorded by Steve Albini, this forceful sophomore effort veers from hoarsely quiet to ferociously looming in one beat.

The twelve tracks featured here were chosen by Polly herself, and span her career from early versions of songs from "Dry" to songs from her seventh album "Uh Uh Her" which was released in 2004.

Vinyl reissue of 1993 collection of demos written and recorded at Polly Harvey’s home in 1991-1992.

It includes eight demos of songs from the album, Rid of Me, released earlier in that year along with six demos of additional songs.

Reissue is faithful to the original package, with vinyl cutting by Jason Mitchell at Loud Mastering.

TRACK LISTING

A1 Rid Of Me 3:42
A2 Legs 3:47
A3 Reeling 2:59
A4 Snake 1:56
A5 Hook 4:31
A6 50FT Queenie 2:48
A7 Driving 2:38

B1 Ecstasy 2:56
B2 Hardly Wait 2:48
B3 Rub 'Til It Bleeds 5:10
B4 Easy 3:16
B5 M-Bike 2:43
B6 Yuri-G 3:53
B7 Goodnight 4:17

All About Eve — Original Music, composed by double Mercury Music Prize-winner PJ Harvey.

The 14-track album contains 10 original pieces of instrumental music, as well as two new songs written by Harvey and sung by Gillian Anderson and Lily James.

The physical release also includes demo versions of ‘The Sandman’ and The Moth’, performed by PJ Harvey.

On composing this score, Harvey says, “I have always loved stories, and so to compose music to support and enhance a story being told is a challenge I enjoy. I also love the freedom that working instrumentally can give me without the constraints of song form.”

“For All About Eve I chose to work with my long-time collaborator James Johnston as he has a soulfulness and sensitivity to his playing that inspires me. I also worked with Kenrick Rowe who has a versatility to his drumming I knew I could experiment with until I found what was right.”

All About Eve is the stage adaption directed by Ivo Van Hove.

STAFF COMMENTS

Barry says: It's become more and more clear that PJ Harvey can easily put her mind to anything she deems necessary, and with great effect. The soundtrack for this adaptation of All About Eve is even more evidence, with perfect cues and touching sentimaentality oozing through every note. A beautifully performed and perfectly written piece. In-situ or not.

TRACK LISTING

Becoming
Shimmer
The Sandman
Waltz
Descending
Lieben
Ascending
Cadenza
The Moth
Träume
Arpeggio Waltz
Change In C
The Sandman (Demo)
The Moth (Demo)

3CD
The definitive collection of PJ Harvey B-Sides, rarities and non-album demos.
59 tracks, 14 previously unreleased, spanning 3 decades.
Artwork features rare and unseen archive photography.
3CD version features 12 page booklet

6LP Box
The definitive collection of PJ Harvey B-Sides, rarities and non-album demos.
59 tracks, 14 previously unreleased, spanning 3 decades.
Artwork features rare and unseen archive photography.
6LP Box features 180g black vinyl housed in printed inner-sleeves.

TRACK LISTING

3CD:
Disc 1
1. Dry – Demo (Previously Unreleased Demo)
2. Man-Size – Demo (Previously Unreleased Demo)
3. Missed – Demo (Previously Unreleased Demo)
4. Highway 61 Revisited – Demo (Previously Unreleased Demo)
5. Me-Jane – Demo (Previously Unreleased Demo)
6. Daddy
7. Lying In The Sun
8. Somebody's Down, Somebody's Name
9. Darling Be There
10. Maniac
11. One Time Too Many
12. Harder
13. Naked Cousin
14. Losing Ground
15. Who Will Love Me Now
16. Why D’ya Go To Cleveland (Previously Unreleased)
Disc 2
1. Instrumental #1
2. The Northwood
3. The Bay
4. Sweeter Than Anything
5. Instrumental #3
6. The Faster I Breathe The Further I Go (4 Track Version)
7. Nina In Ecstasy 2
8. Rebecca
9. Instrumental #2
10. This Wicked Tongue
11. Memphis
12. 30
13. 66 Promises
14. As Close As This
15. My Own Private Revolution
16. Kick It To The Ground (4 Track)
17. The Falling
18. The Phone Song
19. Bows & Arrows
20. Angel
21. Stone
Disc 3
1. 97°
2. Dance
3. Cat On The Wall – Demo (Previously Unreleased Demo)
4. You Come Through – Demo (Previously Unreleased Demo)
5. Uh Huh Her – Demo (Previously Unreleased Demo)
6. Evol – Demo (Previously Unreleased Demo)
7. Wait
8. Heaven
9. Liverpool Tide
10. The Big Guns Called Me Back Again
11. The Nightingale
12. Shaker Aamer
13. Guilty – Demo (Previously Unreleased Demo)
14. I'll Be Waiting – Demo (Previously Unreleased Demo)
15. Homo Sappy Blues – Demo (Previously Unreleased)
16. The Age Of The Dollar – Demo (Previously Unreleased)
17. The Camp
18. An Acre Of Land
19. The Crowded Cell
20. The Sandman - Demo
21. The Moth - Demo
22. Red Right Hand

LP Box:
LP1 - Side A
1. Dry – Demo (Previously Unreleased Demo)
2. Man-Size – Demo (Previously Unreleased Demo)
3. Missed – Demo (Previously Unreleased Demo)
LP1 - Side B
1. Highway 61 Revisited – Demo (Previously Unreleased Demo)
2. Me-Jane – Demo (Previously Unreleased Demo)
3. Daddy
LP2 - Side A
1. Lying In The Sun
2. Somebody's Down, Somebody's Name
3. Darling Be There
4. Maniac
LP2 - Side B
1. Harder
2. Naked Cousin
3. Losing Ground
4. Who Will Love Me Now
5. Why D’ya Go To Cleveland (Previously Unreleased)
LP3 - Side A
1. Instrumental #1
2. The Northwood
3. The Bay
4. Sweeter Than Anything
5. Instrumental #3
6. The Faster I Breathe The Further I Go (4 Track Version)
7. Nina In Ecstasy 2
LP3 - Side B
1. Rebecca
2. Instrumental #2
3. This Wicked Tongue
4. Memphis
5. 30
LP4 - Side A
1. 66 Promises
2. As Close As This
3. My Own Private Revolution
4. Kick It To The Ground (4 Track)
LP4 - Side B
1. The Falling
2. The Phone Song
3. Bows & Arrows
4. Angel
5. Stone
LP5 - Side A
1. 97°
2. Dance
3. Cat On The Wall – Demo (Previously Unreleased Demo)
4. You Come Through – Demo (Previously Unreleased Demo)
5. Uh Huh Her – Demo (Previously Unreleased Demo)
6. Evol – Demo (Previously Unreleased Demo)
LP5 - Side B
1. Wait
2. Heaven
3. Liverpool Tide
4. The Big Guns Called Me Back Again
5. The Nightingale
6. Shaker Aamer
LP6 - Side A
1. Guilty – Demo (Previously Unreleased Demo)
2. I'll Be Waiting – Demo (Previously Unreleased Demo)
3. Homo Sappy Blues – Demo (Previously Unreleased)
4. The Age Of The Dollar – Demo (Previously Unreleased)
5. The Camp
LP6 - Side B
1. An Acre Of Land
2. The Crowded Cell
3. The Sandman - Demo
4. The Moth - Demo
5. Red Right Hand

11 track collection of demos of all songs from the debut studio album Dry by PJ Harvey, available for the first time since 1992, and previously unreleased as a standalone album.

Features brand new artwork with previously unseen photos by Maria Mochnacz.

TRACK LISTING

LP
Side A
Oh My Lover (Demo)
O Stella (Demo)
Dress (Demo)
Victory (Demo)
Happy And Bleeding (Demo)

Side B
Sheela-Na-Gig (Demo)
Hair (Demo)
Joe (Demo)
Plants And Rags (Demo)
Fountain (Demo)
Water (Demo)

Dry is the debut studio album by English singer-songwriter and musician PJ Harvey, originally released on Too Pure Records on 30 March 1992. The album was recorded at The Icehouse, a local studio in Yeovil. Critically lauded both on release and retrospectively, the album contains the singles “Dress’ and ‘Sheela-Na-Gig’

Back in print for the first time in almost 20 years, Beggars Archive on behalf of Too Pure Records is pleased to announce the re-issue of Dry on vinyl. The album was remastered by the original producer “Head” and has been replicated to the original version as much as possible. 

Pitchfork – “On her debut, Polly Jean Harvey matched Patti Smith’s incandescence with Bessie Smith’s lasciviousness, outplayed everyone on the British indie circuit, and became an instant star - 9.2”

STAFF COMMENTS

Barry says: Available on vinyl for the first time in 20 years, PJ Harvey’s ‘Dry’ was a kick in the spine for indie music of the time, and remains as uncompromisingly raw and sonically hulking as it did back then.

TRACK LISTING

Oh My Lover
Oh Stella
Dress
Victory
Happy And Bleeding
Sheela-na-gig
Hair
Joe
Plants And Rags
Fountain
Water

PJ Harvey's tenth studio album 'I Inside the Old Year Dying' marks her first release in seven years, following UK #1 album 'The Hope Six Demolition Project'.

On this album, which was recorded with long-time creative collaborators John Parish and Flood, PJ Harvey builds a sonic universe somehow located in a space between life’s opposites, and between recent history and the ancient past. Scattered with biblical imagery and references to Shakespeare, all of these distinctions ultimately dissolve into something profoundly uplifting and redemptive.

STAFF COMMENTS

Liam says: Blimey, it's a biggun! At this point, what's there left to say - IT'S PJ HARVEY!!! With all the exquisite melodies, intricate production and stellar lyrics we've all come to expect from her, there's so much to unpack here and there's no doubt the rewards will be vast!

TRACK LISTING

1. Prayer At The Gate
2. Autumn Term
3. Lwonesome Tonight
4. Seem An I
5. The Nether-edge
6. I Inside The Old Year Dying
7. All Souls
8. A Child's Question, August
9. I Inside The Old I Dying
10. August
11. A Child's Question, July
12. A Noiseless Noise