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Waking Up In Another Town: Weather Diaries Remixed

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

    Exclusive remix 2LP of the shoegaze pioneer’s first album in over 20 years, Weather Diaries, released in 2017 on Wichita Recordings to mass critical acclaim. The Remix's have been put together with love and care by fans and friends of the band, from Mogwai too Cavern of Anti-Matter, especially for Record Store Day.

    Ramones

    Live At The Palladium, New York, NY (12/31/79)

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

      Double LP of Ramones - Live At The Palladium, New York, NY (12/31/79) which first appeared on CD only as part of the 40th Anniversary Deluxe set of “Road To Ruin”. This then previously unreleased recording of the band’s entire 1979 New Year’s Eve concert, was mixed live by Stasium, and broadcast on WNEW-FM. Recorded in New York City at The Palladium, with audio sourced from Tommy Ramone’s original cassette of the console recording, it features blistering performances of “Blitzkrieg Bop,” “Rockaway Beach,” and “Sheena Is A Punk Rocker,” along with several songs from Road To Ruin: “I Don’t Want You,” “I Wanna Be Sedated,” and “I Wanted Everything”. This will be its first release on vinyl.

      Ryan Adams And The Cardinals

      Cold Roses

        Piccadilly staffer Andrew McQueen wrote the following review on this record's release in 2005: The chameleon returns. This time there's no posturing. If you found the 80s underground rock or bleak, broken downer songs a little disorientating, then prepare to be puzzled again. Ryan returns to alt-countryville, but these aren't "Gold"'s singalongs, or "Heartbraker"'s Dylanish rollers. Instead, this double CD meanders beautifully, laid back and unusual, and if anyone springs to mind, this time it's Neil Young. Nothing leaps out but you can feel yourself being drawn in. This isn't a pop record at all. It's too early to tell how great this record is: it's a proper double album with some tricky arrangements, but Ryan's using his gorgeous country voice again and not throwing shapes or trying on hats. The real Ryan Adams has just stood up. Maybe! Watch this space.....

        STAFF COMMENTS

        Andy says: A deep, meandering, country rock double album, with some stunning guitar interplay.

        The wait is over and the internet’s current favourite urban legend is now a reality: Ryan Adams' full album cover of Taylor Swift’s 1989 is now available digitally, with the CD to follow on October 30th. The album will get a Vinyl release later this year on PAX-AM/Columbia. 

        Produced by Adams, the first news of this reinterpretation of 1989 was revealed last month on Instagram with the post "Taylor Swift 1989 full album cover night 1. As played by the Smiths.” Several subsequent posts of song snippets revealed much more range than that—including a take on “Bad Blood” that VANITY FAIR called "a lovely Heartbreaker-era style version” referencing Adams’ classic debut, a string quartet-enhanced version of “Blank Space,” what Adams promised to be the “guaranteed saddest version of 'Welcome to New York' ever - or your tears back,” and more.

        STAFF COMMENTS

        Andy says: This is brilliant! Superb pop songs but taken by Rynads and done in the style of Bruce Springsteen's "Nebraska" re-imagined by The Smiths!? Well that's what Ryan said, anyway! Who else would do such a thing?

        "29" has 9 songs on it and they represent the nine years of his 20s (21, 22, 23 etc etc upto 29) He didn't think 20 counted as he still felt 19. It completes the trio of albums in 2005 with "Cold Roses" and "Jacksonville City Nights" being the other two, you may have heard them, they're also very good.

        FORMAT INFORMATION

        Ltd LP Info: US import audiophile pressing 180 gram vinyl.

        Ryan Adams

        Demolition

        These are supposedly demos cut between "Heartbreaker" and "Gold", but there is nothing unfinished, out-take like or second rate about any of this. Whilst namechecking the likes of the Smiths and Radiohead and hailing from the alt.country scene, this is big, beautiful widescreen music most redolent of Springsteen at his best, or even Tom Petty! Whether bruised ballads or sunroof-down rockers, it's so natural sounding, so effortless. Great words, great phrasing it rolls just as it should.

        Ryan Adams

        Demolition

        These are supposedly demos cut between "Heartbreaker" and "Gold", but there is nothing unfinished, out-take like or second rate about any of this. Whilst namechecking the likes of the Smiths and Radiohead and hailing from the alt.country scene, this is big, beautiful widescreen music most redolent of Springsteen at his best, or even Tom Petty! Whether bruised ballads or sunroof-down rockers, it's so natural sounding, so effortless. Great words, great phrasing it rolls just as it should.

        ‘Heartbreaker’ the debut solo studio album by Ryan Adams, which was hailed as a modern classic on its release in September 2000, is re-released as a deluxe edition. The album, which has been remastered by original producer Ethan Johns, comes in a deluxe box set that features the 15 song album in all its glory plus demos and unreleased outtakes from this landmark record by one of rock music’s most prolific and charismatic stars. The package also includes a DVD featuring a film of the legendary New York show at the Mercury Lounge in October 2000 and a glossy booklet of rare and unseen photos and Ryan Adams ephemera with an essay written by producer, friend and collaborator Ethan Johns.

        STAFF COMMENTS

        Andy says: Incredible , heroic debut. Possibly his finest hour.

        FORMAT INFORMATION

        4xLtd LP Info: Includes DVD.

        Ryan Adams

        Love Is Hell - 1& 2

        This single disc, 16 track album is basically the two Xmas 2003 EPs welded together. So if you bought them, you've got the extra out-take tracks, but you may be slightly miffed to hear that this release has one extra song, and lush, new(ish) artwork. The track is a new version of "Anybody Wanna Take Me Home". If you've not heard this stuff then you're lucky, 'cause: A. It's amazing, and B. You'll get the album as it was originally intended. It was meant to be the follow-up to the multi-platinum "Gold", but the record company rejected it, I think because it's so unremittingly downbeat. Only when Ryan gave them the trashy, sexy, alt. 80s jukebox which was "Rock 'n' Roll" did they agree to "Love Is Hell"'s release. The reviews were ecstatic. Some even called it his masterpiece. Every single song is a saddie! And so romantic, poetic, broken and damaged. Think Big Star's third mixed with lonesome Radiohead. Add The Smiths and you've got the mother of all disenchanted, outsider, life sucks, love's a bitch, what's the point (?) records. Of course the point is this: beauty and magic. They're worth going through the pain for!

        Brilliant new 11 track album from US Americana singer / songwriter Ryan Adams on Pax-Am via Columbia Records. This self-produced album is his first since 2011's "Ashes & Fire". Includes the single "Gimme Something Good" (7" vinyl released 15th Sept).


        STAFF COMMENTS

        Andy says: RyNads returns with a belter! A whole, Glyn Johns produced, mellow LP was shelved (hence the long gestation) for this self-made effort. Ryan says it's a truer reflection of where he's at right now.

        FORMAT INFORMATION

        LP Info: Vinyl limited to 2500 copies.

        LP includes MP3 Download Code.

        Mixing the heartfelt angst of a singer/songwriter with the cocky brashness of a garage rocker, Ryan Adams is at once one of the few artists to emerge from the alt-country scene to achieve mainstream commercial success and the one who most strongly refused to be defined by the genre, leaping from one spot to another stylistically while following his increasingly prolific muse.

        On new album Prisoner, Ryan said: "I was reflecting on the different states of desire and what it means to be a prisoner of your own desire… I felt like I had been robbed of... the most valuable thing in a person's life…Time."

        The twelve tracks that make up Prisoner came to Adams over a prolific period stretching back as far as the week his 2014 self-titled album entered the U.S. album chart at a career high of #4. During that run, Adams toured the world, recorded and released both his Live at Carnegie Hall collection and full-album cover of Taylor Swift's 1989, and saw the aforementioned Ryan Adams garner two Grammy nominations - Best Rock Song for "Gimme Something Good" and Best Rock Album.


        STAFF COMMENTS

        Andy says: A "break-up album" but don't run away! Beautifully poetic lyrics and top tunes put this right up there with RynAd's very best work. Smiths meets Boss in a lonesome bedroom on a lonely highway!

        Ryan Adams

        Ten Songs From Live At Carnegie Hall

        U.S. Alt country/folk/rock musician & singer-songwriter Ryan Adams releases this 10 track live album, taken from the super-limited U.S. released 42 track LP Vinyl box. 

        Ryan Adams' 'Ten Songs from Live at Carnegie Hall' is comprised of live selections from Adams' two night stint at the celebrated New York City venue. The career spanning set includes fan favorite 'New York, New York,' plus new mainstays from Ryan's most recent Grammy nominated eponymous album like 'Gimme Something Good'.

        STAFF COMMENTS

        Andy says: Just Ryan and his guitar. Perfect.

        FORMAT INFORMATION

        CD Info: Standard jewel-cased CD (with 12 page colour booklet).

        It's dedicated to the 1987 masterpiece played by the magic flute of Roberto Aglieri... called by himself... ""La solitudine accompagnata"", with the ORIGINAL 1987 LP + a BONUS LP, containing unreleased material, other versions and unreleased tracks. Archeo Recordings is a reissue record label that regenerates old, lost, obscure (and forgotten) rare gems of Italian music of the 70s and 80s, and not only. All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
        Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time. All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

        Tallinn’s Rando Arand joins up with LIITHELI to release four deep cuts entitled ‘Alles’ EP.

        Rando Arand is an electronic music producer from Tallinn, Estonia with a background in sound design and experimentation. Arand released his first record on Asphalt Soliloquies back in 2017 and has since gone on to perform live at clubs and festivals around the Baltics sharing stages with likes of Dorian Concept, Gerry Read and King Midas Sound.

        His ‘Alles’ EP sees him join Ali Asker’s LIITHELI imprint who focus on supporting local artists from Estonia’s capital following the likes of Mava & Nebukat, 1212a and the label boss himself, in addition to remixers from across the globe like Vakula and SH2000.

        ‘Maandub’ gets things rolling with dubbed-out aesthetics fusing hypnotic low end, meditative chords and eccentric synth stabs before ‘Moondub’ delivers soulful keys, deep riding bass grooves and fluid percussion.

        ‘Joondub’ maintains the breezy atmospherics as it delicately layers alleviating pads, organic pulsations and floaty modulations before ‘Avardub’ finishes things off with emotive melodies, fast-pitched, natural drums and melancholy tones throughout. Rando Arand ‘Alles’ EP drops on LIITHELI on 1st May 2019. 

        T'Ash returns and just like the reports say, he's more focused, more organic, and suddenly in the thick of things once again. There's no indulgence here, just ten really strong songs with a warmer, more live'n'direct feel about them. OK, it's still ballads and anthems (whaddaya want?!) but on "Why Not Nothing?" there's a drive and growl unlike anything he's done before, and the title track is a trippy power-groover, doomy yet uplifting. There's also a gorgeous track which uses a Curtis Mayfield string sample: only Richard Ashcroft could get away with calling a song "Music Is Power", and this one subtley rings the changes, too. I liked T'Ash in his money-to-burn, hazy, multi-tracked, never-never, post-Verve dreamland, but on this album he gets back to the world, back to reality. It's a beautiful thing!

        As the frontman for the epic British drone-pop band The Verve, Richard Ashcroft proved himself the spiritual descendant of rock & roll icons like Mick Jagger and Jim Morrison - rivetingly charismatic, menacingly serpentine, and possessed of an almost shamanic intensity, he embraced and articulated the anthemic fervor of rock music with a power and eloquence unparalleled by any of his contemporaries.

        Featuring ten new songs, all of which were written by Ashcroft, ‘Natural Rebel’ was produced by the singer-songwriter alongside Jon Kelly (Paul McCartney, Kate Bush) and Emre Ramazanoglu, Bobby Gillespie). The majority of its recording took place at State of the Ark Studios in Richmond, with further sessions at The Bunker, Tileyard Studios and Hoxa HQ.

        FORMAT INFORMATION

        Coloured LP Info: RSD stores exclusive Orange vinyl edition.

        Roy Ayers

        Virgo Vibes - 180g Vinyl Edition

        Vibraphonist Roy Ayers made his international breakthrough as bandleader of Roy Ayers Ubiquity, a highly influential jazz-funk outfit counted Billy Cobham and Alphonse Mouzon among its members. But even before ‘Ubiquity’, Ayers had already proven his music chops playing with the likes of Herbie Mann, Gary Bartz, Hubert Laws and Herbie Hancock. Hancock joins Ayers under his pseudonym Ronnie Clark on 1967’s 'Virgo Vibes', a jazzy hard-bop album that seems miles away from Ayers distinctive jazz-R&B fusion he would become famous for. However, there’s a typical ‘Ayers vibe’ on 'Virgo Vibes', a relaxed and sunny record that any Jazz collector should own!

        Roy Ayers Ubiquity

        Fikisha / Boogie Back

        Plucked from the B-side of Roy's 1974 "Change Up The Groove" LP and pressed loud on 7" for the first time by those fine folks at Dynamite Cuts, "Fikisha" and "Boogie Back" are a pair of bona fide dancers. On the A-side, "Fikisha" is the kind of jazzy, vibe-a-thon which shows Roy at the peak of his powers, while the funk heavy "Boogie Back" is more of an ensemble affair with a sing-a-long vocal. 

        Damn! Life doesn't get any funkier than when Roy's on the record player. 
        These four killer cuts are taken from 1975's Ubiquity album, 'Mystic Voyage' and are pretty much essential listening. If you've ever spent a boring afternoon in work imagining yourself enjoying a soulful strut through Brooklyn with the sun shining on your back and a smile on your face I guarantee you'd have Roy as your soundtrack. 

        This is the first ever reissue of Roy Ayers' 1983 album 'Silver Vibrations'. Originally released in the UK only on Uno Melodic Records, 'Silver Vibrations' shares some of its musical DNA with 'Lots Of Love', Ayers' US album from the same year. However, 'Silver Vibrations' contains four unique cuts all of its own, plus extended takes of three songs, including the definitive version of iconic song 'Chicago'. The rarity of the original pressing has led to eye-watering second-hand prices for this truly brilliant LP. 'Silver Vibrations' was perhaps the last album to retain the sound of Ayers' organic 'classic' period of the latter '70s and manages to stand up well under its current re-evaluation. "Chicago", the unedited version of which is exclusive to this L.P., received considerable airplay in its time and has barely faded from earshot ever since; its woozy, mysterious vibe and cosmic ruminations from Roy in the second half have certainly endured. The strutting, funky "Good, Good Music" echoes Ayers at his pre-'80s, up-tempo disco peak, sporting a grittier edge and an old-school party atmosphere. Title track "Silver Vibrations" was only ever released in the U.K., both on this album and as a single, backed with "Fast Money". Both "Lots Of Love" and "Keep On Movin'" hark back to previous times and are a pleasant listen without being at all taxing. "Smiling With Our Eyes" is mid-tempo, lilting and jazzy, with a vocal vaguely reminiscent of Stevie Wonder in places. The wistful "D.C. City", a close companion of Ubiquity's original recording of "The Third Eye" is, in many ways, quintessentially Roy Ayers. 

        STAFF COMMENTS

        David says: Overdue reissue of this Roy classic. Worth buying purely for 'Chicago'. One of his finest moments it's been sampled and re-edited more times than his lawyers can count.

        Roque Baños

        Don’t Breathe: Original Motion Picture Soundtrack’

          Invada Records announce the vinyl release of Roque Baños’ chilling score to the US smash hit ‘Don’t Breathe’, in conjunction with Lakeshore Records.

          Baños, who has previously worked with the film’s director Fede Alvarez on the remake of ‘Evil Dead’, has crafted a truly unforgettable score combining harrowing atmospheric textures with sudden plunges into faster paced, pounding passages: a contrast executed with a unique and modern perspective.

          Baños’ score is reminiscent of works by composers such as Brian Reitzell (‘Hannibal’, ‘30 Days Of Night’) and Gustavo Santaolalla (‘The Last Of Us’), whilst still maintaining his own unique style heard in previous works such as in ‘The Machinist’ and ‘Evil Dead’.

          ‘Don’t Breathe’ received the highest box office results in 2016 on its opening weekend and was rated the biggest film in the US upon its release.

          This release is housed in a gatefold sleeve and comes complete with double sided printed inner which features additional artwork and credits.

          FORMAT INFORMATION

          Coloured LP Info: Orange coloured vinyl.

          Ray Barretto's Latin/soul crossover record of 1968, Acid includes a few tracks of his ebullient, instrumental salsa, but also plays off the boogaloo craze of the past few years with a few Latin soul numbers. The crossovers "A Deeper Shade of Soul," "Soul Drummers," and "Teacher of Love" (all written by Barretto himself) are a lot of fun, but the (relatively) straight-ahead salsa of "El Nuevo Barretto" and the title track easily edge out the competition. It's nowhere near as psychedelic as the title would indicate, but Acid holds up nevertheless as a great document of the late-'60s confluence of Latin, funk, and soul.

          Rob Base & DJ EZ Rock

          It Takes Two

            As hip-hop moved into the mainstream in 1988, Harlem duo Rob Base and DJ E-Z Rock changed the game with "It Takes Two", one of the undisputed classic singles of the genre. The group's debut album, It Takes Two, which featured the title track as well as the dance hits "Joy and Pain" and "Get On The Dance Floor" has been newly remastered in high definition from the original tapes and pressed on red opaque vinyl--its first appearance on the format since its original release thirty years ago.

            Rayland Baxter

            Wide Awake

              Thoreau had Walden Pond. Kerouac had Big Sur. Rayland Baxter? He had an old rubber band factory in Franklin, Kentucky, and it suited him just fine. As one of the hardest-touring artists on the road today, Baxter’s spent most of his professional life in transit, but ever since he was a kid, he dreamed of creative seclusion someplace lonely and isolated, somewhere he could sit still and devote his every waking hour to writing without interruption or distraction. When the opportunity finally presented itself in late 2016, the Nashville native pounced.

              “I packed everything in my van and moved to Franklin for three months,” says Baxter. “It was the fist time I ever got to be alone and focus solely on songs like that. All I did was write, write, write all day every day. I was obsessed.”

              By the time Baxter emerged, he’d penned more than 50 tunes and crafted a detailed blueprint for his spectacular new album, ‘Wide Awake.’ Deftly produced by Butch Walker, the record infuses Baxter’s easygoing, soulful sound with British Invasion melodies and rock and roll swagger, marrying lean, muscular songwriting with adventurous, inventive arrangements. It’s a cutting, insightful collection, one that takes a sardonic view the violence, greed, and division that seem to define the modern American landscape. Rather than point a finger, though, the music holds up a mirror, offering a sober reflection of the times thoughtfully bundled in bright, infectious hooks. There’s no judgment here, only keen observation, and Baxter implicates himself as much as his neighbor through it all.

              “This is an album about decision making,” he explains. “It’s about being a human at the crossroads. Do I do good or do I do evil? Do I lie or do I tell the truth? Am I going to be happy or am I going to be sad? All of these questions and emotions are things I see in myself, and they’re the same things I see in everyone else no matter where I go.”

              Baxter’s built a career on capturing those sorts of timeless, deeply human sentiments, bringing colorful characters to vivid life with equal parts humor and pathos. His debut album, ‘feathers & fishhooks,’ was a critical hit praised by Interview for its “well-worn maturity,” while NPR described “Yellow Eyes,” the lead single from his 2015 follow-up, ‘Imaginary Man,’ as “close-to-perfect.” Stereogum dubbed the record “an impeccable sophomore break-out,” and Rolling Stone hailed its pairing of “whimsical narrative with often deceptively complex arrangements.” The music earned Baxter festival appearances from Bonnaroo to Newport Folk in addition to tours with an astonishing array of artists, including Jason Isbell, The Lumineers, Kacey Musgraves, The Head and The Heart, Shakey Graves, Lauryn Hill, and Grace Potter.

              “The six months leading up to the release of ‘Imaginary Man,’ that was the first time I really started playing electric guitar and performing with a band,” says Baxter. “We did my first headline run and toured that album for a year-and-a-half, and the experience really opened up this whole new sound for me. It helped me figure out more of who I was as an artist and a songwriter and a traveler and a human being.”

              It was with that newfound sense of self that Baxter entered Thunder Sound, the abandoned rubber band factory-turned-studio in the cornfields of Kentucky that would become his home for three months of intensive soul searching and songwriting.

              “I blanketed the windows so no one could see inside,” he explains. “I laid a mattress down next to an old Wurlitzer so I had somewhere to sleep. I had a guitar, a desk with a lamp and some paper and pencils, and that was it. For fifteen hours a day, I wrote.”

              When it came time to record his mountain of new songs, Baxter relocated to Santa Monica, California, where he wrangled an all-star studio band that included Dr. Dog’s Erick Slick on drums, Butch Walker on bass, Cage The Elephant’s Nick Bockrath on guitar, and piano wizard Aaron Embry (Elliott Smith, Brian Eno) on keys. A producer and artist equally at home working with massive pop stars and indie stalwarts, Walker immediately embraced Baxter’s vision for the album, and the result is a sunny and altogether charming collection. Scratch beneath the surface, though, and you’ll find it’s populated by a cast of characters who project a vision of the good life as they struggle to keep it all together behind closed doors. On the punchy ‘Casanova,’ the singer reckons with debts he knows he’ll never be able to repay, while the volatile “Amelia Baker” charts the narrator’s descent into near-madness as he pines for a starlet perpetually out of reach.

              “We have this society where we’re obsessed with celebrity and living on the top of the mountain,” says Baxter. “But what’s at the top? Maybe it’s a lonely place to wake up.”

              Late 2016 was a particular tumultuous time in the country, and though Baxter did his best to isolate himself from the outside world while he wrote, it was inevitable that some of the chaos would seep in. On album opener “Strange American Dream,” a chiming piano and spare Motown groove give way to lush harmonies and unexpected melodic twists as Baxter sings, “I close my eyes and realize that I’m alive inside this strange American dream.” Meanwhile, the soaring “79 Shiny Revolvers” finds him reflecting, “you really wanna save the world, man / well, I wanna save it, too / we can blow ’em away / the American way.”

              While ‘Wide Awake’ offers plenty of broad, wide-angle musings, some of its most arresting moments arrive bundled inside deeply personal memories and snapshots. The heartfelt “Everything To Me” is a tender tribute to family (Baxter’s father Bucky, who played pedal steel with Bob Dylan and Ryan Adams among others, contributes to the record), and the laidback “Let It All Go Man” is a reminder that there’s beauty in simply being alive.

              “I actually started that song two years ago on a trip to South America,” says Baxter. “I was sitting on the porch of a house in this little town in Colombia, and I was all alone playing a gut string classical guitar, just staring out at the ocean and the beach in the middle of the night. It made me realize how much unnecessary stuff we hold on to, all the grinding away we do chasing success and money and missing the big picture. It made me realize what an incredibly beautiful gift it is to be human.”

              That empty South American beach may have been a world away from the rubber band factory in Kentucky, but for Baxter, the effect was the same. The solitude offered a chance to observe, to reflect, to grow, to appreciate, and most importantly, to write.

              STAFF COMMENTS

              Andy says: Effortlessly melodic pop craftsmanship in a Southern/ West Coast easy stylee. This is the perfect album for the summer.

              "Albidaya" in Arabic means "The Beginning", which in the case of Beaini’s, might be the return to the beginnings, or the start of the path. The album is conceptually a revisiting of the traditional and early psychedelic Arabic music, all through distorted paths and instruments, remashed and deconstructed sounds, recreating patterns with diverse instruments to give a different perspective of the sound itself. Includes musicians from Upperground Piero Bittolo Bon and Tommaso Cappellato. Commissioned by Annihaya in Lebanon by Sharif Sehnaoui, Raed Yassin and Hatem Imam - includes artwork by Maria Kassab.

              “Almost entirely recorded in a day, and featuring cello, saxophone and drums in addition to electronics, Albidaya doesn’t attempt to replicate Lebanese folk music. Instead, it articulates a point of contact between various worlds.” Rory Gibb for the Wire

              Robert Berry

              The Wheel Of Time

              Robert Jordan's epic series of fantasy novels, "The Wheel Of Time" is one of the most successful, longest running and most closely followed of all the works in this genre. Berry has been a member of Asia and this neo-prog creation is an imaginary soundtrack which reflects the drama and action of the books.

              Rory Block

              I'm Every Woman

              Rory Block's new album is a powerful mix of acoustic blues, accapella gospel, big soulful blues ballads and out and out rock songs that show off her sensual vocals and her fine guitar playing skills. With the help of people of the calibre of Kelly Joe Phelps this is a fine reaffirmation of her blues and roots heritage.

              Ronan Browne

              The Wynd You Know

              Rowan Browne is swiftly establishing himself as one of Ireland's foremost uilleann pipers. This album is one of the best pipe albums i've heard in donkeys. It will confirm Ronan Browne's importance as a performer and is one of the best Irish folk albums of the year. He's joined by Kevin Glackin on fiddle and Triona Ni Dhomhnaill on harmonium.

              Ruth Brown

              Rock And Roll - Music On Vinyl Edition

                Ruth Brown was an American singer-songwriter and actress, sometimes known as the “Queen of R&B”. She was noted for bringing a pop music style to R&B music in a series of hit songs for Atlantic Records in the 50s, such as “So Long”, “Teardrops from My Eyes” and “(Mama) He Treats Your Daughter Mean”. For these contributions, Atlantic became known as “The house that Ruth built” (alluding to the popular nickname for Old Yankee Stadium).

                In Brown’s first audition, in 1949, she sang “So Long,” which ended up becoming a hit. This was followed by “Teardrops from My Eyes” in 1950. Written by Rudy Toombs, it was the first upbeat major hit for Brown. It was Billboard’s R&B number one for 11 weeks. The hit earned her the nickname “Miss Rhythm” and within a few months Brown became the acknowledged queen of R&B.

                Ruth Brown Rock & Roll is an album featuring tracks recorded between 1949 and 1956.

                An unsung monster in the pantheon of exceptional soul-jazz outings from the Prestige catalog, "Fire Eater" finds Bryant grooving hard in a combo that featured Idris Muhammad on drums, Wilbert Longmire on guitar, and both Bill Mason and Leon Spencer Jr. on organ. Included in this stretched-out, funky set of four originals is the title track, “Fire Eater,” which was sampled for “Swing Set” by Jurassic 5 (2000) and appeared on the 1999 collaboration between DJ Shadow and Cut Chemist, "Brainfreeze". While not as instantly recognizable by name as other greats of the tenor saxophone such as John Coltrane and Sonny Rollins, Bryant’s fiery and athletic approach on this set sets him apart from his peers as a force to be reckoned with. In the strident groove and funky underpinnings of "Fire Eater" is the blueprint for generations of future groovers and funkateers. Essential.

                FORMAT INFORMATION

                Ltd LP Info: 180-gram vinyl pressed at Quality Record Pressings (QRP). Vinyl housed in an old-school style tip-on jacket

                Spin magazine described Buckner as “equal parts Bay Area bohemian and dust bowl traditionalist” and named Bloomed one of its best albums of 1994, while Pitchfork wrote, “It’s a traditional outsider-country record in the lineage of Townes Van Zandt. Buckner’s voice is all honey and oak, his guitar style elaborately twanging, his constant subject matter heartache.” Richard Buckner provides some background on the album: Bloomed was originally (erroneously?) released on an unnamable German label in 1994. I was living in San Francisco at the time, having just moved out of a residential hotel and into the 1906 hilltop prefab that adorns the cover. At the time, I was heading a band called The Doubters. We were playing high profile events such as The Covered Wagon Saloon’s Musical Barstools, but weren’t making much headway. We had been turned down consistently every year by SXSW, but I was somehow finagled in as an unannounced guest onto an already unofficial SXSW showcase created by Butch Hancock at his gallery in downtown Austin. There, I met up again with Lloyd Maines, who agreed to produce my first record. Maines and I met in Lubbock, TX, a few months later, where we worked with Lubbock musicians in a small recording studio walled in wooden shingles Sharpied with bible passages from various church groups that also enjoyed working there. It was 112°F the morning I arrived under the suspicious (Californians are merely B-grade yankees) gaze of downtown’s Buddy Holly statue. That first night there, it hailed so hard that heaven’s angry pellets were storming in under my motel door. It only let up for a few moments that first night, allowing me to run across the street to get a butter burger and fries to go. We finished four days later and I flew back to San Francisco, dismembered the band, and embarked on a tour that would last about 20 years (or a few days, if you count what I actually remember). Nothing’s changed. I’m still dodging the sky and busking to strangers.

                FORMAT INFORMATION

                2xCD Info: Includes a bonus CD containing 11 bonus tracks of radio sessions, live performances, and original recordings of songs that appeared on future releases.

                Richard Buckner

                Impasse

                A husky-voiced country / folk singer-songwriter, his guitar is based in rootsy country traditions, but his lyrics are far too personal and ambitious for Nashville. "Impasse" is his first new record of original material for over four years, and was recorded entirely at his home studio in Canada, with Richard playing virtually every note on the record. The album strikes the perfect balance between his acoustic introspective side and his driving electric side. For fans of Smog and Damien Jurado.

                This score is pound-for-pound the funkiest with its heavy bass and drum groove throughout each movement of the score. Most of the pieces from this soundtrack also include killer samples and breaks, my favourites being “The Diamond Fortress” with Ronnie Scott on solo sax and Chris Karan on Drums and “Thief On The Prowl” featuring Tubby Hayes and Daryl Runswick on Bass. This release also has an exclusive edit. The Main Theme (vocal by The Three Degrees) and instrumental scores have been combined to deliver an unforgettable version of this great title theme. Now for the first time, Dynamite Cuts brings you yet another exclusive 2x7” 45 collection featuring some of Roy Budd’s finest work.

                Only released in 1999 as it was thought it wasn’t a sellable soundtrack. Now for the first time Dynamite Cuts are making a 2x7” 45 collection of some of these gems. The Black Windmill is very much on the same vibe as Stone killers. When I first heard “No Co-Operation” I almost fell off my chair!! In particular, the drums and dark strings (by the National Philharmonic Orchestra) lift this into another zone. In addition, the deep bass groove (this time featuring Daryl Runswick on bass) and killer horns, featuring more of the finest players from Budd’s stable, take this piece into the stratosphere! 

                This almost unheard score holds some never before heard Budd gems. Dynamite Cuts release for the first time a 7” 45 with a selection of original cues and dialogue taken from the Film. How, James Coburn as Professor Robert Elliot creates a masterful plan to get four people, who know too much, to kill each other is a fine example of a classic British thriller with a superb twist at the finale. This 45 is a journey through the film that includes some never before heard tracks. A must have!

                Rob Burger

                The Grid

                  R.I.Y.L. Harmonia, Roedelius, Cluster, Dustin O’Halloran, Goldmund, Popol Vuh, Brian Eno.. Rob Burger’s talents as an arranger, composer, and keyboardist have been nurtured by morethan two decades of contributions to a diverse roster of recognizable names, at the very least including John Zorn, Laurie Anderson, and Iron & Wine with whom Burger presently records and tours.

                  His new album The Grid combines neo-classical soundscapes, ‘70s kosmische, and jaunts of 20th-century exotica into a completely unique genre-quilt that synopsizes his long musical trek through multiple cities, scenes, and sounds. A lifelong musician, Rob began learning piano at age four and would go on to study under jazz luminaries Max Roach, Archie Shepp, and Yusef Lateef at the University of Massachusetts. As if his formal education weren’t impressive on its own, his informal one consisted of frequent visits to New York City creative hubs The Knitting Factory, and The Kitchen, where Burger became a fly on the wall to the likes of Arthur Russell, David Byrne, and Laurie Anderson (Burger would go on to contribute to Anderson’s 2010 album Homeland). Anderson appears on The Grid’s ninth track “Souls of Winter”).

                  With the avant-garde door having long been kicked open, Burger relocated to the Bay and made a lasting impression upon the area’s music scene with his group Tin Hat Trio, while furthering his session and film-score work adjacently. When that group disbanded in the early ‘00s Burger found himself back in NYC where playing a Neil Young tribute show would entwine his path with that of Sam Beam (Iron & Wine). From then on, Burger has been an inextricable component of Beam’s live band and discography. Somewhere in the interim the growth of Burger’s family and his yearning for quieter climes led him to Portland, Oregon, where he built a studio, amassed an enviable collection of vintage keyboards, and began sowing the seeds of The Grid. Burger’s mysteriously upturning chord-changes express depth and melancholy without ever fully straying from a sense of curiosity and charm making the somber moments believable and palatable, as indicated in the album’s first moments. The Grid rolls in on a cloud bank of old-world sorrow with its piano and accordion prologue “Alternate Star,” but by the initial note of the second-track “Harmonious Gathering” all the sonic elements, dusty drum machines, choral keyboard patches, and rubberized synth bass seem to be smiling in glorious unison. This song, as well as the title track that shortly follows it, hint at what it might sound like if Harmonia had stayed intact and were scoring A24 films. 

                  FORMAT INFORMATION

                  Coloured LP Info: Cosmic clear vinyl exclusive for indie stores only.

                  Rory Campbell & Rory Stitt

                  Nusa

                  Two of Celtic music's young guns, Malcolm Stitt and Rory Campbell have released a groundbreaking album. In many ways "Nusa" encapsulates what is happening in Scottish music today. Featuring traditional and original tunes it also adds DJ scratching that brings a new dimensions to tracks featuring pipes, whistles, guitar, bouzouki and drums and percussion.

                  Brazilian DJ and producer Rafael Cancian delivers a veritable United Nations of diverse international disco flavor for his first outing on Razor-N-Tape. The A side delivers cheeky horns and gyrating synths with Ç'est La Douceur, followed by a flurry of string stabs and vocal fourishes with theI Italo-tinged Fascino Di Milano. On the flip we get a taste of Rafa’s native Brasilian boogie with the stomping Frágil, and the EP winds down with the sensual slow groover Besos Libres. This is a 4-tracker of serious heat representing all four romance languages…perfect for romancing, and dancing!

                  STAFF COMMENTS

                  Sil says: More worldwide edits on the confidently good Razor 'n' Tape label. On this instalment there is a bit of Brasil, Italia and France all in the same 12". Diverse and dancefloor friendly.

                  Rob Chapman

                  Psychedelia And Other Colours (Hardback Edition)

                    In the summer of 1965 the informal parties that Ken Kesey was holding at his house in Palo Alto California were about to evolve into what became known as the Acid Tests. These spontaneous anarchic gatherings spread their tentacles far and wide until an entire generation seemed to be under their spell. Fifty years on from the Merry Pranksters multimedia mayhem, acclaimed author Rob Chapman explores in crystalline detail the history, precedents and cultural impact of LSD, from the earliest experiments in painting with light and immersive environments to the thriving avant-garde scene that existed in San Francisco long before the Grateful Dead and the Fillmore Auditorium. In the UK, he documents an entirely different history, and one that has never been told before. It has its roots in fairy tales and fairgrounds, the music hall and the dead of Flanders fields, in the Festival of Britain and that peculiarly British strand of surrealism that culminated in the Magical Mystery Tour.

                    Sitars and Sergeant Pepper, surfadelica and the Soft Machine, light shows and love-ins - the mind-expanding effects of acid were to redefine popular culture as we know it. It's a story that you think you know, but no one has laid out the narrative quite like this before. Chapman documents psychedelia's utopian reverberations - and the dark side of its moon - in a shimmering day-glo portrait where the sublime, the sinister and the just plain silly co-exist in imperfect harmony.

                    Includes a foreward by Andrew Weatherall.


                    FORMAT INFORMATION

                    Hardback Book Info: Hardback edition. 656 pages, 16.5 x 4.1 x 24.1 cm.

                    WRWTFWW Records is delighted to announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. Right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg’s legendary television cartoon, this collector’s item comes in two versions: a limited edition 12" + 7" vinyl album housed in a high glossy gatefold and with an exclusive Shadok drawing by Robert Cohen-Solal, and a digipack CD. Both versions are cut and mastered from the original reels under the supervision of the artist, and contain liner notes in French and English.

                    Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!

                    A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee’s La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd.


                    STAFF COMMENTS

                    Patrick says: Les Shadocks are a new one to me, but a cursory listen and glance over the sales notes suggests a definite Clangers vibe, mais en Francais. That's right, an interplanetary animation soundtrack from the home of musique concrete - totally bonkers in the most charming way.

                    FORMAT INFORMATION

                    Deluxe LP Info: Collector’s VINYL Edition ( LP+ 7"): High glossy gatefold sleeve, French + English liner notes / poster inlay with Shadok drawing by Robert Cohen-Solal, hype sticker.

                    Ry Cooder

                    Paris, Texas - Limited Clear Vinyl Edition

                      Seldom has any artist captured that ineffable “high, lonesome sound” quite as beautifully as Ry Cooder did on his landmark soundtrack to Wim Wenders’ 1984 film Paris, Texas.

                      Not quite blues, not quite bluegrass, not quite ambient, Cooder’s haunting, evocative score mirrors the existential journey of Harry Dean Stanton’s Travis Henderson as he wanders through the empty Texas prairie landscape in pursuit of his irretrievable past. With the able help of multi-instrumentalists David Lindley and Jim Dickinson, Cooder crafts a soundscape (much of it based on Blind Willie Johnson’s “Dark Was the Night, Cold Was the Ground”) that is profoundly sad yet leavened with bits of humor and whimsy.

                      Rick Cox

                      Maria Falling Away

                      Rick Cox layers guitar lines and atomospherics into an atmospheric collage of sound, adds telling contributions from Jon Hassell (trumpet)and Thomas Newman (piano)and the result is a moody, introspective ambient work suffused with an icy perfection that is like walking through snow or through forests of stalagmites.

                      Rodney Crowell & John Paul White

                      Luck Mansion Sessions

                        In September 2016, during the Americana high holiday in Nashville, Third Man Records partnered with Luck Reunion (with a little help from YETI Coolers, Lagunitas, and Tito’s Handmade Vodka) to bring together artists of the folk persuasion. For five days, artists set up in the parlor room of the pop-up "Luck Mansion" in East Nashville to perform, record, and in some cases, pen two songs for Third Man Records engineers to record immediately, after just a few hours of preparation, press onto 7”s, and ultimately bring to the masses. Documenting spontaneous creative collaborations before they are put through any sort of industry machine line was the goal.

                        John Paul White and Rodney Crowell performed Crowell’s “The Girl On The Street” as well as one of three original tunes penned for the Luck Mansion Sessions, “Don’t Think That I Can’t Feel You When You’re Gone.” About the new song, John Paul White says, “It’s the first song we attempted to write.. It gave us both an excuse to sit down and write a song. It was literally the only times we’ve ever played those songs. We didn’t rehearse them ahead of time, we didn’t work out harmony parts and guitar parts… you pretty much captured all of that process.”
                        “Don’t Think That I Can’t Feel You When You’re Gone” is White and Crowell’s first co-write, but not the first collaboration for the pair. White joined Rosanne Cash on vocals for the song “It Ain’t Over Yet” off Crowell’s 2017 release Close Ties (New West). The song and the record have been nominated by the American Music Association in the categories of Song and Album of the Year.

                        Rodney Crowell

                        The Houston Kid

                        Self-produced by Rodney Crowell, "The Houston Kid" is a labour of love. He's poured so much of himself into the songs, most of which have a genuine autobiographical feel about them. Full of heartfelt moments and superb vocal performances. Destined to become one of the Americana albums of the year.

                        Rachael Dadd

                        FLUX

                          Contemporary folk multi-instrumentalist Rachael Dadd is set to release her new album “Flux” on Memphis Industries on the 8th November 2019. Produced with Marcus Hamblett (Villagers / Laura Marling), “Flux” is a response to external and internal tides: the flow of life uprooted; a protest against the flow of recent political history and a diary of the flow within the intimate space of home.

                          Collaborators include multi-instrumentalist Emma Gatrill (Willie Mason / Matthew and the Atlas), drummer Rob Pemberton (Emily Barker / Low Chimes), bassist Jim Barr (Portishead) and vocalists Kate Stables (This Is The Kit) and Rozi Plain. Flux follows Rachael’s highly acclaimed album “We Resonate” which came out on Talitres and Sweetdreams Press, and a string of international releases on Broken Sound, Lost Map, Sweetdreams Press and Angel’s Egg. Living half her time as a travelling musician in Japan, witnessing how other people create things, connecting with other cultures and landscapes; all this is a furnace for Rachael’s innovative song writing, which has seen her gain a reputation as a pioneering and thought provoking artist, unafraid to push the boundaries of folk and pop.

                          STAFF COMMENTS

                          Barry says: There are moments in 'Flux' of such whimsical beauty that hark back to the early days of American psychedelic folk, with plucking guitars and Dadd's gorgous vox. It's the more soulful pieces here that really impress, soaring and weaving in equal measure, providing a fascinating but cohesive listen. Lovely stuff.

                          FORMAT INFORMATION

                          LP includes MP3 Download Code.

                          Rachael Dadd

                          Spark Illuminate / The Holly And The Ivy

                            British folk singer Rachael Dadd takes the holly and ivy as the central theme of her Christmas single, released as part of the Snowflakes Christmas Singles Club, and pressed on snow white vinyl. In pre-Christian times, the holly and the ivy were symbols of the male and female sex. When christianity arrived, the holly and ivy were given new meaning, the holly symbolizing Jesus and the ivy Mary. The holly and ivy, that keep their colours in the winter, became a Christmas decoration, and are the reason why green and red are seen as the colours of Christmas. Rachael covers the 19th Century English carol ‘The Holly And The Ivy’ on the B-side of her single and uses that carol as an inspiration for her original on the A-side, the poetic ‘Spark Illuminate’. With just her beautiful voice and a prepared piano (a piano that has its sounds altered by placing objects on or between the strings), Rachael creates an atmopshere of stillness and intimacy, to warm your heart during those cold days of Christmas.

                            Rachael Dadd is a contemporary folk singer and multi-instrumentalist based in Bristol, England and on the Japanese island of Mukaishima. She is married to Japanese experimental musician ICHI, with whom she also regularly performs, live and on record. Rachael debuted in 2004 with the album ‘Summer/Autumn Recordings’. The album was followed by a string of releases on labels like Broken Sound, Talitres, and Japanese labels Angel’s Egg and Sweetdreams Press. Over the years, Rachael has played festivals like Glastonbury, End of The Road, Green Man, Wilderness and No Direction Home and toured the UK, Europe and Japan several times, alone or with acts like This Is The Kit, Rozi Plain and Alessi’s Ark. Besides as a singer/songwriter/multi-instrumentalist, Dadd, who is a graduate from art school, is also a practicing and exhibiting artist.


                            Ray Davies

                            Working Man's Cafe

                            Eighteen months after releasing his first ever solo album, Ray Davies is back with what promises to be one of the best albums of his incredible career. While last year's "Other People's Lives" was a lifetime in the making, this new album happened relatively quickly. Recorded in Nashville, Tennessee, "Working Mans Café" features 12 stellar songs written by Ray Davies and co-produced with Ray Kennedy. They assembled a crackerjack band of top musicians who breathe life into a wonderful collection of songs. The 12 new songs are vintage Ray Davies and bear all the hallmark classic musical and lyrical insights we have come to expect from him. The album is infused with a transatlantic sound befitting Ray's close ties to the American south coupled with his well respected Englishness. From the first upbeat notes of the lead track "Vietnam Cowboys", it is clear Ray has never sung better. "Working Mans Café" is a wistful, humorous and poignant look at today, just what we have come to expect from one of Britain's greatest songwriters. Highlights are many and include the Preservation Jazz Hall sway of "Morphine Song", the painful longing of "Imaginary Man" and the haunting emotion of "One More Time".

                            Rising up from the bed of the River Tyne, a voice that crumbles and soars, steeped in age old balladry and finely-chiselled observations of the mundane.

                            Richard Dawson is a skewed troubadour at once charming and abrasive. His shambolically virtuosic guitar playing stumbles from music hall tunesmithery to spidery swatches of noise-colour, swathed in amp static and teetering on the edge of feedback.

                            His songs are both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown.

                            New album ‘Nothing Important’, released by Weird World, hypnotises from its tender dark whispers to its wild screams, an unparalleled voice in today’s over-preened and manufactured music world.

                            Richard Dawson

                            The Glass Trunk

                              Originally released in 2013, ‘The Glass Trunk’ was triggered by a commission to respond to the local museum service’s archives. Dawson created an album largely from stories found in an old 17th Century scrapbook, including a lengthy paean to the sorry demise of community pillar Joe The Quilt-Maker and the much-loved yet equally, viscerally dark ‘Poor Old Horse’.

                              Six acapella odes of between 4 and 13 minutes in length, plus a rendering of Mike Waterson’s ‘The Brisk Lad’, interspersed with a series of brief instrumental vignettes, Dawson’s guitar sparring with the electric harp of Rhodri Davies for strictly spontaneous 60-second blasts.

                              This album paved the way for its successor, ‘Nothing Important’, that saw features on Richard from The Wire (cover feature), Mojo, Uncut, The Guardian, The Quietus and more, as well as several 5 star live reviews from The Guardian.

                              FORMAT INFORMATION

                              2xLP includes MP3 Download Code.

                              Richard Dawson

                              2020

                                Richard Dawson, the black-humoured bard of Newcastle, returns to release his sixth solo album 2020, his first since the critically acclaimed, Peasant. 2020  is an utterly contemporary state-of-the-nation study, that uncovers a tumultuous and bleak time. Here is an island country in a state of flux; a society on the edge of mental meltdown.

                                On 2020, Dawson introduces us to grand themes through small lives. His are portraits of human beings struggling with recognisable (and dare we say it, relatable) concerns, conflicts and desires, each reminding us that tragedy and gallows humour are not mutually exclusive, and that the magical can sit next to the mundane. Lyrically it is by far Dawson’s hardest-hitting and unflinchingly honest album to date. It is his poetic masterwork.

                                Within, we find disgruntled civil servants dreaming of better days, anxiety-addled joggers listlessly searching Zoopla for houses they cannot afford in their spare time, amateur footballers who think they’re Lionel Messi and beleaguered pub landlords battling rising floodwaters.

                                Here is life, in all its strange and wonderful ways.

                                STAFF COMMENTS

                                Barry says: Massive stadium rock choruses and strolling folk meet headfirst in this decidedly odd but absolutely on-brand distillation from Richard Dawson. Fiercely political but with a wry humour and unmissable melodic drive (an often overlooked aspect of the more 'humorous' releases) coupled with Dawson's flawless delivery and brilliant ear for a progression make this his most direct and essential release yet.

                                FORMAT INFORMATION

                                2xColoured LP Info: Indies exclusive red vinyl.

                                2xColoured LP includes MP3 Download Code.

                                2xLP includes MP3 Download Code.

                                Previously released in 1973 on the Smash label with different title and tracklisting, Sonar Music Editions reissue Rino De Filippi's library music set 'Riflessi' (right title, right tracklisting). It's a stand-out Italian library album, chock-a-block with keyboard-laden moods and grooves. The record features down-tempo funk and groovy retro synth electronics with hints of prog and lounge breaks. The sleeve features that Italian library music favourite, the Farfalla butterfly. Nice.



                                Roberto De La Barrera

                                Se Formó La Salsa

                                Pianist Roberto de la Barrera was arguably the first musician from Cartagena, Colombia to record music that would later be labeled "tropical" and "salsa" with his own group in the early to mid-1960s. He took the piano seat in the Discos Fuentes house orchestra and was also an arranger on several releases.

                                In 1970 he recorded his third album for the label, "Se formó la salsa", featuring an irresistible mix of Colombian and Cuban flavors, sometimes within the same tune, and often with that wonderful raw, loose, improvisational quality associated with the "descarga" jam sessions of Cachao and others a decade before.

                                Roberto de la Barrera was a pioneer in introducing modern Latin sounds from Havana, New York and San Juan. Sadly, his contributions in bringing salsa to the Caribbean region of Colombia and hence the rest of the country have gone largely unheralded, but hopefully this reissue will help set things straight.

                                Presented in facsimile artwork and pressed on 180g vinyl.

                                Part of Vampisoul's reissue series of classic Fuentes LPs.

                                Rick Deitrick

                                River Sun River Moon

                                  Gentle Wilderness was released as a private press LP in 1978. River Sun River Moon consists of previously unreleased recordings from the same time period. Deitrick came to our attention via Brooks Rice and Michael Klausman, who compiled Imaginational Anthem Vol 8 : The Private Press, which features Rick's "Missy Christa" from Gentle Wilderness. Ohio-born Rick Deitrick took up the guitar at 16 and decided to approach his playing as if he was the only guy on an island and the instrument had just washed ashore one day. According to Rick, “I completely divorced my playing from any formal music knowledge, but it was very important to me to use original tuning. During those years, the sixties/seventies, there was a lot of acoustic guitar playing, often using open tuning as a base. I wanted to create whole tones without de-tuning and keep access to the complex sounds stock tuning provided.” Rick pressed 500 copies of his tranquil solo guitar record, Gentle Wilderness, in 1978 on Niodrara Records, and sold many at performances and directly to music shops who would pay for them. He gave copies to various libraries and left a few albums in the middle of the wilderness, next to trails, “so people would find them.” Rick sought inspiration in nature and in particular the various rivers scattered around the Western United States, often composing songs seated beside them —and even occasionally perched on boulders in them. He never played the songs the same way twice and did two passes on each composition in studio. Rick would sometimes literally come straight out of the mountains and rush to the studio to record the ideas he’d gathered. "Missy Christa" was recorded at Mount Olympus studio in Hollywood and was named after Rick’s daughter; it was originally composed right next to the Big Sur River where he had been camping. Rick currently resides in Los Angeles, “still strumming, waiting for the other shoe to drop.” 

                                  "Re_Calibrate", the companion piece to Donoso’s 2018 acclaimed album "Calibrate" continues to obfuscate any clear definition of genre or style and continues to push his music into stranger, more complex and extreme territories. Equal parts tender and twisted, cynical and honest, beautiful and obnoxious, "Re_Calibrate" shines through as a major point in the composer’s discography - and provides a glimpse into the new directions being taken. "Re_Calibrate" is a challenging listen; void of any trendy tropes or appeal for consumers of watered down, homogenized and dogmatic electronic music. A truly honest and original work in an ocean of clones.

                                  'Quicksilver frequencies, gravelly formants and shimmering, mirage-like washes of tone. Sometimes his sounds feel like signals picked up by a radio telescope, or pure electricity poured through a sieve' - Pitchfork
                                  'He displays a resistance towards the boundaries of genre, taking experimental, techno and noise templates and blending them with different range of sounds, delivering some of the most wonderfully eccentric and evocative music in recent memory' - Dummy
                                  'Transcendently dark permutations' - The Ransom Note 


                                  Two years on from the critically acclaimed Stellular, Rose Elinor Dougall returns with her third solo album A New Illusion. With a noticeable shift in dynamic A New Illusion sees Dougall looks into the abyss – the millennial-burnout, Brexit-apocalypse, those impossible disappointments of growing up in the 21st century Britain – singing quietly with piano, with guitar, and with a gentle fuck-it attitude. “I just wanted to sit at the piano and play, I wanted to return to something essential,” Dougall explains. “There’s something comforting and solid about that instinctive relationship with music, with playing and singing.”

                                  With that essential instinct, Dougall is aligning herself with the tradition of Sandy Denny, Bridget St John, Anne Briggs – English women who sang with proud fragility. “There’s something essential and earthy about them,” says Dougall. “there’s something more bloody about the way they sing.” It’s evocative of the English sweet-sharpness of Kirsty MacColl too – in the dreamy jangling pop lifted up by clear folk vocals and a minor-key melody.

                                  Lead single First Sign took shape during a trip to a remote part of Andalusia. “I was trying to cut loose from a situation, and this song is about vainly attempting to shake oneself free.” Sonically Dougall wanted to reflect the “sparseness and silence of the place in the sound of the track. I was looking for a loose, hazy feeling to the music to sit with the imagery of the song. I wanted it to sound like the end of summer.”

                                  There’s a darker rage on ‘Take What You Can Get’, with it’s plunging guitar riffs and panicky violin jags. The album skips and blurs between the public and the private realms. “There’s a lot of reflecting on quite a turbulent twenties that’s not necessarily resolving itself in my thirties.”

                                  ‘That’s Where the Trouble Started’ started as a conversation with a girlfriend, about how and why we allow dysfunctionality to continue. It’s about accepting responsibility, and trying to wear your fragility in a proud way.”

                                  Dougall takes the helm for the first time, directing the whole team and co-producing with old friend Matt Twaites. “This doesn’t have the same safety net as other things I’ve been involved in – it’s all on me. I’ve set myself new challenges, to see what happens.”

                                  The record features her brother Tom, also the lead singer in Toy, his bandmates Maxim Barron and Max Claps, Euan Hinshelwood and Joe Chilton of Younghusband, and other old friends from London, Brighton and Cornwall. “It does feel like a really nice group effort – I didn’t want to be over-prescriptive, so some of it is quite loose. I wanted to make it about musicianship.”

                                  A New Illusion is slower and more confident than her previous albums – the themes may be urgent but the sound is more relaxed. “I don’t feel the same angst about acknowledgement or approval. I decided to trust my instincts, to see if they connect with the world. I’ve been making music all my life, and this feels like a culmination of those experiences. I feel I’ve grown more fluent, more confident, more in charge that I have come closer to my natural sonic habitat.” 


                                  FORMAT INFORMATION

                                  Coloured LP Info: Transparent blue vinyl.

                                  This manifesto of outsider orchestrations, teenage symphonies and cultivated concrete is the debut album of experimental Irish avant garde and electro acoustic innovator Roger Doyle - a pianist, composer and improvisational jazz drummer with a penchant for experimentation that would marginalise him from traditional seats of learning in his native homeland but embrace him to the bosom of Europe’s leading forward-thinking research centres for electronic and computer music. Here he would piece together two highly sought after experimental albums before returning home to channel his multi-disciplinary work ethic into the agit pop theatrical company Operating Theatre and play a leading role in the burgeoning Irish new wave scene as an early signing to U2’s Mother Records.

                                  A collection of some of Doyle’s earliest works as an indomitable scholarship student of composition at the Royal Irish Academy Of Music in Dublin and then as founding member and drummer of experimental jazz rock outfit Jazz Therapy (who would later become Supply Demand & Curve), this patchwork 1975 debut long player draws from what was an already bulging portfolio that included academic assignments, living room compositions and soundtrack collaborations with Irish filmmakers.

                                  Originally part-recorded and subsequently aborted when the would-be label vanished without trace overnight, Oizzo No was shelved indefinitely until a scholarship at the prestigious Institute Of Sonology at the University Of Utrecht in Holland afforded Doyle not only the opportunity to partially revise his humble opus in their state of the art studios (as well as those of the EMS Studios in Stockholm) but also the money to press a limited run of 500 copies and help further cement the foundations of his future status as one of Ireland’s leading and most versatile contemporary composers.

                                  Richard Edwards

                                  Verdugo

                                    Margot & the Nuclear So and So’s, Elliott Smith, Neil Young & Big Star. Richard Edwards felt almost human when he returned to Los Angeles to record songs for what became Verdugo. It’s the follow-up to the Indiana singer’s 2017 album Lemon Cotton Candy Sunset, a beautiful, personal release that was deeply unpleasant to make. Not only was he afflicted at the time by an intestinal ailment that often left him unable to stand, let alone sing, his marriage fell apart midway through making the album. If Lemon Cotton Candy Sunset ended up being a record about letting go, Verdugo is the album where Edwards pulls himself up after falling down.

                                    “The making of it was kind of my recovery from all the stuff,” says Edwards, who worked again with producer Rob Schnapf (Elliott Smith, Beck) in L.A. “I went back and wasn’t as sick, so making the second one, and finishing it, was a much, much more joyous event.” Verdugo features 10 new songs that showcase Edwards’ considerable and longstanding talent as a writer, and also a new way of singing: Edwards’ chronic pain meant finding a vocal approach that didn’t make him feel like throwing up. “I sing in a half-falsetto high range that came out of not being able to belt stuff out for a year,” Edwards says. His new vocal style deepens the air of melancholy on the atmospheric “Strange,” takes on a wistful cast on “Beekeeper” over subtle drums and a distinctive guitar part, and is lifted aloft on a soaring blend of guitars, drums and backing vocals on “Minefield.” “They kind of disappear in this weird sky sonically now, because of this range,” he says.

                                    “They don’t feel rooted anymore, they fly all over, and that falsetto — if you’re looking at it as a picture, it goes higher up in the room than it used to.” This is Edwards’ second solo album after more than a decade leading the Indianapolis band Margot & the Nuclear So and So’s, which he founded in 2004. When health problems made touring with Margot impossible, Edwards turned inward and began writing songs “loosely inspired by all one learns, and fails to learn, while dealing with one’s own mortality,” as he wrote in a piece for Talkhouse. Verdugo is completely Edwards, the result of an agonizing stretch of dissolution and, over time, regeneration. Best of all, it’s not an end point, but merely the next station on a continuing journey. “It’s somewhere between that last record and what will happen after that, and what was going to happen before,” he says. “It comes from three years of having to get really quiet, and figure out what grows out of that.” 

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited red vinyl.

                                    Coloured LP includes MP3 Download Code.

                                    Richard Einhorn

                                    Shock Waves (1977 Original Soundtrack)

                                      Waxwork Records is thrilled to announce the vinyl debut of SHOCK WAVES. The 1977 film stars horror movie legend Peter Cushing and is directed by Ken Wiederhorn (Return Of The Living Dead 2). The 100% analog synth score composed by Richard Einhorn (The Prowler, Don't Go In The House) marks one of the earliest electronic compositions created for film. Waxwork is proud to finally release this landmark electronic horror score in vinyl format 40 years after the film's initial public release.

                                      LP package features include the complete score available on vinyl for the very first time, composer liner notes by Richard Einhorn, director liner notes by Ken Wiederhorn, heavyweight old style tip-on gatefold jackets, "Sea Foam Green" colored vinyl, all new album artwork by Marc Schoenbach of Sadist Art Designs, and center label art by Ghoulish Gary Pullin.


                                      FORMAT INFORMATION

                                      Coloured LP Info: Sea Foam Green Colored Vinyl.
                                      Heavyweight Old Style Tip-On Gatefold Jacket.

                                      “Hello. I’m Robert Ellis, The Texas Piano Man. I wanted to take a moment to say a few words about this record and what you might expect from it. ‘Texas Piano Man’ is a collection of songs specifically written for my piano driven Rock & Roll band from the great state of Texas. Myself and the guys bring these songs to you in the very spirit of Texas itself; loudly, confidently, over the top, larger than life, at times deadly serious and yet always with a wink and a smile. We invite you to come on in, stay a while, and when you leave take with you the spirit of these songs, the spirit of Texas, and the spirit of The Texas Piano Man himself. Adios!” - Robert

                                      STAFF COMMENTS

                                      Barry says: From the grand, cinematic soundtrackery of Elton John or off-kilter college-rock keyfoolery of Ben Folds, Robert Ellis skilfully weaves heartfelt piano minimalism into grand classic rock opuses (opii?) within the space of a couple minutes. Perfectly constructed and brilliantly conceived rock and/or roll.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Indies exclusive sky blue vinyl.

                                      Rob Ellis

                                      Music For The Home

                                        One time member of PJ Harvey's band produces an album of keyboard experimentation reminiscent of Morton Subotnik. An outerworld experience and quite a suprise.

                                        Roky Erickson

                                        The Holiday Inn Tapes

                                          On December 1, 1986 Patrick Mathè from the French label, New Rose, met Roky at the Holiday Inn in Austin, TX to record the first ten tracks on this album. Due to the fact that these tracks were recorded in a hotel room, the sound quality is not superb, but still very acceptable. The thing that is superb about this album, however, is the fact that listeners get a chance to hear Roky alone in an extremely intimate setting with his acoustic guitar, playing his own material and two inspired covers by fellow Texan musical genius, Buddy Holly. The final four tracks on the album are taken from the rare and demon-ridden 1977 Sponge Records EP, recorded shortly after Roky was released from a mental institution.

                                          FORMAT INFORMATION

                                          Ltd LP Info: 180 gram virgin vinyl.

                                          Rudi Esch

                                          Electri_City: The Dusseldorf School Of Electronic Music

                                            Just like Memphis for Rock'n'Roll, Dusseldorf is regarded as the Mecca for electronic music. The capital of North Rhine-Westphalia became the centre of an analog electronic movement which changed the course of all popular music to come.

                                            Electri_City is the oral account of the city's most influential bands, including Kraftwerk, NEU!, DAF, Die Krupps and many more. This history uncovers the myths and reality of the bands emerging from the artistic backdrop of a wealthy, modern, post-WWII German city; the conditions that fostered such a creative explosion.

                                            Interviews include Daniel Miller (Mute Records), Paul Humphreys and Andy McCluskey (OMD), Martyn Ware (Human League), Glenn Gregory (Heaven 17), Rusty Egan (Visage) Ryuichi Sakamoto and producer, Giorgio Moroder.

                                            A stunningly accomplished work, ‘Deep Rave Memory’ is an insight into Fearless’ worlds – both metaphysical and geographical. Pulsating in unison with the heartbeat of a modern metropolis, it was recorded at the Metal Box’ – his studio located on the peninsula of land where the River Lea meets the Thames.

                                            The haunting and wistful blue ambient ‘Vision of You’ leads into the bracingly chilly ‘New Perspective’, which evokes a heavy rush where perceptions are blurred and vision is freeze framed, via elements of techno-soul, Sheffield Bleep and Mika Vainio. A snarling beast of a track, the relentless machine funk of ‘Devil on Horseback’ perfects the pure cathartic release of dark ‘n’ hot body music, whilst ‘Acid Angels’ is a throbbing low-fi 303 requiem, which encapsulates that perfect dancefloor moment, when the first light breaks through the shutters.

                                            A future classic and the album’s modus operandi, title track ‘Deep Rave Memory’’s discordant filter passes sweep across a hypnotic melody, communicating a deep sense of warm nostalgia and taking you on an epic journey – stretching out a single riff over 12 minutes – akin to the krautrock greats of which Fearless is so fond. ‘Atlas of Insanity’ is big room techno with pounding kicks, death-whip metallic snares and head spinning, spiralling synth lines that drill into your core. This is raw, impulsive and frantic music that sizzles with electric effervescence. The Germanic kosmische idyll of ‘Driving with Roedelius’ is a homage to one of Richards’ heroes – Hans-Joachim Roedelius – and was inspired by his experience playing a set consisting solely of the electronic pioneer’s music, at a festival celebrating his life and career. On the album's closer, Fearless recounts, “‘Broken Beauty’ is something I’ve always strived for in my art. It’s inspired by Robert Frank, William Eggleston and the way they could take the most inane object a turn it into something of beauty. It’s equally schooled by the aggressive simplicity of King Tubby’s dubbing and the transcendence of Joy Division’s ‘Decades’. The sparse allure of the best dub and techno is something I’m always striving for; being able to conjure emotion with the fewest possible elements; to not fix what’s broken, but to make it shine.


                                            STAFF COMMENTS

                                            Matt says: Deep n dark electronix from Richard Fearless whose Drone label, run with his wife, showcases the producer's new outlook - indebted to dub and Detroit techno and more akin to what you might hear in one of Fearless' DJ sets.

                                            FORMAT INFORMATION

                                            2xLtd LP Info: Indies exclusive - only 150 copies for the UK.

                                            Raffaelle Fiume / Joey Mauro

                                            Dreamer Cafè

                                            Joey and Mauro Raffaele Fiume, we can say for sure is that the odd couple of 'Italodisco of yesterday and today. Joey mauro spent the last 15 years as a writer , producer, singer and 1st actor of alomost 60 new generation Italodisco dance tracks published worldwide. Raffaele Fiume an old acquaintance of Italodisco who produced and sang over 40 disco mix from 1981 to 1989 and sold thousands of records around the world with various pseudonyms, the most famous are : Clock on 5, Mr Rocambole, Helicon and Raf Coney. They come together with a mini album born from their friendship that led to a collaboration destined to leave an indelible mark in the Italo disco new generation panorama .Their newest mini album rediscovers the QUADRANGOLO MIRABILE label in an all-Italian production that is bringing back to the great experiences of Label as Discotto and Disco Magic. Along with the great the Pin Up designs of the great artist Giovanna Casotto, the voice of Francesco Cataldo Verrina aka Bounty Miller and Karl Otto make this release a must to have for all Italo Disco fans!

                                            Robert Forster

                                            Grant & I : Inside And Outside The Go-Betweens - Signed Edition

                                              The 1980s songwriting partnership of McLennan/ Forster was a little like an Australian Lennon/ McCartney. The pair wrote all the band’s distinctively original material and, like their more famous counterparts, shared the credits and alternated on lead vocals. Grant & I is an extraordinary portrait of an intense, creative, sometimes fraught friendship that represented a genuine meeting of artistic minds.

                                              In Grant & I, the reader is given a front-row seat at the sessions that produced an incredibly prolific and diverse song catalogue. Just as The Go-Betweens were like no other music group, so this book is like no other music memoir. It is wise and witty, poignant, insightful, self-deprecating and knowledgeable. Robert Forster is as natural a storyteller and prose writer as he is a songwriter, and Grant & I is an unforgettable ride.

                                              STAFF COMMENTS

                                              Laura says: It took me a while to get around to reading this, but once I started, I couldn't put it down! Although I'm a fan of their music ("Cattle & Cane" is one of my favourite songs of all time) I know very little about the story of The Go-betweens, and it's a great story. As you'd expect, this is a beautifully written and wonderfully evocative tale of friendship and the highs and lows of being in a 'rock'n'roll' band from the end of the 70's, through the rise of indie in the 80's, and beyond. You don't have to be a fan of the band to enjoy this book either, it's just a really enjoyable read, but anyone who grew up in love with Postcard Records, the early days of Rough Trade Records and 80s indie with particularly will love it.

                                              FORMAT INFORMATION

                                              Hardback Book Info: Limited Signed Edition!

                                              'Inferno' is acclaimed Australian singer-songwriter Robert Forster's first solo album in four years - his second album over the last eleven years. Forster only makes records when he feels he has the songs - on 'Inferno', he has nine he totally believes in.

                                              They range from the exhilarating top ten pop of 'Inferno (Brisbane In Summer)', the beach shack groove of 'Life Has Turned A Page', via 'Remain's 1977 New York strut, to finish in a way that this concise, brilliant, drama and wit filled album only can - on the big build epic 'One Bird In The Sky'.

                                              'Inferno' was made in Berlin in 2018, during the hottest German summer in decades. Noted producer/engineer Victor Van Vugt (Beth Orton 'Trailer Park', P J Harvey 'Stories From The City, Stories From The Sea'), recorded the album; the first time he and Forster had worked together since Van Vugt engineered Forster's debut solo album classic 'Danger In The Past' in Berlin in 1990.

                                              'Inferno' in its making is a perfect mix of the familiar and the new. Also working with Forster again, are Brisbane based multi-instrumentalists Scott Bromley and Karin Bãumler from 'Songs To Play' (2015), while new recruits are drummer Earl Havin (Tindersticks, Mary J. Blige) and keyboardist Michael Muhlhaus (Blumfeld, Kante). Four musicians from the corners of the world, who, with Van Vugt's bold and beautiful production, sound like a band of the ages. In front of them, Forster delivers the best vocal performances of his career.

                                              STAFF COMMENTS

                                              Barry says: Encompassing all of the best melodic aspects of some of the greatest songwriters to date (Forster's vocal drawl sounding not entirely unlike Morrisey's at points), Forster manages to be both poignant and accessible all at once. Shimmering acoustic guitar and crisp production come together to accentuate the country-folk-indie at every turn. A wonderfully written and brilliantly conceived outing.

                                              Robert Forster

                                              The Evangelist - Reissue

                                                Following the 1989 break-up of the Go-Betweens, the band he had formed at college in 1978 with his friend Grant McLennan, Robert Forster embarked on a solo career, releasing four albums under his own name between 1990 and 1996, before reforming The Go-Betweens in 2000.

                                                After the death of bandmate Grant McLennan in 2006 Robert released, this, his 5th solo album in 2008, including the last three songs he wrote with Grant. 

                                                Robbie Fulks & Linda Gail Lewis

                                                Wild! Wild! Wild!

                                                  Wild! Wild! Wild!, the new collaboration between Grammy-nominated singer-songwriter Robbie Fulks and rock-and-roll royalty Linda Gail Lewis, gleefully lives up to its title. It's Americana music that's as butt- shakin' as Beale Street, deep-rooted as the Grand Ole Opry, and hip as a trip to The Strip. Subversive as it is reverential, the album jumps the genre tracks of nitty-gritty rock-and-roll, country-and-western, rockabilly, jump swing, and gospel, landing in a strange slice of spacetime - call it 1954 - when all these were One (and Linda was seven). obbie Fulks, the record's producer, is "one of the most observant and wry songwriters of the past two decades" ( Rolling Stone). Ground-zero Louisiana- born rocker Linda Gail Lewis is the younger sister and frequent performing partner of Jerry Lee Lewis, whose piano innovations she carries forward.

                                                  Robbie Fulks

                                                  Couples In Trouble

                                                  A collection of 12 songs, each of which, as the title suggests, documents a tale of two people in crisis. Mostly country / bluegrass songs but occasionally deliving into pop and rock. Very good!

                                                  11 early electro-acoustic pieces for the Studiotrautonium keyboard alongside tape manipulation to accompany the New York City Ballet production Electronics by George Balanchine

                                                  Originally staged March 22, 1961, as part of a double bill choreographed by George Balanchine, the experimental New York City Ballet production Electronics included the renowned dancers Violette Verdy and Jacques d’Amboise (pictured on the front of this album) and a revolutionary score by multi-disciplined composer Remy Gassmann using a truly unique instrument. Working alongside German born keyboard composer and close acquaintance Oskar Sala (with whom he had studied in Berlin under Paul Hindemith), Gassmann was given access and assistance to the latest developments of the Trautonium, an early electronic keyboard that was first exhibited in 1930 by inventor Adolf Trautwein and three pianists (including Sala).

                                                  Being one of the original exponents of the machine, Sala (with Trautwein’s blessing) took the basic model of a neon tube oscillator and wire frequency controller (which provided an untempered continuous tonal range) and spent over twenty years developing what would become the Konzerttrautonium (as used by Roichard Strauss to emulate synthetic gongs), followed by the microtonal Mixturtrautonium and eventually the static Studiotrautonium which formed the centrepiece of his own studio in Berlin-Charlottenburg where electronics was composed and realised. For the 1961 ballet, dressed in metal- lic bodysuits with geometric diodic motifs, Verdy and d’Amboise (alongside a small troupe of other dancers) performed the concise eleven-part ballet to polarised but predominantly positive audiences, generating a new outlook on experimental dance and supporting the similar sensibilities of other choreographers such as Alwin Nikolais, Yvonne Georgi (with Henk Badings) and Maurice Béjart (with Pierre Henry). As one of the first American performances drawing primarily on European developments, the modest critical success of the project would open new avenues for the electronic musical duo who were commissioned later in the year by Alfred J. Hitchcock Productions to provide enhanced and versatile sound effects emulating cacophonic bird sounds alongside Bernard Hermann for the 1963 blockbuster The Birds.

                                                  FORMAT INFORMATION

                                                  10" LP includes MP3 Download Code.

                                                  Roger Gerressen & Ivano Tetelepta

                                                  Build From Wax Vol. 1

                                                  First mini album (2x12") of the two Dutch masters, Roger Gerressen and Ivano Tetelepta.

                                                  "Build From Wax" is the first part of their sample-based series, which covers field recording and fragments from the past, reconstructed to the future by the tools of drum machines and analog warmth, with the classical flavour of techno and house era.

                                                  Nilla rocks again.

                                                  R. Girardin – "Emotional Music" is a collaborative release from Palto Flats and Zero Grow, a contemporary rendering of synthetic midi-fusion and DAW experimentalism. Drawing links between Rashad Becker’s textured compositional approach and the multicultural electro-fetishism of Benjamin Lew, "Emotional Music" uses known palettes in non-traditional methods.
                                                  In "Emotional Music" we are treated to Girardin’s tooling of the synthesizer as a spiritual instrument, one where the typical motifs of musicality and style degrade in favor of poetic modulation matrices and breath controlled hopefuls. Synthesizers occupy a special place in sonic energy, dependent on electricity for physical sound creation, void of voice without human intellect and touch. "Emotional Music" is a synthesis of both the human and synthesizer’s expressive logics; one of internal architectures capable only through external inlets and outlets.

                                                  R. Girardin is a Hollywood location scout living in Los Angeles. Recent work includes contributions to the score of Invernomuto’s film "Vers L'Europa Deserta, Terra Incognita", and lectures on the aesthetics of decentered spatiality in Southern California at ECAL in Lausanne, Switzerland and UC Irvine. Girardin has previously released music on Italian label Hundebiss.

                                                  The artwork features a cover photo by Girardin and blind drawings by artist Roee Rosen. 

                                                  Robert Glasper & Miles Davis

                                                  Everything's Beautiful - The Recordings Of Miles Davis

                                                  A stunning new record of reimagined interpretations of Miles Davis' music produced by Grammy Award winner Robert Glasper (who also served as coproducer of the Miles Ahead soundtrack) with musical guest artists including Bilal, Illa J, Erykah Badu, Phonte, Hiatus Kaiyote, Laura Mvula, KING, Georgia Ann Muldrow, John Scofield and Ledisi, and Stevie Wonder. A visionary exploration of the music of Miles Davis, 'Everything's Beautiful' incorporates Davis' original recordings into new collaborative soundscapes.

                                                  "I didn't want to do just a remix record," Glasper noted when discussing the 11-song set. "My idea was to show how Miles inspired people to make new art." Realizing that "Miles didn't have one audience," Glasper recruited a legion of diverse guest artists to add to the magic of the project. "I am living in the spirit of Miles when I am doing what I'm doing because I am documenting my time period. I'm documenting what's around me. I'm documenting who I am now, where music is now," says Glasper. "That's what this project is about. I wanted to do something where we can take some of Miles' ideas, shake them up, and try to show the influence of Miles and make new things. And that's the beauty of this whole album. The whole project is based on Miles, but it is based on Miles' vision, it's based on Miles' trumpet, it's based on Miles' voice, it's based on Miles' composition, it's based on Miles' influence, it's based on Miles' swag."

                                                  Robert Glasper

                                                  Canvas

                                                  The pianist’s acclaimed, ambitious Blue Note debut, originally recorded at Brooklyn’s Systems Two studios during May 2005.
                                                  Featuring Vicente Archer (bass) and Damon Reid (drums), plus special guest appearances from Mark Turner (tenor sax) on two tracks and Bilal (vocals) on ‘Chant’, “Canvas” features nine original Glasper compositions plus a famous cover version of Herbie Hancock’s ‘Riot’ (which originally appeared on Miles Davis’s Nefertiti album). Rooted in acoustic jazz but with fascinating glimpses of Glasper’s Blue Note future with its jittery, hip-hop-influenced grooves and rolling chord sequences, this remarkable debut put Glasper right in the spotlight.


                                                  Ruben Gonzalez

                                                  Introducing... (Extended Edition)

                                                    World Circuit provide all lovers of latin music with a welcome double heavyweight vinyl reissue of Ruben Gonzalez' "Introducing...". Mastered from the original mix tapes by Alex Wharton at Abbey Road, several tracks are now heard in unedited, full length form for the first time with the addition of a further track that has never previously been released. When the Cuban pianist Ruben Gonzalez recorded his first solo album in Havana in 1996 he was 77 years old. Released on World Circuit the following year, along with the Grammy-winning Buena Vista Social Club on which he also played, it led to a remarkable late flowering of his career that lasted until his death in 2003, as he toured the world and was revealed as one of the timeless legends of Cuban music. The story of Ruben Gonzalez's rediscovery was movingly told in Wim Wenders' award winning Buena Vista Social Club lm. A maestro whose piano playing in the 1940s helped de ne the Cuban sound as we know it today, by the 1990s Rubén had virtually stopped making music. Suffering with arthritis, he no longer even owned a piano. Invited to come out of retirement in 1996 to play on World Circuit's remarkable trio of albums recorded in a two week session in Havana in 1996 - alongside Ry Cooder on the Buena Vista Social Club album, and with the Afro-Cuban All Stars on their debut 'A Toda Cuba La Gusta' - his pleasure as his touch and phrasing returned was palpable and infectious. Every morning he was the first to arrive at the studio in Havana, waiting for the doors to be unlocked. Once inside he played all day long, prompting Cooder to dub him "the greatest piano soloist I have ever heard in my life." Accompanied by a hand-picked band playing a selection of Cuban classics 'live ' in the studio, Gonzalez turned in one of all me classic Cuban piano albums.

                                                    Rachel Grimes

                                                    The Way Forth

                                                      The expansive new album Rachel Grimes, the renowned modern composer and cofounder of iconic chamber-rock group, Rachel’s. A rich, sprawling folk opera that explores the controversial history of Kentucky’s overlooked figures. The Way Forth, a new folk opera from Rachel Grimes, encompasses lush layers of voices and orchestrations in an experiential, non-linear investigation highlighting perspectives of Kentucky women from 1775 to today. Inspired by a treasure-trove of family documents, photos, and letters spanning several generations, Grimes began in 2016 to research some of the more vexing questions that came to the surface about these people, places, and events.

                                                      The songs that make up The Way Forth weave back in time through a postcard, a personal account of a long life on a farm, traces of folk tunes, names, places, and rivers, all woven into an emotional fabric of yearning, nostalgia, grief, and the rich intimacies of everyday life. Initially solo voices are heard above vivid orchestrations, expanding with the choral voices of the community through fragments of traditional church music and popular tunes. The scope widens to include a modern male narrator's reflections on a place battered by greed, civil war, bigotry, and the exploitation of natural resources. Through music, voice, and film, The Way Forth honors the emotional legacy of the silenced, the holistic, the beauty in quotidian life, and explores the eternal grace and redemption of time, as symbolized by the great Dix and Kentucky Rivers

                                                      STAFF COMMENTS

                                                      Barry says: An honest and tender look at rural history and locality as well as the place of arts and creativity within society, all presented through Grimes' singular musical vision. Any fans of Rachel's tender chamber classical (myself included) will find a lot to enjoy here, while being comfortingly different from anything that's come before.

                                                      Recorded between the release of Sand (1977) and Lost Secrets(1981), Symphonic Songs is a formerly unreleased work that chronicles the dynamic shift and development in experimental Swedish composer Ragnar Grippe’s canon.

                                                      Following his seminal release Sandin 1977, Swedish experimental composer Ragnar Grippe worked on various art and performance commissions, often returning to Stockholm during the summer months to focus his efforts on his compositional practice. It was there at the famed EMS Studioswhere he began employing the Buchla synthesizer and the facilities multi-tracking capabilities as new instruments to map his mining of sound and movement.

                                                      During the late 1970’s, Grippe formed a creative collaboration with choreographer Susan Buirge, specifically writing compositions for her works ͞Restes͟ and ͞Tamis͟, thus pushing Grippe to start working in a more intricate studio environment. These passages inspired Grippe into a more complex layering process that focused more on placement and structure, rather than the aural floods and flourishes of his previous Sand album, eventually germinating in his first full 24-track composition entitled ͞Orchestra.͟

                                                      After debuting ͞Orchestra͟ in 1980 at the Electronic Music Festival in Stockholm, Grippe holed up at EMS Studios with those lessons and the fussy Buchla synthesizer, in which Grippe affectionately recalls ͞needed to be tuned and calibrated every 20-30 minutes.͟ He emerged with a new commission for Susan Buirge later formally titled Symphonic Songs and used in her avant-garde theater piece ͞Ci-Déla͟ which debuted in Paris in 1981.Symphonic Songsshowcased Grippe’s sound au courant, pushing dense against sparse, calm into cacophonous, using each track as its own intersecting plane. Using the machinations of studio and structure to drive Symphonic Songs’ voice, Grippe culled a haunting, often cinematic electronic work that dots and darts into unexpected corners with curious aplomb.


                                                      FORMAT INFORMATION

                                                      2xColoured LP Info: Clear vinyl.

                                                      Roy Harper

                                                      1984 (Jugula)

                                                        Featuring Jimmy Page, ‘Jugula’ was originally released in 1985 and reissued as ‘1984 (Jugula)’.

                                                        Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.

                                                        All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.

                                                        Roy Harper

                                                        Folkjokeopus

                                                          ‘Folkjokeopus’ was originally released 1969 and produced by Shel Talmy.  

                                                          Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.

                                                          All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.

                                                          Roy Harper

                                                          HQ

                                                            "HQ is to date my most integral 'rock' record. The songs on the record are less acoustically oriented than on any of my other albums. However this is not to say that any of the songs couldn't have been recorded playing just an acoustic guitar. The combination of Chris Spedding, Bill Bruford, Dave Cochrane and myself was a band I should have kept together, but hindsight is a wonderful thing. Dave Gilmour, John Paul Jones and Steve Broughton were the band that played together at a Hyde Park Free Concert and then recorded the backing track for 'The Game'. 

                                                            The highlights of the record are one, Chris Spedding's guitar solo on 'The Game,' which was a first take and is a wonderful piece of spontaneous Rock and Roll. He played it on a tiny amp in the middle of the empty aircraft hanger sized Studio 1, at Abbey Road, a studio built for a 100 piece orchestra and opera cast. He was dressed in a white suit with a red carnation and was in and out of the studio within 20 minutes! And two, the great lift that the Grimethorpe Colliery (brass) Band gave to the David Bedford arrangement of 'When an Old Cricketer Leaves the Crease.' It was recorded in the same studio and there were about 50 musicians in the studio that day. 

                                                            My childhood memories of the heroic stature of the footballers and cricketers of the day invoke the sounds that went along with them. Paramount among these was the traditional Northern English brass band, which was a functional social component through all four seasons, being seen and heard in many different contexts. My use of that style of music on 'Old Cricketer' is a tribute to those distant memories. Finally, not least among the highlights is the third verse of the lyric of 'The Spirit Lives.' A poem of mine that I really enjoy. I always look back on HQ as a great album made at one of the best times of my life." - Roy Harper

                                                            Remastered audio reissued on 180gm vinyl.

                                                            Packaged in deluxe gatefold sleeve.

                                                            Original cover art with additional printed heavy inner sleeve including extra notes and images.

                                                            Artwork redesign by Harry Pearce.

                                                            Roy Harper

                                                            Return Of The Sophisticated Beggar

                                                              Roy Harper’s first solo album was originally released in 1966, The Sophisticated Beggar, and by 1970 he had met up with Pink Floyd manager Peter Jenner and re-released his debut as Return Of The Sophisticated Beggar.

                                                              Roy Harper’s music can be best defined as progressive folk, but as his work is so varied there are many instances where his music transgressed these genre confinements.

                                                              He worked alongside greats like Jimmy Page of Led Zeppelin, David Gilmour of Pink Floyd, The Nice, Kate Bush and Ian Anderson of Jethro Tull. Roy Harper is also recognized for his vocal contribution on “Have A Cigar”, the third track on Pink Floyd’s 1975 album Wish You Were Here.

                                                              FORMAT INFORMATION

                                                              LP Info: 180g audiophile vinyl re-issue of his debut folk rock album.

                                                              Roy Harper

                                                              Hats Off

                                                              14 songs featuring Roy Harper's collaborations with the likes of Kate Bush ("You"), Jimmy Page, David Bedford, Dave Gilmour and Paul McCartney amongst others on an excellent US compilation.

                                                              Roy Harper

                                                              Lifemask

                                                              With his unique voice and style Roy Harper has been a declaimer and entertainer throughout his long career. In 1972 he starred in a bleak, contemporary film with Carrol White called "Made", releasing the music he composed for the picture's soundtrack in 1973 under the title "Lifemask". It's one of his most satisfying albums, full of great songs, passionate and dramatic with startling use of echoplex and multi-tracking.

                                                              STAFF COMMENTS

                                                              Andy says: Includes the incredible tracks "Highway Blues" and "South Africa".

                                                              1977, East Hartford, Connecticut. Rahni Harris, a 21 year old reverend and multi-instrumentalist, and his band, Family Love, were not afraid to embrace their love of R&B and gospel. They laid down "A Different Drummer" LP - one of the most forward thinking LPs recorded during this period and arguably of all time.

                                                              "Syncopated Love", "He’s My Friend" and "Make It Easy" have been supported by DJs and collectors in the know for many years. Now, Rain&Shine give Rahni’s’ seminal record another lease of life for discerned collectors, DJs and music lovers worldwide!

                                                              Remastered with full original artwork.



                                                              Ren Harvieu

                                                              Revel In The Drama

                                                                Harvieu’s defiance against the odds and her willingness to lay herself open to make what she believed was within her is baked into every groove of the record, across every stylistic turn: the giddy pop of ‘Strange Thing’, the gothic swoon of ‘Cruel Disguise’, the smokey seductiveness of ‘Yes Please’ through to the stirring torchsong finale ‘My Body She Is Alive’.

                                                                Harvieu has come a long way from the 17-year-old who was signed to Island Records and who had no intention of becoming a singer-songwriter. Even when she made her debut album “Through The Night”, her confidence was low. “I did help write a few of the songs on that record, which I’m still very fond of, but I felt more of a mouthpiece for someone else’s talent, which eats away at you especially because I had so much to say lyrically I just hadn’t learnt how to as yet.”

                                                                Her injury - a broken spine following “a freak accident” between recording and releasing her debut album - undermined Harvieu even further. Likewise, Island parted ways with her six months after it’s release, despite a Top 5 chart entry, making the BBC’s Sound Of 2012, a 5-star live review from The Guardian and TV exposure. What followed was what Harvieu describes as “some very dark years” which she addresses in songs like ‘Spirit Me Away’ and the 50’s ballad-evoking ‘You Don’t Know Me.’ A split with her long term partner, her manager and then her beloved Salford. “In one fell swoop everything was gone. I knew I had to get away, start again, rebuild myself.”

                                                                It wasn’t until 2015 to be exact, when she met Romeo Stodart, the Magic Numbers frontman and songwriter who had emailed after seeing her perform on Later… With Jools Holland, to ask if she’d consider writing together. “When we started, the energy was immediately different to anyone I’d worked with before, there was this insane instant musical connection” she says. “I loved that Romeo really embraced who I was and encouraged it, I was starting to realise that I didn’t have to be anything other than myself.”

                                                                The pair spent the next two years co-writing: “I wasn’t in a massive hurry, because at last I was having fun” Harvieu says. ‘We’d stay up all night drinking, dancing and playing music, I felt like I was re-discovering a girl who had been hidden, quietened. I’d tell Romeo, I don’t just want to paint pretty pictures I want to revel in the drama of my life, the good and the bad, before I was afraid to say something in my lyrics, but no longer. I felt free.”

                                                                The album was co-produced by Romeo Stodart and Dave Izumi Lynch, owner of Echo Zoo studio in Eastbourne where recording took place. “It was a truly magical experience working with Dave & Romeo, they are two absolute nurturing musical wizards.” says Harvieu.

                                                                Harvieu’s lyrical confidence is evident throughout the album and has you leaning in to absorb line after line. Her voice, soaring and caressing in equal measure, is matched in force by her flirtatious personality. From the album’s opening lyric “Let me put my paws on you, strange thing’through to the feminine bite of ‘Curves And Swerves’ “I’ve got some curves and some swerves, what you gonna do about it?” which crackles with sexual tension and an aching vulnerability.

                                                                Among Harvieu’s new songs are messages of hope to her younger, anxious self. To the teenage goth Ren in ‘Little Raven’, she says: “I want you to know, that I’m starting to feel, but its gonna take time, but I’m ready to heal”. ‘Tomorrow Girl Today’ is to the Ren “who would make bad decisions… we can all be very self-destructive, but will we make it this time?”

                                                                So what now, Ren Harvieu? “I’ve created a second chance for myself“ she says. “And I will keep creating second chances for myself, because this is my life and I’m not afraid to revel in it anymore.” Revel In the Drama of Ren Harvieu - finally we all can too.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: indies-only clear vinyl

                                                                Richard Hawley

                                                                Coles Corner - Coloured Vinyl Reissue

                                                                  Critics were almost unanimous in their praise for Coles Corner, originally released on 5 September 2005.

                                                                  Richard's third solo album (his fourth if you include the self titled mini album). It was recorded at Yellowarch Studio in his hometown of Sheffield and is a beautiful album, filled with nostalgia, emotion and romance. Its orchestral splendour sits alongside earthy rock and roll, with songs that are by turns intimate and soaring.

                                                                  The title immortalises the legendary Sheffield landmark Coles Corner, a popular meeting place of old and new lovers.

                                                                  The album was nominated for the 2006 Mercury Music Prize for best album.

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: 1500 copies on transparent amber vinyl.

                                                                  It’s been a while since the last Richard Hawley album - 4 years in fact. During that time he made a decision to break the recording / touring cycle he’d been working since he was 14 and went off to write music for films and also an acclaimed musical, "Standing At The Sky's Edge", based around a housing estate in his home town. But now he’s back, with a new album, and although there’s plenty of the swoonsome, croonsome Hawley we know and love, he’s not been afraid to push the boundaries a little.

                                                                  If you’re a 6music listener, then you can’t fail to have heard the opening track, the bluesy rock’n’roll stomp of “Of My Mind” - maybe a bit of a shock to the system for long-time Hawley fans, but fear not! It’s followed my the Smithsian “Alone” and then the gorgeous “My Little Treasures” - a beautiful, heartfelt song written about drinking with two of his late father’s oldest friends. The sweeping strings and pedal steel of the title track and slow strummed ballad  “Emilina Says” wind things down beautifully.

                                                                  I don’t know if the album was put together with the thought of an A-side and B-side in mind, but that’s how it comes across, with both sides opening with a big ballsy blast that slowly eases as the needle creeps inwards. The B-side opens with “Is There A Pill?”, with it’s pounding drums and big string surges that bring to mind “A Design For Life” era Manics. It’s followed by the chugging “Galley Girl” and then gently drifts into the languid “Not Lonely”. “Time Is” could be a Neil Diamond cover (he wrote some gems you know!) and is followed by my favourite track on the album “Midnight Train” - classic Hawley! And finally, the album is rounded off with the short but sweet, gentle strum of “Doors”.

                                                                  “Further” is possibly the most diverse album Richard Hawley has recorded, but it flows beautifully - partly down to the wonderfully intertwined guitar playing of Hawley and long-time cohort Shez Sheridan, but also because Hawley is such a great song writer. If like me, you are unsure on first listen, stick with it - it’s worth it!

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Limited Edition Orange LP.

                                                                  LP Info: Black vinyl edition.

                                                                  Richard Hawley

                                                                  Hollow Meadows - Coloured Vinyl Reissue

                                                                    Recorded at Sheffield’s Yellow Arch Studio in spring 2015, Hollow Meadows' sees Hawley return to the classic, sophisticated songwriting and subtle arrangements that made him so widely loved and revered in the first place.

                                                                    Meditating on such themes as ageing, fallibility and relationships, much of the album shares a brooding, yet wistful and romantic atmosphere in keeping with early albums Late Night Final and Lowedges, as well as touches of 2009’s Truelove’s Gutter (‘Nothing Like A Friend’) and Standing At The Sky’s Edge (‘Which Way’, ‘Welcome The Sun’).

                                                                    FORMAT INFORMATION

                                                                    2xColoured LP Info: Double LP with Gatefold Sleeve and 8 page 12” booklet.
                                                                    700 copies on transparent blue vinyl.

                                                                    Richard Hawley

                                                                    Lady's Bridge - Coloured Vinyl Reissue

                                                                      Lady's Bridge is the fifth studio album from Richard Hawley, originally released on 20 August 2007.

                                                                      "Lady's Bridge" is filled with enough classics to last you a lifetime. Great music doesn't need hype, it makes its own friends. And "Lady's Bridge" will find plenty. As they did in "Coles Corner", ghosts haunt "Lady's Bridge" – the dying embers of past romances in "Valentine", the 16-piece string orchestral lush opener, there are the victims of the Great Sheffield Flood remembered in "Roll River Roll" and the glorious "The Sun Refused To Shine", the lonesome wanderlust of "The Sea Calls" and "Dark Road". There is tenderness (the lovely "Our Darkness" which finds our hero returning to the sanctuary of home) and grit too, the first single – "Tonight The Streets Are Ours" is quite possibly the most beautiful song about the brutality of the British government's anti-social behaviour policy you are ever likely to hear. The album's title "Lady's Bridge" is a Sheffield landmark and the oldest bridge to cross the river Don. 'I used to walk across it nearly every day, it was a gateway from the poor bit of town to the rich bit' - Richard Hawley. The album was recorded at Yellow Arch Studio in Neepsend, Sheffield in the dilapidated building that Hawley had helped out with the restoration of almost four years ago. Yellow Arch gives Hawley what he calls 'that Sun Studio red light factor' and the pressure of turning up with the bones of an idea and leaving with a masterpiece.

                                                                      The album was certified gold for sales of 100,000 copies in the UK on 11 June 2010.

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: 700 copies on transparent green vinyl.

                                                                      Richard Hawley

                                                                      Late Night Final

                                                                        "Late Night Final" was Richard Hawley's first full length album, released in 2002. It follows on from where the previous years self titled mini album left off: his rich baritone, delivering his timeless, heartfelt songs over gorgeous guitar melodies. The album has a noir-ish cinematic feel to it - imagine the soundtrack to Blue Velvet written in Sheffield.

                                                                        To celebrate his new album "Further" our good friends at Music On Vinyl have presented to us the three Setanta albums from their back catalogue. A super limited one off pressing with just 275 of each available on clear wax - gotta move quick on these pop pickers!

                                                                        Richard Hawley

                                                                        Lowedges - Clear Vinyl Edition

                                                                          More gorgeous, late night, storytelling songs by the erstwhile Pulp and Longpigs guitarist. Hawley croons lovelorn words which evoke the late 50s in their charm and sweetness. Musically it's pretty and melodic, acoustic guitar ballads, lushly fleshed out with lapsteel, vibes, Mellotron and shimmery, echoey electric (guitar). Warm, poetic and inviting, this is a beautiful record and a balm for aching hearts everywhere!

                                                                          To celebrate his new album "Further" our good friends at Music On Vinyl have presented to us the three Setanta albums from their back catalogue. A super limited one off pressing with just 275 of each available on clear wax - gotta move quick on these pop pickers!

                                                                          Richard Hawley

                                                                          Richard Hawley - Clear Vinyl Edition

                                                                            Before the release of this 7 track mini album in 2001, Richard Hawley was solely know as a guitarist, having been a member of The Longpigs and touring guitarist for Pulp. With this album though, he demonstrated his knack for writing a killer tune and it was our first introduction to THAT VOICE.

                                                                            Both this and the following full length album, "Late Night Final" are absolutely timeless albums that draw on a rich musical history and could have as easily been written in the middle of the 20th century as the start of the 21st: His rich baritone vocals crooning over gorgeous guitar melodies and hushed drums.

                                                                            To celebrate his new album "Further" our good friends at Music On Vinyl have presented to us the three Setanta albums from their back catalogue. A super limited one off pressing with just 275 of each available on clear wax - gotta move quick on these pop pickers!

                                                                            Richard Hawley

                                                                            Standing At The Sky's Edge - Coloured Vinyl Reissue



                                                                              FORMAT INFORMATION

                                                                              2xColoured LP Info: Double LP with Gatefold Sleeve plus 8 page 12” booklet.
                                                                              700 copies on transparent blue sparkle vinyl.

                                                                              Richard Hawley

                                                                              Truelove’s Gutter - Coloured Vinyl Reissue

                                                                                Truelove's Gutter, the sixth studio album from Hawley, was first released on 21 September 2009.

                                                                                Another album title referring to an ancient street in Hawley's native Sheffield, now thought to be the location of present-day Castle Street, which was allegedly named after 18th-century innkeeper Thomas Truelove, who used charge local people to dump their rubbish in the gutter in the street that then flowed down to the River Don.

                                                                                Thematically, Hawley’s darkest album to date. The album features some uncommon instrumentation, such as the waterphone, megabass, and cristal baschet.

                                                                                FORMAT INFORMATION

                                                                                2xColoured LP Info: Double LP with gatefold sleeve plus 8 Page 12” booklet.
                                                                                1100 copies on transparent amethyst vinyl.

                                                                                Eleven gorgeous, late night, storytelling songs by the erstwhile Pulp and Longpigs guitarist. Hawley croons lovelorn words which evoke the late 50s in their charm and sweetness. Musically it's pretty and melodic, acoustic guitar ballads, lushly fleshed out with lapsteel, vibes, Mellotron and shimmery, echoey electric (guitar). Warm, poetic and inviting, this is a beautiful record and a balm for aching hearts everywhere!

                                                                                Originally released in 2003, this was his second album, or third if you include his self titled mini-LP too. Although it follows a similar late night, love lorn style as his previous releases, it's musically and atmospherically a much bigger sound and hinted at what was to come with it's stunning follow-up Coles Corner. 

                                                                                Truly classic, timeless songs, americana guitars (think Mazzy Star or maybe even Lambchop), and echoed vocals mixed with a very English sound. Imagine the soundtrack to Blue Velvet, recorded in Sheffield! Absolutely brilliant!

                                                                                Following the success of his award-winning, hugely acclaimed 2009 album ‘Truelove’s Gutter’, Richard Hawley will release his sixth studio album.

                                                                                Recorded at Sheffield’s Yellow Arch Studio in 2011, ‘Standing At The Sky’s Edge’ marks a seismic shift in direction for Hawley. The album is a euphoric, sonic assault on the senses, channelling elements of psychedelia, space rock and ragas with heavy riffs and raw, visceral guitar solos – as well as more familiar, tender moments – which will surprise Hawley’s fans and peers alike.

                                                                                Exploring lyrical themes of love, loss, redemption and darker areas of the human condition, it’s an album of ominous storytelling and cosmic exploration, sung in Hawley’s rich baritone and soundtracked by an epic musical journey in glorious, menacing Technicolor. In the tradition of Hawley’s previous albums, the title is inspired by an area of Sheffield.

                                                                                Hawley says of the album, “I wanted to get away from the orchestration of my previous records and make a live album with two guitars, bass, drums and rocket noises!”

                                                                                'Standing At The Sky's Edge' is set to establish Hawley as one of the UK's greatest, contemporary guitarists.


                                                                                STAFF COMMENTS

                                                                                Laura says: Right from the off you realise that this album isn’t exactly going to follow the same lush, string embellished path of the last three Hawley albums, as it plunges straight into a seven minute plus psych rocker. "She Brings The Sunlight" and title track "Standing At The Sky’s Edge" - a bleak view of modern life pushing people to the brink - pretty much set the tone for the whole album really. Although he hinted at a darker side with "Truelove’s Gutter", this album is not just a darker affair, but heavier too. (He has rocked before though don’t forget, and he’s really pretty good at it!) There are lighter moments: "Seek It" and the shimmering acid haze of "Don’t Stare At The Sun" for example, mellow things out nicely before we’re plunged back into heavy riffs and layers of feedback. It’s an ambitious and very different sound, but he pulls it off with ease. And of course with THAT voice, it’s most definitely a Richard Hawley album. A triumph!

                                                                                RW Hedges

                                                                                The Hills Are Old Songs

                                                                                  Following on from RW Hedges Pop debut 'The Hunters in the Snow'.. this one takes place in The American West of 1877 the year the phonograph was invented.

                                                                                  Constructed in RW's studio 'The Chalet' a get away full of books and fairy lights out in a field in a no man’s land. RW & Luca Nieri sat around bonfires and wrote lyrics written on big spools of paper.

                                                                                  As per last time Luca Nieri produces and RW Hedges directs the songwriting further towards his influences of 1930's Hollywood. 


                                                                                  After the first wave of artists that have broken the ice with their way of combining contemporary symphonic music with electronica and jazz on the European side (Olafur Arnalds, Nils Frahm, Max Richter) – now there is a new generation of young musician breaking boundaries on a new level. Especially in Germany there is a new wave of artists that bring the thing on a whole new level. These 20 – 25 year old people don't just imitate what the bigger names in the scene (the fathers) have done but develop the style to a totally different level and add new ideas instead of just copying what the older guys did. This new wave of artists have a huge musical knowledge, have studied at the best music academies, learned to play „classical“ instruments and know how to improvise on a very high level. They have been raised in 2 different world: Studied the history of (contemporary) classical music and also been influenced by what's happening in Electronica evolution of the last 25 years.

                                                                                  Ralph Heidel is one of these new kids in the German scene. Coming from Munich, the 25 year old extremely talented musician studied saxophone and composition at the Munich academy of music (known for being the best music school in Germany. Think Julliard or Berklee). He graduated in 2018. Leering everything about the music of 20th century composers (Charles Ives, Alfred Schnittke, Giöyrgi Ligeti etc). At the same time he grow up with the music of electronic producers like Alvo Noto, Boards of Canada, Jon Hopkins, Jan Jelinek, Four Tet since early days. And: he comes from a Jazz musicians family and has grown up by listening to the jazz collection of his father. Studied saxophone since age of 12 with a big passion for the more advanced Jazz.

                                                                                  In his own music all this comes together.
                                                                                  „Moments of Resonance“ are seven compositions full of brilliant little ideas, harmonic complexity, unheard music surprises, clever citations, dramatic evolutions, big explosive moments, meditative moments and euphoric high points. This album is an extremely emotional work of art for strings, saxophone, drums, bass and electronics.

                                                                                  Ralph Heidel and his 7 piece ensemble Homo Ludens connect contemporary chamber music with Electronica, Ambient, Post rock and avant-garde Jazz. On a highest possible musical level – without getting too abstract and incomprehensible.

                                                                                  Everything is composed and improvised. Nothing is sampled. You find wild Punk-Jazz parts that recall John Zorn or Mahavishnu Orchestra and romantic passages that make you think about European impressionistic composers like Ravel or Debussy. But nothing is imitated, everything gets broken up through an expressive new way of using harmonization and melodic composing. Sometimes the band flies through an ambient and drone universe but one moment later the music evolves into an explosive, impossible to describe musical moment. One of Heidel's biggest ability is to melt electronic and organic elements into a new unheard sound.



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