Celestial Echo is here with one of the all time holy grail soul double siders. When we tell you a record will never leave your bag after buying it, this is exactly the record it applies to.

Originally released in 1970 and written, produced and arranged by the great Van McCoy, Washington D.C.’s Bobby Reed stepped up and delivered “The Time Is Right For Love” an incredible loved up stepper, and then “If I Don’t Love You”, a perfect compliment, another… loved up stepper.

This one isn’t a fresh find, or a new discovery - Just an essential, officially licensed reissue of an incredible slice of soul.

Pressed and distributed by Prime Direct Distribution—. Don’t miss!

TRACK LISTING

A1. The Time Is Right For Love
B1. If I Don’t Love You

Eli Paperboy Reed's Hits And Misses is a remastered collection of rarities, originals, & covers, featuring Eli's spin on Motorhead's "The Ace of Spades"

Eli takes Motorhead's hard rock classic and reimagines it as a soul revival with Hammond organ, brass horns, electric guitar, Eli's signature vocal wails and a backbeat that creates a new take on the song that is no less powerful than the original.

Hits And Misses also includes Eli's noirish R&B take on Steely Dan's 1972 hit "Do It Again" that brings the original song back in time 30 years and a cover of Latimore's 1974 hit "Let's Straighten It Out," showcasing a vocal intensity that's not quite as present in the nearly spoken word original.

In addition to covers, Eli Paperboy Reed's original, IDKWYCTD (I Came to Play) is an anthemic party starter. This high- energy track is featured in Disney's Marvel comic series, Moon Girl and Devil Dinosaur. The album also includes covers of Bob Dylan's, "To Be Alone With You," Merle Haggard's "I'm Gonna Break Every Heart I Can," and more.

TRACK LISTING

Ace Of Spades
Do It Again
To Be Alone With You
Anytime You Want Me
IDKWYCTD (I Came To Play)
Let’s Straighten It Out
Bad Girl
I Don’t Know (What The World Is Coming To)
I’m Gonna Break Every Heart I Can
That’s Love
Steal Away

Lou Reed's 2003 album, and 19th solo album "The Raven", is a concept album, recounting the short stories and poems of Edgar Allan Poe. The album which features guest vocals from Laurie Anderson and David Bowie (amongst others) This is the first time "The Raven" will appear on vinyl.

Simply one of the greatest albums of all time, this is a special black and white splatter version of Lou Reed’s second solo album. It is home to several of his most famous tracks, Perfect Day, Walk On The Wild Side, Vicious and Satellite Of Love.

Light in the Attic Records, in cooperation with Laurie Anderson, proudly announces the inaugural title in their ongoing Lou Reed Archive Series: Words & Music, May 1965.

“To hear a tape containing their earliest demos, recorded on May 11, 1965, and locked away until now, is to hear traces of things rarely associated with The Velvet Underground: blues and folk, earthy and traditional, uncertain and hesitant… yet bristling with that rusty, caustic, Lou Reed spirit. It is a revelation.” – Will Hodgkinson, MOJO'.

Released in tandem with the late artist’s 80th birthday celebrations, the album offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet-songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a “poor man’s copyright”—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century. Through examination of these songs rooted firmly in the folk tradition, we see clearly Lou’s lasting influence on the development of modern American music – from punk to art-rock and everything in between. A true time capsule, these recordings not only memorialize the nascent sparks of what would become the seeds of the incredibly influential Velvet Underground; they also cement Reed as a true observer with an innate talent for synthesizing and distilling the world around him into pure sonic poetry.

Featuring contributions from Reed’s future bandmate, John Cale, Words & Music, May 1965 presents in their entirety the earliest-known recordings of such historic songs as “Heroin,” “I’m Waiting for the Man,” and “Pale Blue Eyes”—all of which Reed would eventually record and make indelibly influential with the Velvet Underground. Also included are several more previously-unreleased compositions that offer additional insight into Reed’s creative process and early influences. Produced by Laurie Anderson, Don Fleming, Jason Stern, Hal Willner, and Matt Sullivan, the album features newly-remastered audio from the original tape by GRAMMY®-nominated engineer, John Baldwin. Rounding out the package are new liner notes from acclaimed journalist and author, Greil Marcus, plus in-depth archival notes from Don Fleming and Jason Stern, who oversee the Lou Reed Archive, while the release has been designed by multi-GRAMMY®-winning artist Masaki Koike.

● All tracks previously unreleased.
● Produced in partnership with Laurie Anderson and the Lou Reed Archive.
● Inaugural release in Light in the Attic’s Lou Reed Archive Series.
● Features the earliest-known recordings of “I’m Waiting for the Man,” “Pale Blue Eyes" and “Heroin" as made famous by The Velvet Underground.
● Includes seven unheard Lou Reed compositions.
● Remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin.
● Package designed by multi-GRAMMY®-winning artist Masaki Koike.
● Vinyl pressed at RTI.
● LP available on Standard Black Wax plus a Special Limited Color Edition.
● LP & CD include booklets featuring lyrics, archival photos, and liner notes by Greil Marcus, Don Fleming and Jason Stern (LP: 20-pgs, CD: 60-pgs)
● CD & Cassette include six unheard tracks recorded between 1958 and 1964, including early demos, a cover of Bob Dylan’s “Don’t Think Twice, It’s All Right,” and a doo-wop serenade recorded in ‘58 when the legendary singer-songwriter was just sixteen-years-old

STAFF COMMENTS

Andy says: This is an amazing find and incredible document of one of the greatest song writers of the 20th century. Lou Reed's widow Laurie Anderson feels these home recordings need to be preserved and though Lou had just hooked up with John Cale there is none of their arty explosive, scuzz and sleaze here; these are just pure songs, surprisingly in the folk idiom (though this is 1965 and it's just an acoustic guitar so it clearly makes sense), simply laid down as works in progress. If you're a Lou Reed fan, (and who isn't?), this is a must!

TRACK LISTING

I'm Waiting For The Man - May 1965 Demo
Men Of Good Fortune - May 1965 Demo
Heroin - May 1965 Demo
Too Late - May 1965 Demo
Buttercup Song - May 1965 Demo
Walk Alone - May 1965 Demo
Buzz Buzz Buzz - May 1965 Demo
Pale Blue Eyes - May 1965 Demo
Stockpile - May 1965 Demo
Wrap Your Troubles In Dreams - May 1965 Demo
I'm Waiting For The Man - May 1965 Alternate Version (CD/Cassette Only)
Gee Whiz - 1958 Rehearsal (CD/Cassette Only)
Baby, Let Me Follow You Down - 1963/64 Home Recording (CD/Cassette Only)
Michael, Row The Boat Ashore - 1963/64 Home Recording (CD/Cassette Only)
Don't Think Twice, It's All Right (Partial) - 1963/64 Home Recording (CD/Cassette Only)
W & X, Y, Z Blues - 1963/64 Home Recording (CD/Cassette Only)
Lou's 12-Bar Instrumental - 1963/64 Home Recording (CD/Cassette Only)

Renée Reed's debut album is a warm lo-fi folk album that blends the Cajun music she was raised on with 60s French pop to create something noirish and intriguing. Self-labeled "dream-fi folk from the Cajun prairies," Renée released her first two songs in 2020 "Out Loud" in May and "Until Tomorrow" in July, which Gorilla vs. Bear described as "an effortless, inspired union of the haunting folk music that Reed was raised on and a lilting, lost '60s French-pop gem."

Renée's statement on "Fast One" and her album: "Full of anger over the shallow, shitty behavior of certain acquaintances I’ve had over the last few years, people who assume they know more about me than I do. But I leave things open to change and growth." "This album is a collection of songs about toxic relationships, seeing ghosts, ancestral baggage and blessings, and daydreaming about love. It is about certain feelings and experiences I’ve had over my life coming to fruition in the past three years. It was all made on a four track recorder at home, in a place and in a way I feel most natural, and I believe that quality comes through in the sound." Press quotes: "And while Renée’s music is certainly informed by these deep roots, her dark dreamlike folk has more in common with contemporaries like Cate Le Bon and Jessica Pratt. It’s also not unlike the intangible magic contained in Mazzy Star’s songs." 

TRACK LISTING

1. Out Loud
2. I Saw A Ghost
3. Little Flower Dance
4. Fast One
5. Neboj 6. Où Est La Fée
7. Until Tomorrow
8. Your Seventh Moon
9. The Ash
10. Fool To The Fire
11. If Only We Could
12. Drunken Widow’s Waltz

Dan Reeder is a multi-faceted artist, recently championed by boygenius. He is Oh Boy Records longest signed artist, and was personally signed by the legendary John Prine himself.

Reeder is releasing a collection of songs titled,Smithereens, an eclectic mix of songs, many recorded and played on gear he built. A true DIY maestro, Dan seamlessly assumes the roles of producer, mixer, mastering engineer, and visual artist, imbuing every facet of his artistry with his distinct touch. His musical stylings often draw comparisons to the likes of Blaze Foley, Bon Iver, Sufjan Stevens, and Ween.

TRACK LISTING

Side A
1. Fuzzyfalafelosophy
2. Speed King Universal Lifestyle
3. You Don’t Have To Ask
4. Old Socrates
5. It Was A Party
6. Gin Tonic
7. I’ve Got The Blues (even Though Nothing Is Wrong) Fun Style
8. One Of You
9. Hunt A Little
10. Forever
11. Fun Campfire Song
12. The Best Conversations
13. Nine Pound Hammer

Side B
1. This New Band
2. Fuck Off
3. Feather
4. What I Was Thinking
5. 52 Years Ago
6. This Hopeless World
7. Smithereens
8. (I Ain’t Got No) Fighting Style
9. Banjoman
10. Bloo You Believe In Bloo Blove
11. Sex Is Still A Mess
12. Ma Baby
13. Skiing Song
14. Hungry Heart

This is Reel Big Fish's punchy ska-core debut, brass sections whip up a storm, quirky rhythms, grungy guitar and pithy lyrics. It's cool.

Introducing the very first release on No Static - a brand new vinyl-only label from the Reel People Music Group, home to Reel People Music, Papa Records and Foliage Records, dedicated to timeless soul, deep grooves and future classics.

Pressed on stunning yellow vinyl and limited to just 300 copies worldwide, No Static brings together two incredible cuts making their vinyl debut for the very first time.

On the A-side, Reel People feat. Tony Momrelle's uplifting remake of the Bill Withers classic 'Can We Pretend' receives the sublime Tall Black Guy Samba 7" Mix treatment, blending soulful vocals with warm Brazilian-inspired rhythms. Flip it over for Zo! feat. Dornik's modern soul masterpiece 'Lifelines', reimagined in an exclusive Reel People 7" Mix full of rich musicianship and timeless groove.

A must-have collector's piece for DJs, soul lovers and vinyl heads alike.

TRACK LISTING

Reel People feat. Tony Momrelle - Can We Pretend (Tall Black Guy Samba 7"
Mix)
Zo! feat. Dornik - Lifelines (Reel People 7" Mix)

To live again has never been so good. So sexy. So groovy. Reelow's reeturning to the game with 'Reeborn' - his highly-anticipated second album on his own Reecords label. This one's not just about the music: Reeborn is the resume of adventures, friendships, missed flights, collaborations, and hundreds of hours in his Barcelona studio: a magnet that attracts artists, buddies, and music enthusiasts, becoming a meeting point and exchanging fulcrum. The Hungarian groove master and Solid Grooves resident delivers four irresistible cuts in perfect Reelow's fashion, diving between skipping drums, shuffling grooves, and jackin' bass tones, taking listeners on a road trip deep into his trademark rough and funky sound. Reeborn, now.

STAFF COMMENTS

Matt says: Loud and wobbly, ketty house staples in a similar vein to Acid Mondays with big basslines and infectious, intricate rhythmic programming. Kinda shit we heard Suat playing over lockdown and buzzed off.

TRACK LISTING

A1. Toilet Secrets (feat. Anaisa)
A2. Bitchthatsnake
B1. I’m With Them (feat. Joe Harris)
B2. Free Your Mind (feat. Hana)

This one was an unexpected treat - two of our favourite contemporary musicians, Finn Rees & SHOLTO coming together and collaborating on a double dose of celestial, cinematic alchemy

At Mr Bongo we are massive admirers of drummer, musician, and producer SHOLTO (Oscar Robertson). His two albums on Funk Night Records and DeepMatter Records, had both been highlights of their respective years.

We'd gotten to know Oscar and sent him a few records. Included in the package was Australian pianist- composer Finn Rees' debut album, Dawn Is A Melody, which was one of our favourite releases on Mr Bongo in 2024. In Oscar's words 'For me it was a standout modern jazz record - encapsulating a spiritual / hazy dreamy soundscape which hugely resonated with me. Glissando keys and harp with lush melodies, I was instantly intrigued." The pair started following each other online and as luck would have it, Finn was staying in London for the summer season, so they arranged to meet.

The pair instantly clicked and said it felt like they'd known each other for years. After 40 minutes of chatting, they started to jam. 'Love In Memory' and 'Bluebell' were recorded over two days - a track a day in Oscar's SFJ studios. Laid down on mostly analogue equipment, the pair utilised Wurlitzer's, mellotrons, and ribbon mics through Oscar's '70s Studer desk. Composed and crafted without any real intentions, other than a shared appreciation for the same style of music and approach, the tracks started to take shape. The results were as lush, nostalgic and textured as you'd expect from these two brilliant musicians, with a classical feel inspired by artists such as Piero Piccioni, Piero Umiliani, and Henry Mancini.

For the beautiful string arrangements, the pair recruited the talents of SHOLTO's longtime friend and collaborator Clementine Brown (Penguin Cafe Orchestra) and Matthew Hayes of 30/70, Allysha Joy, Xpress Point, Zeitgeist Freedom Energy Exchange fame, was brought in to play bass on 'Bluebell'.

So here we have it, a chance collaborative project built on two musicians' mutual respect for each other's outputs. The result is truly breathtaking.

TRACK LISTING

Love In Memory
Bluebell

Mr Bongo proudly presents the debut album from Tasmania-born, Melbourne-based, Finn Rees.

Gliding across a swirling palette of saturated hues, Dawn Is A Melody feels vintage yet vibrant, new but familiar at the same time. A spiritual, deep and textured jazz record, tipping its hat to greats from the past, capturing memories and reformulating them into new ideas with the help of some of Melbourne's finest talent.

Expert keys player for the likes of 30/70 and Elle Shimada, alongside one-half of Close Counters, this debut LP was Finn's conscious departure from the realm of groove-based jazz. Instead, Dawn Is A Melody places the piano and arrangements centre stage, giving Finn and his fellow Melbourne crew freedom to explore the spaces in between, new emotions and alternate soundscapes.

The album arcs between opening, middle and end. Beginning with the optimism of 'Looking Up' and 'Lagoon', the former a celestial, string and harp marbled slice of positivity, the latter a spiritual journey of exuberance and hope, Finn's fingers dancing across the '70s Yamaha grand piano . From there the songs blossom outwards with the cinematic soulful journey of 'It's Behind Me Now' and Brazilianinspired 'Expansion', as the divine 'Crossing' signals a transition to a new realm. The energy is transformed from the rich cosmic textures to a more intimate and personal feeling with 'Ablaze', 'Between Spaces' and 'As It Passes' which blissfully fades down to simply piano and strings to close out the record.

Recorded at Rolling Stock in Collingwood, Melbourne, Henry Jenkins was drafted in as recording and mix engineer, his minimal vintage mic setups giving a live aesthetic and warmth to the arrangements. Lucky Pereira and Blakely McLean Davies form the rock- solid rhythm section, with a hand- picked line- up of other Melbourne talent on display, including Cheryl Durongpitikul on tenor sax, Siwei Wong on harp, Audrey Powne on trumpet and Allysha Joy on vocals to name only a few.

Plotting a course from Alice Coltrane, through Herbie Hancock, to Arthur Verocai, this is a debut nourished by the past but firmly made in the present. A record unable to be age-stamped, casting ambiguity as to when, what era and by whom it has been crafted. Like a vintage lens capturing a current scene, Dawn Is A Melody is warm and familiar yet focused on the here now.

For fans of Alice Coltrane, Herbie Hancock and Arthur Verocai.

STAFF COMMENTS

Barry says: Moving tastefully between frenetic lounge jazz and shimmering spiritual business, offering many a moment of sublime weirdness amongst the richly orchestral backdrop, and resulting in a varied but hugely satisfying end result.

TRACK LISTING

Looking Up
Lagoon
Horizons
It's Behind Me Now
Expansion
End Of The Line
Crossing
Ablaze
Between Spaces
As It Passes

There is no form of American-made music that has been as critically derided, or shunned, as AOR. The blues, punk, hip-hop, alt-rock, country-rock, R&B, jazz, rock 'n' roll and soul. All are canonised.

Trad country and disco have long since been re-appraised. Even hair metal has its champions. Yet there has hardly been a positive critical word published about AOR.

But this speaks far more to the prejudices and blind spots of music critics than it does about the actual music. The plain fact is, AOR artists were responsible for some of the hugest selling and timeless records of the era. Five bands stand tall as AOR's leading lights: Journey, Boston, Foreigner, Toto and REO Speedwagon.

Between them, they have to date sold over 335 million records worldwide. Aside from these five bands, there is then a second tier of multi-platinum AOR acts and including the likes of Styx, Survivor, Pat Benatar, Heart, Kansas, Bryan Adams, Loverboy, Night Ranger, Billy Squier and more. During the period covering 1976-1986, AOR was inarguably the music of the American heartland.

AOR stood out by its luxurious productions, its sumptuous harmonies, and its lovelorn ballads. Then again, by its lyrical pre-occupations - essentially, the heartbreak of unrequited love, and/or pumped-up anthems to American positivity. Typically, AOR songs are set on long, hot summer nights, or else to a backdrop of glittering city lights.

They evoke vivid technicolour images of gleaming cityscapes and roaring down sun-scorched freeways in an open-top convertible. Like disco, but not punk, AOR was inclusive, uplifting, and appealed equally to both sexes. Its sheer romanticism, its cinematic sense of possibility, resonated as much with a huge audience of women as it did with men.

It was positive, never nihilistic. Music to be sung along with, not to break stuff to. Its songs were made to soundtrack the best of times, or at least to soothe the bad.

It's time for a definitive music history of AOR, told through some of the genre's finest contributors.

'Elliott was one of the best songwriters of our day and a formidable musician.' - Beck'There's an undercurrent of real sadness in a lot of his music ... and that's just really the way he was.' - Steve Drozd, Flaming Lips'I'm the wrong kind of person to be really big and famous.' - Elliott Smith, speaking in 1997In 2003, Steven 'Elliott' Smith died from two stab wounds to the heart. To this day, the autopsy evidence remains inconclusive as to whether the wounds were self-inflicted or the result of homicide.

Either way, this tragic end to Elliott's short-lived though prodigiously talented life became the dark denouement of a story riddled with depression, mental illness, addiction and chronic substance abuse. Yet it is also a story of worldwide critical acclaim, of Oscar nominations and of some of the finest recorded music of the late twentieth century. Now, two decades after Elliott's death, Shooting Star seeks to encapsulate the many complexities of this shy, funny, engaging, enigmatic musician and his desperately troubled soul.

With contributions from those closest to Elliott who have not previously spoken about their friend, this masterful biography places the singer-songwriter's vulnerabilities and decline within the broader context of all that he achieved: the sheer, stark beauty of the records he made and the resounding impact they went on to have across a whole spectrum of contemporary music. This is the definitive account of Elliott Smith - a once-in-a-generation artist.

Multitrack wizard The Reflex returns for his second release on Revision Records with two more edits strictly rebuilt from the original stems. First up, The Reflex tackles THAT Marvin track, taking it as far away as possible from Blurred Lines, morphing it into a DJ delight that has been caned by the likes of François Kevorkian, Joey Negro, Dimitri From Paris, Craig Charles and many others. Funky, phat and unavoidably danceable, this is a lesson in how to make a dancefloor lose their shit. On the flip we're treated to an incredible spin on Serge Gainsbourg's disco sleaze summer anthem "Sea, Sex & Sun" - three years in the making - that get rid of the cheese for a funky cosmic workout result, including vocals from both English and French versions. This one is exclusive to the vinyl and has never been previously available. Two peaktime radical reworkings of classics tracks that are sure to raise eyebrows!

Limited numbers so act fast!

STAFF COMMENTS

Sil says: After the blink-and-you’ll-miss-it success of REVREC001, The Reflex returns to the imprint with sublime revisions of two of music’s coolest dudes. Drop the needle and prepare to hear Marvin and Serge as you’ve never heard them before.

TRACK LISTING

A1. GTGIU
B1. SS&S

We can't resist the carefully fused and treated sounds of The Reflex who shows his class again here with more multitrack remixes that bring vintage grooves bang up top date without stripping them of their seasoned charms. 'Cherry Dub' is packed with big riffs and well known vocal-hooks but is dubbed out to perfection with screeching guitar solos destined to send dancers wild. The flip side is a more warm and breezy roller for sunny days and cocktail sessions, again with an iconic vocal and top line adding that familiarity that always unites dancers.

TRACK LISTING

Cherry Dub
Love Look

The Reflex has been back remixing on his multitracks again and if you have been out anywhere decent in recent times you might already have heard this one as it has been a favourite of those DJs in his inner circle. Finally, the unrelated rework of a legendary disco diva arrives on wax and dazzles from front to back. 'Lolita' has it all - the deft hi hats sliding above funky bass, a rhythm driven by busy piano chords and lung-busting vocal full of burning soul. 'Camels' rides funky, chunky drums and has more expressive tones this time in unison with an off-balance chord sequence and fluttering sax. Lovely stuff.

STAFF COMMENTS

Barry says: Superfunky high energy soul music with a killer bassline groove and rich production on both of these killers on the first of two Reflex 12's this week.

TRACK LISTING

Lolita
Camels

The Reflex is a disco don with a fine ear for tweaking a classic and bringing the same sensibilities to his own originals. This new one on Flex7 is a marriage of funk, soul and disco that is going to bring joy to any party. 'Without Ur Luv' has big and silky vocals and loved-up call and response with funky lines and glittery synths. On the flipside is 'Xpress Urselves', a rework of a funky classic with all the guttural vocal cries, big horns, percolating drums and killer bass. It retains the original's charm, though with a new school edge. Two highly effective jams.

TRACK LISTING

Without Ur Luv
Xpress Urselves

Whatever The Reflex is on at the moment, we want some - he's rolling out the jams left, right and centre across several different styles. For this drop, he has revisited his own revision: ten years after first dropping this and with countless plays from legends like Kerri Chandler, he retouches a disco-house fusion classic that rides big vocal hooks and smooth, breezy grooves. On the B-side he takes aim at another soulful gem and go-to DJ favourite with real invention. 'Nobody' has persuasive drum breaks and slithering synths that shimmer like heat waves and allow the acing, singalong vocal room to work its magic up top.

STAFF COMMENTS

Barry says: A bit more percussive business here from The Reflex with their second release hitting the shop floor this week. This one has a particularly great vocal from Chaka Khan atop some funky basslines and snappy, rolling percussion.

TRACK LISTING

Woman
Nobody

Eighth full-length release from longtime Shrimper vets, features guest musician Franklin Bruno (Nothing Painted Blue, Mountain Goats) on piano. While the quartet's previous record, "Upstairs In Your Room", squealed and squalled through two-minute rock workouts in the style of the group's early years, their newest has no electric instrumentation at all. Cohesive both musically and thematically, bottles of make up is far from lo-fi / no-fi affectation.

A strange document not originally intended to be released in its current form, "Dangerous" began life as a set of demos for an electric Refrigerator record. Bassist Daniel Brodo's fall from a ladder at the art gallery he runs with his wife resulted in two broken wrists and a serious concussion, and left the recordings stillborn. The band had moved on by the time Brodo had made a full recovery, and was itching to record a new batch of songs (the best of these to come out later in 2011 as the next album). However, the initial recordings were too good to leave unreleased, and have become "Dangerous", the first new Refrigerator record in four years.

All material was done live without overdubs; most of them are first takes. "Dangerous" features a song written by Franklin Bruno (who guests on two different tracks) of The Extra Lens / Nothing Painted Blue, and two more by drummer / second guitarist Chris Jones.

Regal Degal are a power trio consisting of Josh da Costa (Gemini) on guitars and vocals, Josiah Wolfson (Libra) on bass, and Jamen Whitelock (Virgo) on drums. Formed in Brooklyn in late 2009, the group recently relocated to Los Angeles.

The group’s sound pulls from across the musical spectrum, drawing from post punk, Krautrock, 60s psychedelic / freakbeat, 80s new wave and indie, German minimal house, and the music of Africa.

The music could be described as hyper rhythm conscious, melodic, atmospheric, and kinetic, with one foot firmly in the past and an eye fixed towards the future. In the center resides Regal Degal, channeling and reinterpreting all individual and shared inspirations into a sound best referred to as deep rock.

TRACK LISTING

Not Mired
Winning + Breaking
Logs In The River
Voice To An Island
Diminish Him
Funky Broadway
Bluestreams
Thankless
Jews
Regal Devices
Veritable

Fionn Regan’s 2024 album O Avalanche, available on vinyl for the first time.

“I float sometimes when you’re around,” sings Irish singer-songwriter Fionn Regan on “Islands”, setting the weightlessly romantic tenor for his seventh album. Written in Spain, O Avalanche is an album of levitating intimacies, abstract and intuitive yet infused with a tangible sense of the elevating ties between environment and emotion. Between its sun-dappled backdrops and lambent arrangements, the result is a set of sublime songs and something more: it’s a record to float with, immersive, uplifting and transporting.

His first since 2019’s beautiful Cala, it’s also an album that is, in Fionn’s words, “very much on a level” – shimmering with poetic mystery and bolstered by a sustained feel for atmosphere and shape. As Fionn explains, “I see it sort of like a film that starts cinematically and develops in abstract ways. It moves in different sequences, backwards and forwards. And if you’re thinking about it in a visual way, there’s a quality about it where it’s always magic hour.”

Rippling like the sea, “Islands” sets that magic-hour mood, using images of the sun and moonlit dances on Spanish sand to set a dreamy scene. Buoyant and urgent, the song introduces the record’s world with a kind of classicist immediacy; it seems to arrive fully formed, as if the space it evokes is eternal. “When I wrote that song it was like there was something cosmic about it, because it doesn’t sound like my other songs,” says Fionn. “I felt like it was almost a gift from The Beatles or whatever wellspring they drew on. I remember being in Mallorca and thinking, ‘Were The Beatles ever here?’ Not that I’m saying it’s on their level but it has some sort of cosmic flow to it.”

That flow leads to Valencia for the luminous “Teix Mountain”, which evokes the off-piste mountain spirit of its title and the album as a whole. Its rarefied sense of romanticism also extends to the title track, where Fionn’s long-standing friend Anna Friel provides subtle, beautiful backing vocals for an almost hallucinatory hymn to companionship. Braided with haunting references to storms and “summer ghosts”, it’s a song lit with inner faith, breaking out in the declaration, “I believe there’s a light that brings good souls together.” “A lot of my writing has a kind of abstract-expressionistic way of falling together and assembling itself,” says Fionn, “but I also love it when something is simple and timeless – where it just bursts into something else.”

Good souls duly unite beneath a stormy and star-lit sky in the gorgeous reverie of “Blood Is Thicker Than Wine”, a song bursting with impressionistic detail. “That song has an instant visual thing about it to me,” says Fionn, a description borne out by lyrics of such evocative power, you can picture the scene immediately: two lovers under the moon, laughing and lit by lightning. “Anja II” unspools with a similar scene-setting clarity, telling a story in increments – “Scene change/Spotlights on” – and providing an epic shift for the record’s sure sense of structure.

From here, O Avalanche moves from a sense of loved-up drift to a state of serene, unforced resolve. “Written in a dream,” says Fionn, “Farewell” is a tenderly up-tempo take on partings, sorrowed yet beautifully becalmed in its looping arrangement. “Into the Light of the Sun” has a feeling of resolution about it, unfurling “like a burst of energy,” says Fionn. “Headphones” is a near-hymnal beauty, Regan’s beatific vocals referencing fleeting moments half-remembered over mellifluous ripples of glinting guitar. The album’s rhyming motifs of oceans, sunlight, waves, tsunamis and names written on skin seem to coalesce here, like snapshots stored for reminiscence. Finally, closer “Deià Song/Llucalcari” resembles a soft, supple awakening from a dream of summer, eyes wide open in readiness for new horizons.

“I feel like the album has got quite a lot of bottled-summer energy running through it,” says Fionn. It took him two or three albums’ worth of material to find the songs that felt simpatico – the ones that “started to hang out together and fought their way to becoming the album”. Capturing the mood, Fionn wrote the record while staying in Majorca, a place he describes as his “true north”: “There’s a sense of an artistic energy there, where you step back a little from the main drag of bigger cities. You’re sat there in the mountains looking towards the cities, rather than the other way. There’s a kind of focus, a feeling that you’re tuned in to something.”

Regan has fine-tuned a sensibility of his own since the acoustic poetry of his debut, 2006’s acclaimed The End of History. Since then, he has travelled between band-based detours and the gleaming likes of 2011’s 100 Acres of Sycamore, whose worry-worn beauty “Dogwood Blossom” drew new audiences when it found kindred spirits in two TV shows, romantic lockdown hit Normal People and Shane Meadows’s This Is England. Oscar-winning actor Cillian Murphy featured in the video for 2017’s “The Meetings of the Waters”, while elsewhere Regan has been nominated for Mercury, Choice, Meteor Ireland and Shortlist awards, sampled by Bon Iver, photographed by Annie Leibovitz for Vanity Fair and made an honorary member of the Trinity College Literary Society. “I feel really lucky in the sense that the music I make has its own climate or landscape,” says Fionn.

Co-produced with Ian Grimble, O Avalanche steers Regan’s off-the-main-drag feel for climate and landscape towards another creative peak, forging a record to lose yourself in. “It’s like you’re looking into this world where there’s a depth of field, it’s summer, and you’re floating into and out of it,” he says of the album. “The songs can come together in the moment, so it’s not a conscious thing, but when I listen to the record it feels like there’s an eternal optimism about it – a kind of upward-feeling energy.” With the gentlest of touches, O Avalanche will sweep you off your feet.

TRACK LISTING

TRACKLIST:
ISLANDS
TEIX MOUNTAINS
O AVALANCHE (Featuring Anna Friel)
BLOOD IS THICKER THAN WINE
ANJA I
ANJA II
FAREWELL
INTO THE LIGHT OF THE SUN
HEADPHONES
SWIMMING THE LAKES / FLOWERS AND STONES
DEIA SONG / LLUCALCARI

The man of mystery is back. Reggie and The Full Effect have a lot in common with their alter egos, The Get Up Kids, some say they're the same band, the styles may be different but the quality is undeniable.

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with

Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

WeMe has always had the ambition of producing outsiders alongside its established artists. Let's hear it for the debut EP from Rehab333, a discreet but no less creative artist and graduate of the Rephlex School Academy. After taking classes with teachers such as Richard d James and Dr. Chris Jeffs, analog machines hold no secrets for him, enabling him to develop wonderful melodies at a time when they are sorely lacking. First released on cassette on the Binary Bigit label, it seemed essential for WeMe to record these tracks on vinyl, in perfect harmony with the label's musical history.

STAFF COMMENTS

Matt says: More braindance excellence from the WeMe label with Rehab333 piloting the drum boxes and 303s for a Cornish sounding excursion that also nods to Holland's RX-101.

TRACK LISTING

1 DR0000 0187
2 DR0000 0189
3 DR0000 0217
4 DR0000 0174
5 DR0000 0175
6 DR0000 0195

Benny's follow-up to "The Infamous Live" is designed as a true A and B side—two halves of a whole, representing yin and yang. It features two of his all-time favorite beats: one lush and rich, the other hard-hitting. Reimagining classic records like D.I.T.C.'s "Day One" and Souls Of Mischief's "93 'Til Infinity" comes with significant responsibility, and the weight of this project was substantial. The time and energy spent dissecting, rearranging, and recording were anything but trivial. Every element was handled with care to honor these timeless originals properly. Reid is a forward-thinking jazz musician with a bent toward mixing expansive post-bop improvisation with atmospheric contemporary jazz styles. He released his first two albums on the prestigious Concord label and has been working with Fat Beats to create interesting, progressive tributes to the hip-hop albums that defined his youth.

TRACK LISTING

1. 93 'Til Infinity
2. Day One

Enter Now Brightness feels different for Nadia. It is an album, she says, of departure and questioning, that has reminded her how songwriting can be “the most useful thing to do with pain and joy and thoughts and feelings and anger.” That through music we can find great change. “I’m so much better off now that it exists,” she says. “Now feels like a new time.” On this record, Reid moves ever further from her earlier folk inclinations, establishing a sound that is distinctly her own. Enter Now Brightness is a record of poise and great beauty, the sound of a cellular shift, of pain giving way to tenderness and joy. It takes its title from a passage in a book Reid was reading from a line that seemed to call out to her from the page: ‘Brightness entered the study.’ “It was the image of opening the curtain, or turning the light on, or of standing in the wings of a theatre and waiting to go on stage. It’s the idea of life beginning now.”

STAFF COMMENTS

Barry says: Gorgeous, sonically rich ballads that have almost entirely eschewed the tender folky minimalism that we've come to know from Reid. Both wonderfully immersive and endlessly melodic, her pieces shine with jubilance and keep the superb songwriting we've come to know from her. Beautiful.

TRACK LISTING

SIDE A:
1. Emmanuelle
2. Cry On Cue
3. Baby Bright
4. Hold It Up
5. Changed Unchained

SIDE B:
1. Second Nature
2. Even Now
3. Hotel Santa Cruz
4. Woman Apart
5. Send It Down The Line

A richness of voice; a depth of emotion; and wise beyond her years; with Listen To Formation, Look For the Signs, 23-year-old New Zealand native Nadia Reid has claimed her place as one of the country’s most evocative and profound young songwriters. Her music traces the sharp mountain peaks, azure coastline, and mirrored images of the land and sky that pinpoint her home country’s vast open landscapes.

“For me, inspiration for writing happens everywhere,” explains Nadia. “On buses, airplanes, walking, driving… it can be very unpredictable. My songs have a strong connection to the places they were written, from Port Chalmers, to Wellington, Christchurch and Auckland.”

Whether nerding about with friends, stunning audiences into silence with her spellbinding live shows or unwinding in the tranquillity of her favourite hometown spot overlooking Port Chalmers’ harbour through her large-rimmed spectacles, Nadia Reid has achieved a gloriously fresh and eloquent new folk sound. “I’ve been in New Zealand my whole life and guess at times I take for granted the serene beauty that I live so closely with,” she says of her music’s majestic affiliation with nature. Mapping out tales of change and loss, whilst drawing inspiration from reading, writing, the human condition, falling in and out of love, death, and birth - it all lends to a superbly balanced album that moves surreptitiously between sparse and fragile melancholia to beautifully brutal lyricism with a philosophical maturity that bellies her years.

Born in Auckland, Nadia’s acoustic roots stem from an upbringing in a musical household where attending folk clubs and festivals were regular occurrences on the family calendar. “I was lucky to witness a lot of live music and theatre performances because my mum was an actress. I was encouraged to learn piano and guitar, and attended a Steiner school where we spent a lot of time in nature, singing songs.” Before long Nadia was listening to The Be Good Tanyas with friend and fellow recording artist Aldous Harding, which spurred her chosen career path. “There was something spiritual about the Tanyas’ records - I vividly remember the goose-bump feelings up my arms, a true connection to the lyrics and vocals,” she recalls. “[Aldous] was the first person who told me I had a good voice and I thank her for that. I admire her as an artist and writer, and we like to keep up with what each other is up to.”

Creating her own enchanting wonderworld, each of Nadia’s songs explores the elements; truly organic, her vocals ebb, flow and soar but are always ignited with fire from the gut. Her lyrics clearly reference lush landscapes but equally reflect alienation provided by the surrounding Pacific Ocean and mortality of living in such close proximity to Mother Nature’s wrath, as experienced whilst living in Christchurch at the time of 2011’s devastating earthquake. “It shook the city to its core,” Nadia recalls. “I’m sure living through it has shaped my personality and writing. My first EP was recorded just months afterwards, it was a strange time. We were all quite fragile, but I was braver somehow.”

Boldly infusing folk with full flavour, Listen To Formation, Look For The Signs was produced by Ben Edwards, owner of Lyttelton Records in his Sitting Room studios with Nadia’s band consisting bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum. Whilst 'Reaching Through’s rich but unhurried nature evokes She Hangs Brightly -era Mazzy Star and intricate nuances of Beth Orton are recalled on lead single ‘Call The Days’ which talks of moving to a new town and was the first song penned after Nadia moved from Christchurch to Wellington; spurred on by a “panic attack” and being “worried about making the right choices in life”. Elsewhere ‘Runway’ and ‘Some Are Lucky’ immediately channel Nadia’s love of TBGT’s Jolie Holland and appreciation for New Zealand’s Maori music by Maisey Rika and Anika Moa, plus the inspirational narratives of Kenyan-born Somali poet Warsan Shire.

"It has all that well-smoked wisdom, that mingling of strength and yearning that seems to charge the work of all my favourite female artists – Laura Marling, The Weather Station, Sharon Van Etten and Tift Merritt, to name but four. Reid is just 23, and since I am loathe to run that “old beyond her years” line, let us simply say that when I hear a young artist making an album as soulful and rich and self-possessed as Listen to Formation, Look for the Signs, I feel so thrilled not only for the existence of that record but for all the music they will make over all the years to come.” THE GUARDIAN.

TRACK LISTING

Runway
Track Of The Time
Reaching Through
Holy Low
Just To Feel Alive
Seasons Change
Some Are Lucky
Ruby
Call The Days
Holy Loud

Canadian performer and composer Sarah Belle Reid’s 2021 acclaimed album, first time on vinyl, expanded with two new incredible songs, remastered featuring new artwork.

From distant ocean song to the clang and howl of a murky forgotten memory, MASS is a dreamlike collage of shrill shrieks, gasps, corroded brass choirs, and melting modular synth soundscapes, all heard through a mist of hiss and noise. Fused with equal parts spastic improvisation, shrouded ritual, and meticulous arrangement, it presents a sonic topography at once tongue-in-cheek, sensitive, and nightmarish. With discordant chorales and angular trumpet improvisations churning in an ever-evolving wash of whispers and howls, MASS is a collection of three hazy, harsh, and frightful sound worlds. With tracks meandering between aggressive rhythms, eerie ambiances, and abrasive cut-up electronic textures, MASS draws inspiration from early tape music, horror film soundtracks, and grindcore. It was assembled between listening to extended doses of Else Marie Pade, Daphne Oram, Eliane Radigue, the Locust, Edgard Varèse, Maryanne Amacher, Dick Raaijmakers, Naked City, Mr. Bungle, and Thomas Ankersmit, bringing a little bit of all of them along with it. MASS was recorded and mixed over the course of three weeks in January–February 2021 while in the midst of a cross-country move. Recorded entirely in short-term housing away from her studio (and most of her instruments), Reid relied exclusively on her voice, trumpet, flugelhorn, household objects, and Make Noise's Strega semi-modular synthesizer for all sound materials. Original sound materials were recorded loosely and independently with little to no overdubbing, instead relying on meticulous editing and processing in the manner of classic tape music

TRACK LISTING

Side A:
1. Vessel
2. Passage
3. Collide
Side B:
1. Sublimate
2. Mass

New special one-off pressing gold CD / gold vinyl edition of this deep spiritual jazz classic.

Drummer legend extraordinaire, Vietnam conscientious objector, ex- Black Panther, Steve Reid has played with everyone from James Brown to Sun Ra, Fela Kuti and Miles Davis, was a friend of John Coltrane, worked at Motown and, in the latter part of his career, worked extensively with Kieran Hebden, following his path of a radical, revolutionary music up until his untimely death in 2010.

Soul Jazz Records are re-releasing this rarest release of deep heavyweight jazz by Steve Reid and The Master Brotherhood, entitled ‘Odyssey of the Oblong Square’, first released over thirty five years ago on Steve Reid’s own Mustevic Sound record label (where it came out in an edition of 1000 copies) and has been a serious collector’s album ever since.

Steve Reid became known worldwide for his radical collaborations with Kieran Hebden after they first recorded together on the Steve Reid Ensemble album, ‘Spirit Walk’, released on Soul Jazz in 2005, releasing five joint releases together in the following years.

Steve Reid is steeped in musical history and a true pioneer of US deep leftfield jazz. He played in Sun Ra’s Arkestra, was a Motown session drummer and backed James Brown at the Apollo. He was a Black Panther, imprisoned during the Vietnam war as a conscientious objector and lived in Africa in the early 1970s. Reid worked with Freddie Hubbard, Gary Bartz, Ornette Coleman, Lester Bowie, Fela Kuti, Leon Thomas, Miles Davis and many more in his long illustrious and groundbreaking career.

TRACK LISTING

1. Odyssey Theme
2. Deacon’s Son
3. Odyssey Sweet
4. Ginsameng

Drummer and composer extraordinaire Steve Reid’s ‘Rhythmatism’ is one of his deepest and most radical of albums of all time and features some of the heaviest jazz players - Arthur Blythe AKA Black Arthur, Charles Tyler, David Wertman and others. The album was originally released on Reid’s own Mustevic Sound label in 1976.

As a radical jazz artist, Steve Reid played with an extraordinary group of artists, including Miles Davis, Sun Ra, Fela Kuti, James Brown, Ornette Coleman, Lester Bowie, Freddie Hubbard, Jackie McLean, Dionne Warwick, Archie Shepp, Chief Bey, Olatunji, Arthur Blythe, Dextor Gordon, Gary Bartz, Dee Dee Bridgewater, Sam Rivers, Leon Thomas, Lonnie Smith and Horace Silver.

Reid was born in the South Bronx and grew up in Queens, New York. He played in the house band at Harlem's Apollo Theatre, accompanying James Brown as well as playing in Sun Ra’s Arkestra. He lived next to John Coltrane, worked in a department store with Ornette Coleman and had a son who played drums with NWA. He began his career as a teenager in the 1960s as a drummer at Motown when he played on Martha and The Vandellas’ ‘Heatwave’ (aged 14).

At the end of the 1960s Reid was sentenced to four years in jail as a conscientious objector of the Vietnam war. On his release from prison in 1974 he formed the Legendary Master Brotherhood and started the independent record label Mustevic Sound to release his debut LP, ‘Nova’, in 1976.

This album is released in its entirety and with full original cover art. ‘Rhythmatism’ is the second in a series of stunning independent records he released in the 1970s.

At the start of the 21st Century his career took a new twist when Steve Reid began a successful collaboration with Kieran Hebden (Four Tet). Hebden referred to Reid as his “musical soul mate,” resulting in a number of joint albums.

Steve Reid died in New York in 2010. Subsequently, the Steve Reid Foundation was set up in his name, to help aspiring musicians and artists.

TRACK LISTING

Kai
Rocks (For Cannonball)
Center Of The Earth
C You Around
One Minute Please

Heavyweight Digital Reggae! Crucial ‘Deejay’ counterpart for ‘Pad Anthony – Rebel'. For the lovers of King Jammys Digi era productions, and those ‘Shaka Style’ soundsystem selections.

TRACK LISTING

A1. Jah Love Don't Come Easy
B1. Version

For 5 years after they'd swapped sought-after apprenticeships for life on the dole, brothers William and Jim Reid sat up till the early hours in the front room of their parents' East Kilbride council house, plotting their path to world domination over endless cups of tea, with the music turned down low so as not to wake their sleeping sister. They knew they couldn't play in the same band because they'd argue too much, so they'd describe their dream ensembles to each other until finally they realised that these two perfect bands were actually the same band, and the name of that band was The Jesus and Mary Chain.

The rest was not silence, and picking up those conversations again more than 40 years later, William and Jim tell the full story of one of Britain's greatest guitar bands for the very first time - a wildly funny and improbably moving chronicle of brotherly strife, feedback, riots, drug and alcohol addiction, eternal outsiders and extreme shyness, that also somehow manages to be a love letter to the Scottish working-class family.

A clerestory is an upper section of wall, most often in a church punctuated by windows. It is a powerful image for grasping this luminous new music from Jules Reidy. Light casts shadows, of course, and logics of shadowing, mirroring, and distorted reflection—of key importance for Reidy’s work as a whole—inform the sumptuous surfaces of 'Clerestory'.

‘Shadow Symmetric’ is a string quartet commissioned and performed by the JACK Quartet as part of their JACK Studio program. Reidy’s pairing with the quartet is felicitous: JACK are one of the preeminent new music ensembles working today, with a particular interest in just intonation, an important component of Reidy’s music. The piece’s gentle pacing and constrained dynamic range invites us to become immersed in its language of static resonance, complex beating tones, and subtle harmonic surprise. Through it, there threads a melodic theme, passed between instruments and tuning systems, almost at the threshold of perception but with the same yearning quality familiar to listeners of Reidy’s guitar works.

‘Clerestory Windows’ offers up a distorted mirror image of the string quartet, arranged as a series of episodes that each remake the material in their own way. It begins with an arrangement of the string quartet material for MIDI strings and voices, then moves into a lyrical 12-string acoustic guitar air performed at the installation opening, before the strings from the first side reappear, now frozen and stretched into slow-moving waves. From this emerge flickering arpeggios, achieved by arranging the string quartet material for the RMI. This cues a move into more active terrain, preparing the way for the delirious final episode, where the string quartet material is re-arranged once more, eventually giving way to spacious chords shadowed by a pair of ringing sine tones.

TRACK LISTING

1. Shadow Symmetric
2. Clerestory Windows I
3. Clerestory Windows II
4. Clerestory Windows III
5. Clerestory Windows IV
6. Clerestory Windows V

A Little More Time, Reigning Sound’s seventh proper full-length, is the original lineup’s first in-studio collaboration since 2005’s Home for Orphans LP, which Merge reissued last year. Ultimately, that 2020 reissue laid the groundwork for the outfit’s reunification. Cartwright explains, “When Merge reissued Home for Orphans, we booked a little string of shows with the original lineup. We still love to get together and play every couple years.” The short reunion tour wrapped just as pandemic hit the United States.

Soon after, Cartwright found himself with a batch of new songs. With Reigning Sound’s current lineup based in New York City, then a COVID-19 hotspot, Cartwright made the decision to produce the new record back in Memphis—though he did regret not being able to work with the players behind 2014’s Daptone-recorded Shattered. “It was not something I anticipated, making a record with the original lineup again,” Cartwright says. “Mainly, because I had guys I was playing with, and we had an established dynamic that was working. In addition to working with old bandmates, Cartwright enlisted acclaimed producer Scott Bomar (Al Green, William Bell) at Electraphonic Recording, to produce in downtown Memphis. “Scott was in a band called Impala for many years,” Cartwright recalls. “And he also played bass with me and Jack [Yarber] on the Compulsive Gamblers’ Bluff City album.

He has the machine I like to record on, a Scully one-inch 8-track. I’ve worked on one-inch 8-tracks for the last four records, and I’m kind of addicted.” While having 24 tracks offers up more capability for overdubs, Cartwright prefers the limitations of 8-tracks. “It’s super helpful when you get to the mixing process and your head isn’t still going, ‘What should I add?’ It helps streamline the process, and it helps so I can focus on what’s there instead of what’s not. Then I can just work on the sound.”

For the new LP, Cartwright employed a string section, an additional percussionist, and a pedal steel player on some of the tracks. Beyond that, Coco Hames (The Ettes, Parting Gifts) sings co-lead vocals on “Just Say When.” “Let’s Do It Again,” the album’s boisterous opener, captures the mundaneness and yearning that isolation creates, but with Reigning Sound’s signature foot-stomping rock ’n’ roll. It’s also delivered with optimism and a desire to reconnect with people. Elsewhere, on tracks like “I’ll Be Your Man,” the LP decelerates and shifts into moody ballad territory. Rounding out A Little More Time is a raucous cover of Adam Faith’s “I Don’t Need That Kind of Lovin’.” The 1965 single is a longtime staple at Reigning Sound shows, but this is its first appearance on record.

“When I write songs, it’s the melody I write first. The melody dictates what the mood is whether it’s about being happy, confused, sad, lonely… The melody speaks to a feeling. From there, my job is to translate that feeling into words. I try not to be too structured in how I think about that because the more ambiguous it is, the more people can read their own story into what you’re saying, and I think that’s important. On some level, I consciously don’t want to know what a song is about.” Ambiguities aside, the LP closes with the poignant “On and On,” a song that reminds us that despite all of the highs and lows we face, “love is still a choice… love is the only choice.” It offers a glimmer of light. These days, that’s not a bad note to end on.

TRACK LISTING

SIDE A

Do It Again Real Soon
A Little More Time
I Don’t Need That Kind Of
Lovin’
I’ll Be Your Man
Oh Christine
Moving & Shaking

SIDE B

You Don’t Know What You’re
Missing
Make It Up
A Good Life
Just Say When
You Ain’t Me
On And On

Back in 2002, Reigning Sound unleashed Time Bomb High School, an earth-scorching platter of rock and roll that conquered the hearts and ears of everyone from Little Steven Van Zandt to The Hives’ Howlin’ Pelle Almqvist. Time Bomb High School has since become a cratedigger’s grail, out of print on vinyl since its initial release. Now those seekers have reason to rejoice: Time Bomb High School is returning to vinyl; remastered and featuring new cover art by Greg Cartwright.

Hailed as “a truly unimpeachable rock’n’roll-soul classic” by The Guardian, Time Bomb High School was a breakthrough for the Memphis-based quartet of Cartwright (vocals, guitar), Jeremy Scott (bass, backing vocals), Greg Roberson (drums), and Alex Greene (organ, guitar, backing vocals). The songs — Cartwright’s originals and covers like “Stormy Weather” and “I’d Much Rather Be With the Boys” alike — are as alive as ever, but the heart of this edition of Time Bomb High School lies in its sequencing, which was kept true to the 2002 first pressing. The Side 1 features mid-tempo ballads, and love songs. Side 2 is all rockers.

The album opens with four of Reigning Sound’s most vulnerable yearners before breaking out into a rendition of Memphis hometown heroes The Guilloteens “I Don’t Believe.” From this, an almost entirely new album emerges. The band’s swagger and bravado remains intact, but the album feels more earnest and open-hearted, like they’ve put down their guard to really let the listener in, its ravers feeling like shelter from the storm. There’s no wrong way to listen to Time Bomb High School, but this is its definitive form: a classic that’s ready for rediscovery, as vital to the rock canon as the dusty 45s that inspired Reigning Sound.

TRACK LISTING

SIDE A
1. I’m Holding Out
2. You’re Not as Pretty
3. Wait and See
4. Dressy
5. I Don’t Believe
6. I Don’t Know How to Tell You
7. I’d Much Rather Be with the Boys

SIDE B
8. Stormy Weather
9. Straight Shooter
10. Time Bomb High School
11. Reptile Style
12. Brown Paper Stack
13. She’s Bored with You
14. You’re So Strange
Format
Disc No.
Cat No.
Barcode
Dealer
Rel Date
Format Details
Restrictions
LP
1
MRG696LP
0673855069616
15.49
17 Jul 2026
N/A
No Restrictions

Sometimes he releases club music, for example using his alias April or with Detlef Weinrich (Kreidler, Tolouse Lowtrax) as Binford on labels like Italic, Onitor or Smoothrooms. He also composed soundtracks for artist movies and installations (Rosemarie Trockel, Maximilian Zentz Zlomowitz, Thea Djordjadze, Andreas Gursky, Frances Scholz/Mark von Schlegell, among others).

Romantic Comedy is music for dark clubs, for places without much light and oxygen – it's driving, percussive dance music. A comedy in six acts: from L.A. To Düsseldorf and back.Of course it's a romantic comedy, a bittersweet romance full of memories and a bit of sorrow. »Der lange Weg nach Düsseldorf« the title reminds of Mittagspauses Der lange Weg nach Derendorf, Derendorf, the district of Düsseldorf where Andreas Reihse and Stefan Betke / pole in the late 80ies shared a rehearsal room. Langeweg also was the address of the studio of Klaus Dinger in Zeeland.The titles of the other pieces refer to dubious characters that show that the trip on the west coast makes stops in Manchester, Milano, Brussels and London without forgetting Charlottenburg and Williamsburg. Places that hold up against oblivion and reinvent themselves. Your club needs you.

TRACK LISTING

1/ A1 – City Of Fur
2/ A2 – Johnny Hairo
3/ A3 – Bahia Knife
4/ B1 – Der Lange Weg Nach Düsseldorf Pt.1
5/ B2 – Der Lange Weg Nach Düsseldorf Pt.2
6/ B3 – Hacienda Dallesandro

"Irradiated" is the second LP on Appendix.files from Berlin-based sound artist and producer Kurt Reinartz Salgado. Across eight tracks, Reinartz explores the space between dub-techno lineage and ambient experimentation — what he describes as 'ADHD-ambient.' Drawing from ’90s German techno and Chain Reaction-era dub, the album blends elastic 4/4 rhythms, fractured breaks, submerged bass pressure, and patient, detail-driven atmospheres.

The record moves from deep dub openings through porous rhythmic studies and warm melodic ruptures, before closing with hydrophone and geophone recordings from Berlin’s Kaulsdorfer See — grounding the LP in physical space and material listening.

Written & produced by Kurt Reinartz Salgado
Artwork by Montse Cruz
Design by Amos Turner
Mastered by Ike Zwanikken
Manufactured by Seabass Vinyl

TRACK LISTING

A1. A Point For Everything To Spread
A2. Empty Time (A Flowing Out)
A3. A Sponge And A Mirror
A4. Love As An Antidote To Fragmentation
B1. Empty Time (Leaking Skin)
B2. Things That Fall Right Into Place
B3. Empty Time (Murk Dub)
B4. Telluric Murmur 

For the uninitiated (which included me until about 7 minutes ago), Paul Institute is the boutique label, cultural hub and sonic exchange run by synth soul genius Jai Paul, who we all know from his mega smash "Jasmine". Intent on causing a counter frenzy, Jai (or Paul) has dropped not one...not two...not three, but FOUR new label release AT THE SAME MF TIME! Wayward newcomer Reinen cordially invites you to revel in a ballroom time trap, with the bombastic head spinner "Masquerade". A trigonal tale inspired by Red Curtain Cinema & Gothic Romance; Reinen sways and bends the boundaries of theatre, fantasia and soundscape in a combustible marriage of baroque synths, electric operatics and pulsating groove. A unique alliance with shapeshifter A. K. Paul dares to immerse and paint scenes of worlds uncharted.
File next to: Annie Lennox, Tears for Fears, Grace Jones, Kate Bush

TRACK LISTING

A. Masquerade
B. Masquerade (Instrumental) 

Originally released in 1999. A very hard to find piece now re-issued for the first time with a respectful remaster. Berlin native T.H. Reingold (aka Tom Clark) has been an integral part of the scene there for for over 25 years - establishing Gold Plate and Highgrade Records along the way. Together on this EP with former Tresor resident Mad Max, the much sought after 'Sophisticated EP' is a heady blend of old school house, techno and loopy disco chops. Foundation music - part of the eclectic soup that became known as the Berlin club sound. Originals fetch big bucks. 

STAFF COMMENTS

Matt says: Symbolic of Berlin's up-all-nite mindset, this lost little nugget, remarkably produced in 1999, contains four tracks of brilliantly broiling house energy. Not afraid to flirt with the techno heads (a prerequisite in Berlin at the time!); there's also a restrained futurism which will find favour with lovers of Craig Richards and Carl Craig.

TRACK LISTING

El Sheik
Monicas Blow Job
Ice Express
Criminal Justice

Without doubt one of Kranky's greatest album of 2008, an essential purchase for fans of John Carpenter, Harmonia, Goblin, early-Kraftwerk, early Moroder and Neu. Drawing from traditions of 20th Century instrumental synthesiser music, Jonas Reinhardt represents a love affair between analogue electronics, sweeping atmospherics, and driving motorik beats. Combined together, these elements bring the album's thirteen pieces into focus as the soundtrack for an inner-eyelid space epic that never was. Inspired in equal measure by the natural beauty of his California coastal surroundings, continental European art-rock experimentation, and the freewheeling punk aesthetic of contemporary home studio recording, Jonas Reinhardt's music transcends it's influences to bring into being a work that's wholly new while referencing a celebrated aesthetic of the past. Armed with a battery of analogue synthesisers and vintage drum machines, Jonas writes music that is at times stark and spare and at others lush and all-encompassing; all the while keeping an underlying rhythmic pulse just beneath the surface.

This release presents the complete original LP 'Djangology' (RCA Victor), compiled in 1961 less than a decade after Django Reinhardt's premature death in 1953. Although the original album cover claimed to feature the Quintette du Hot Club de France, it actually presented music from a series of 1949 dates that reunited Reinhardt and violinist Stephane Grappelli in Rome with a local rhythm section.

This special edition on blue vinyl includes new cover artwork and specially prepared liner notes by Penguin Guide to Jazz's writer Brian Morton.

"The charm, the fire, and the innate swing of Reinhardt shine through the entire collection, making it a very welcome addition to the available Reinhardt discography." - ***** John S. Wilson, DownBeat

"Recorded in Rome during the winter of 1949, this is an excellent collection. Reinhardt's solos always display an excellent sense of arrangement, with his statements building both logically and emotionally to their climax. Djangology captures one of the greatest jazz guitarists in history in some of his greatest performances." - **** 1/2 Daniel Gioffre AllMusic

TRACK LISTING

Minor Swing
Beyond The Sea (La Mer)
Bricktop
Honeysuckle Rose
Heavy Artillery (Artilerie Lourde)
Djangology
All The Things You Are
After You've Gone
Ou Es-Tu, Mon Amour ? (Where Are You, My Love?)
I Saw Stars
Lover Man
Menilmontant
Swing 42
Liza
/ Daphne

Presented here are some of the best and most popular recordings by the great gypsy swing- jazz guitarist Django Reinhardt . The collection features recordings made between 1937 and 1953, including sessions with his famous Quintet Hot Club of France (co-led with violinist Stephane Grappelli) , American saxophonists Colman Hawkins and Benny Carter , and trumpeter Bill Coleman.

TRACK LISTING

Minor Swing
Honeysuckle Rose
I'll See You In My Dreams
A Pretty Girl Is Like A Melody
Runnin' Wild
Solitude
Exactly Like You
Ain't Misbehavin'
Nuages
Brazil
Out Of Nowhere
Beyond The Sea (La Mer)
Tears
Manoir De Mes Reves
September Song
Japanese Sandman
Liebestraum No.3
Django's Tiger [tiger Rag]

"A Ragged Ghost" is the eighth full-length album from electronic producer Jonas Reinhardt. Following albums on Kranky, Not Not Fun, Constellation Tatsu, and more, his debut release for Trouble In Mind brings together 11 new pieces that explore themes of life & death, netherworlds, and the liminal spaces in between. Taken together as a single narrative, the album offers a stirring exploration of mortality and immortality in what Reinhardt describes as 'a dance of religious syncretism, navigating spaces between the living and the dead'. "A Ragged Ghost" finds him synthesizing influences organically from familiar teutonic strains to the intense austerity of early 21st century electronic pioneers such as Biosphere and Susumu Yokota.

A whisper of the Italo-disco-esque romps of Jonas' 2012's "Foam Fangs" EP & 2013's "Mask of The Maker" LP merge with his more kosmische leanings into a sinister, slightly funky, but also studious suite that at times feels like a lost sound library record from the KPM archives. Openers "Ape & The Universal Axis" and "In Lotto Commodore" decidedly sound like a selection from a lost film score while others like the bubbling "Sly Tomb" recall the works of Roedelius or Vangelis' serene soundscapes. Meanwhile, fans of the electro-ambience of Manuel Göttsching's strobe-light, proto-house (on his seminal "E2-E4") or the pulsing insistence of John Carpenter's visceral non-horror scores (i.e. "Escape From New York" or "Assault on Precinct 13") will find a lot to love about songs like "Tumb Tumb" and "Wretched Orchestra of Armistice".

TRACK LISTING

1. Ape & The Universal Axis
2. In Lotto Commodore
3. Earthshaking Patsy
4. Oxus
5. Wretched Orchestra Of Armistice
6. Utter Phoenix Rampo
7. Quest Or Go Fanatic
8. Sly Tomb
9. An Alleged Jeremiad
10. Tumb Tumb
11. The Five Paper Tell 

Navajo White is a color. It’s the color of an off white, interior, house paint. Throughout his teens into adulthood, John Reis was as a house painter by trade. The soiled walls of evacuated apartments was his canvas. Here he would cover up the residue of life’s stains with a fresh coat of the beige, human white-out that is Navajo White. Amongst the vacated, drywall chambers littered with the scant detritus of a fleeing existence is where this record began. It started as road noise, a repetitious hum of a fictional dialogue. A languageless, argument of noise that took shape as a disconnect between two people. They are both barricaded by an impenetrable surface tension that harbors the distortion of their prolonged isolation from the world beyond their self imposed exile. For all that can’t be solved or thrown away here’s a thick coat of Navajo White to cover our tracks as if to say “we were never here and this never happened.”

This is the fifth Swami John Reis album and features Jason Kourkounis (Hot Snakes, Delta 72, Night Marchers) on drums as well as contributions from Rick Froberg (Hot Snakes, Drive Like Jehu, Obits) on guitar, Gar Wood (Hot Snakes, Tanner, Night Marchers) on bass, Joe Guevara (Jejune, Swami and the Bed Of Nails) on piano and keyboards and Rob Crow (Pinback, PLOSIVS) and Jacob Turnbloom (Mrs. Magician) on backing vocals. Taking musical cues from later period Wipers, the more low key Saints songs, early recordings of The Church as well as The Damned on their Black Album, 'Navajo White' pits sentiment vs the unsentimental. Recorded by John Reis at City of Refuge, San Diego with additional recording and mixing by Ben Moore at Singing Serpent and mastered by Dave Gardner at DSG Mastering. This record is dedicated to house painters everywhere.

TRACK LISTING

1. It’s Not Fair
2. On Our Way
3. Future Moods
4. From Here On Out
5. Directions
6. It’s All For Sale
7. Lies Don’t Lie
8. You Made It Gross

Celebrating 55 years in the music business! Swami John Reis is back with his second LP in eight months. Time To Let You Down is a savage blast of junk shoppe punk that kicks you in the ding ding. This eleven track LP is chock full of fist pumpers, head bumpers, stinky dumpers, meaty thumpers and toe stumpers. The tempos are often breakneck and the dense arrangements tumble like bricks into hot cheese. The undeniable sonic girth barges at will into lathered ear tubes allowing these barbaric anthems to echo in hollow domes. Feel the whip crack break skin on the acne scarred backs of our cultural oppressors. The sound is tough. The songs are a bitch. Incite your expectations with the single “Fed To The Dogs” or the title track. Salty leather and wobbly chain link fences can’t contain its rebel intent.

These recordings took place Oct. 2024 and features Swami John Reis on guitar and vocals with contributions from Jason Sinclair (Hot Snakes), Joey Guevara (Swami and the Bed Of Nails), Jacob Turnbloom (Mrs. Magician) and Glen Galloway (Truman’s Water). The record was produced by John Reis, engineered and mixed by Ben Moore and mastered by Dave Gardner.

Time To Let You Down is pressed on virgin, Egyptian pellets and available in limited, colorful vinyl that have been hand-swirled. You’ll not only clearly hear the difference, you will see it as well.

For fans of Hot Snakes, The Marked Men, Buzzcocks, The Spits, Judas Priest, The Damned, The Dickies...

TRACK LISTING

1. Time To Let You Down
2. Basement Envy
3. Boomer Rang
4. King Of The Jungle VS
5. The Boogie Man
6. Fed To The Dogs
7. Prince Of The Parade
8. Radio Silence/Radio
9. Vengeance
10. Kamen Rider Theme
11. Because I Stink
12. Cold Feet
13. Heartbeats

Invada Records are proud to announce the vinyl release of two volumes of music from season 2 of hit NBC television series HANNIBAL by Brian Reitzell. Spread across two double gatefold LPs with each volume available as 140gm and colored variants. Accompanying the release, director David Slade has provided rare photos from his personal collection for the artwork. Each double LP is housed in a gatefold sleeve and comes with a download card. The music has been sequenced in the chronological order they appears on the show itself, allowing for an essential listening experience as dictated by the music’s creator.

Over the last decade and a half, multi-instrumentalist, composer and producer Reitzell has created his own unique method of scoring films, drawing equally from his experience as a recording and touring musician with bands such as Redd Kross and Air, and his massive knowledge of recorded music. His vision is to create a seamless landscape of songs, score, and found music for each soundtrack. Brian’s explorations of new sounds add unique character to visual images.

Brian's past films include The Virgin Suicides, Lost In Translation (For Which He Received A Bafta Award Nomination), Cq, Friday Night Lights, Stranger Than Fiction, Thumbsucker, Marie Antoinette, The Brothers Bloom, 30 Days Of Night, Beginners, And Red Riding Hood. His video game credits include his critically acclaimed score for THQ’s Red Faction: Armageddon and the upcoming Watch Dogs for Ubisoft.

Rejoicer is a Tel Aviv-based musician making cosmic jazz-tinged electronica. He has collaborated with Mndsgn, Georgia Anne Muldrow and Dudley Perkins, as well as being a member of the band Buttering Trio and running the Raw Tapes label. Several tracks on ‘Spiritual Sleaze’ include vocals, with featured guests including iogi, KerenDun, Nitai Hershkovits, Jenny Penkin and Sam Wilkes. Rejoicer cites Sun Ra, Aphex Twin, Steve Reich, Dabrye, Eric Satie, Wu Tang Clan and Scientist among his musical inspirations.

For fans of Kiefer, Mndsgn, Teebs, Flying Lotus, BADBADNOTGOOD, Thundercat, Shigeto.

TRACK LISTING

Moon Hike
Pre Memory Circle
Song For The Spirit Flights
Heart Way Or No Way (Chapeau)
Up In Flames Feat. Iogi
Aura Sight
Earth Talk Ft Sam Wilkes
Crystal Lagoon
My Beans Ft KerenDun
The Pride, Oh, The Pride
No Bells Rang That Day Ft Nitai Hershkovits
Lemons Ft Jenny Penkin
Third Eye Jungle Run
Eagle In The Lodge
There Is Time

Daniel Martin-McCormick, formerly Ital, now Relaxer, returns to Planet Mu with his new album ’Concealer'. The album drifts towards hyper digital sounds and marks Daniel’s return to using a computer with hardware. Combining the ultra-artifice of the digital and its glossy, pure surface qualities, Daniel comments that it “gives the sounds this sickly, shiny dimensionality which is un-human. This decoupling from the human-ness of sound means the sounds can speak in their own special way. Of course, all sounds can speak in their way, but a vivid, digital, melty synth speaks in a way that feels more autonomous, or less tied to historical/encultured musical gestures. It hovers in the air and melts and glides. It's a little gross.” His return to Planet Mu has been long overdue. the new record is an expansion and development of the ultra-artificial, hybrid digital contortions of his previous material.

TRACK LISTING

1/Let The Walls Drip (ft. Kahee Jeong)
2/Mello
3/Narcissus By The Pool 
4/The Dusk Singers
5/Traps And Lures 
6/Excision In Androgyne
7/Island Life (ft. Emilie Weibel)
8/Helical Phase Secreting 
9/Twins
10/Concealer

An active four-piece for a little more than a year now, Religious Knives have presided over a pair of twelve-inches, a couple of collections of out of print singles and long gone burns, and one full-length. All throughout, these four have traced a path away from the clamour they once knew, bathing slight guitars, interlocking vocals, and solemn basslines in reedy organs and recalcitrant modular synths. The seemingly tin eared would call it noise, but in these eight hands such a set plays as anything but, instead a (cough) syrupy stroll in search of the ghosts of rock's classicist past. With "The Door", Religious Knives have not only found those bygone days, but broken them apart. There are bookmarks to be found here, pages creased in well-worn chapters. These six songs are brighter, sharper than anything that has come before, locking in tight on jugular rhythms. It's the score for disappearing neighbourhoods and crumbling buildings, a hope of holding onto the past as those around us move fast to forget it. It is scent as sound, the stench of smog and sickly smoke spiralling towards the sky. It is Brooklyn, July of 2008. The sun has left us in the East, disappearing somewhere behind Jersey, leaving our borough to find the pulse of another night deep with the city's streets.

Released in 2008, Accelerate was intended as a departure from R.E.M.’s previous album, Around the Sun, and was lauded for the aggressive, purposeful sound of the songs. The album was described by Rolling Stone as “one of the best records R.E.M. has ever made.” It debuted at #2 on the Billboard 200 and stayed on the chart for 18 weeks. The LP contains fan favorite “Supernatural Superserious.”

This edition is pressed on 180-gram vinyl with a printed insert. 

TRACK LISTING

Side A
1. Living Well Is The Best Revenge
2. Man-Sized Wreath
3. Supernatural Superserious
4. Hollow Man
5. Houston
6. Accelerate
Side B
1. Until The Day Is Done
2. Mr. Richards
3. Sing For The Submarine
4. Horse To Water
5. I'm Gonna DJ 

Around The Sun is R.E.M.’s 13th studio album, released in 2004. The album hit #1 on the UK albums chart and #13 on the Billboard 200. Includes the singles "Leaving New York," "Aftermath," "Electron Blue," and "Wanderlust.” Also features “The Outsiders” with guest vocals from rapper Q-Tip. 

TRACK LISTING

Side A
1. Leaving New York
2. Electron Blue
3. The Outsiders
Side B
4. Make It All Okay
5. Final Straw
6. I Wanted To Be Wrong
Side C
7. Wanderlust
8. Boy In The Well
9. Aftermath
Side D
10. High Speed Train
11. The Worst Joke Ever
12. The Ascent Of Man
13. Around The Sun 

Featuring such adored classics in the band’s repertoire as “Gardening At Night”, “Wolves, Lower” and “1,000,000,” the five song EP, as Rolling Stone noted, “served notice that R.E.M. was an outfit to watch.” As a debut release, R.E.M.’s Chronic Town was an anomaly… a record that didn’t quite fit into the constraints of what was played on the radio. So instead of trying to fit into a genre, R.E.M. helped create their own: College Rock. The follow-up to their breakthrough single “Radio Free Europe” which was released in 1981, Chronic Town served as the entry point to what would become one of Alternative Rock’s biggest bands. “One might fancifully say that Chronic Town was the sound of an expedition, ready for anything, setting forth,” says Easter fondly about the EP. “If R.E.M. ‘Radio Free Europe’ single was a signpost, the Chronic Town EP was the atlas.”

Introducing their arpeggiated guitar playing, cryptic and often indecipherable lyrics, and radiant choruses that would soon emerge as signatures of the classic R.E.M. sound, Chronic Town is the sound of a restless band, chock full of ideas, operating on a post-collegiate budget. Charmingly ragged and refreshingly immediate, it established the band indelibly upon impact. “Wolves, Lower” opens the EP with Michael Stipe’s trademark impressionistic and idiosyncratic lyrics, while Mike Mills’ rubbery bass lines and Peter Buck’s jangly Rickenbacker keeps Bill Berry’s unpredictable drumming in check. It’s this combination that would not only fuel the band for subsequent decades but make them equally as dependable as songsmiths. Serving as a template for ‘80s college jangle pop, “Gardening At Night” forged a style that combined heartily strummed rhythm guitars with a meandering bass line that proved to be a solid blueprint for college bands to come.

Critically hailed both upon release and in retrospect, Chronic Town heralded “a great band planting their flag in the ground, an historic landmark that portended great things that actually came” (Stereogum). The Stranger praised “everything about the EP, from its gnomic, blue-tinted cover art, to its restlessly discursive music, to the fact that the two sides both had their own titles (‘Chronic Town’ and ‘Poster Torn’), was not only good on its own merits, but an excellent influence in favor of obscurantism and understatement.” Chronic Town’s impact and influence on the future of alternative music is uncontested and described by Magnet Magazine as “essentially a template for the entire indie-rock movement.”

TRACK LISTING

1. Wolves, Lower
2. Gardening At Night
3. Carnival Of Sorts (Boxcars)
4. 1,000,000
5. Stumble 

Collapse Into Now is R.E.M.’s fifteenth and final studio album. Released in 2011, the band aimed to create an expansive, varied album; there are slow, beautiful songs juxtaposed with fast-paced rock songs. The band cites the record as more personal than political, intending to touch upon universal themes. The album peaked at #5 on the Billboard 200 chart and #1 on Billboard’s US Top Rock Albums chart.

“[Collapse Into Now] bristles and fizzes with invigorating quantities of wit and fury.” — Uncut Magazine.

TRACK LISTING

Side A
1. Discoverer
2. All The Best
3. ÜBerlin
4. Oh My Heart
5. It Happened Today
6. Every Day Is Yours To Win
Side B
7. Mine Smell Like Honey
8. Walk It Back
9. Alligator_Aviator_Autopilot_Antimatter
10. That Someone Is You
11. Me, Marlon Brando, Marlon Brando, And I
12. Blue 

In Time: The Best Of R.E.M. 1988-2003 is more than a greatest hits compilation, it’s an opportunity to reflect on the astonishing creative and cultural influence of one of the most innovative bands of modern rock history.

With “Losing My Religion,” “Man On The Moon,” “Nightswimming,” “What’s The Frequency, Kenneth?,” “Orange Crush,” “Everybody Hurts” and many more, In Time serves as a reminder of R.E.M.’s key role in shaping the sound of the last three decades. The set also features the tracks “Bad Day” and “Animal,” both originally released for the first time as part of this collection. 

STAFF COMMENTS

Andy says: It's ridiculous how many classic songs there are on this LP. Even as latter records faded in impact, they still had top lead tracks, top singles. They were one of my favourite ever bands.

R.E.M.’s ninth album, Monster, was released at a time when the band were coming off the peak of their mainstream success, following Out of Time (1991) and Automatic For The People (1992). Coming from a long break in touring (the band famously didn’t tour with the two previous records), Monster represented an intentional shift in R.E.M.’s sound, a “return to rock” with guitar laden, simple arrangements.

It was released to strong reviews and significant global success – reaching #1 on Billboard, and least 7 other countries. The album includes the singles; “What’s The Frequency, Kenneth?,” “Crush with Eyeliner,” “Bang and Blame,” and “Strange Currencies.” In 1995 the band promoted that album with their first concert tour since 1989 (although several band members suffered health problems).

TRACK LISTING

EXPANDED 2-CD
MONSTER 25 2CD EDITION INCLUDES A COMPLETE ALBUM REMIX FROM PRODUCER SCOTT LITT AND NEW LINER NOTES. 

Disc 1 – Monster (Remaster)
What’s TheFrequency, Kenneth?
Crush WithEyeliner
King OfComedy
I Don’t Sleep, I Dream
Star 69
Strange Currencies
Tongue
Bang AndBlame
I Took Your Name
Let Me In
Circus Envy
You

Disc 2 – Monster (Remixed)
What’s TheFrequency, Kenneth? (Remix)
Crush WithEyeliner (Remix)
King OfComedy (Remix)
I Don’t Sleep, I Dream (Remix)
Star 69 (Remix)
Strange Currencies (Remix)
Tongue (Remix)
Bang AndBlame (Remix)
I Took Your Name (Remix)
Let Me In (Remix)
Circus Envy (Remix)
You (Remix)

EXPANDED 2-LP
MONSTER 25 2LP EDITION INCLUDES A COMPLETE ALBUM REMIX FROM PRODUCER SCOTT LITT AND NEW LINER NOTES. 

Side A – Monster (Remastered)
What’s TheFrequency, Kenneth?
Crush WithEyeliner
King OfComedy
I Don’t Sleep, I Dream
Star 69
Strange Currencies

Side B – Monster (Remastered)
Tongue
Bang AndBlame
I Took Your Name
Let Me In
Circus Envy
You

Side C – Monster (Remixed)
What’s TheFrequency, Kenneth? (Remix)
Crush WithEyeliner (Remix)
King OfComedy (Remix)
I Don’t Sleep, I Dream (Remix)
Star 69 (Remix)
Strange Currencies (Remix)

Side D – Monster (Remixed)
Tongue (Remix)
Bang AndBlame (Remix)
I Took Your Name (Remix)
Let Me In (Remix)
Circus Envy (Remix)
You (Remix)


STANDARD 1-LP

Side A – Monster (Remastered)
What’s TheFrequency, Kenneth?
Crush WithEyeliner
King OfComedy
I Don’t Sleep, I Dream
Star 69
Strange Currencies

Side B – Monster (Remastered)
Tongue
Bang AndBlame
I Took Your Name
Let Me In
Circus Envy
You

R.E.M.’s first and breakthrough single “Radio Free Europe” was initially released by a small Atlanta-based record label, Hib-Tone Records. Produced by Mitch Easter, the original recording of the single had different mixes by Easter and by label-owner Johnny Hibbert. Although the band preferred Easter’s mix, Hibbert chose his version for the 1981 limited pressing 45RPM single, which is now a coveted collector’s item, packaged in a black and white sleeve featuring original photography by Michael Stipe.

“Radio Free Europe” was later re-recorded for the band’s first album release on major record label I.R.S. Records and went on to land the band their chart debut, peaking at number 78 in the Billboard Pop Chart. That album, Murmur, went on to reach number 36 in the album charts, and set the band steadfastly on the path to college radio domination and critical acclaim. The band’s 1988 compilation album, Eponymous, included what was called the Original Hib-Tone single, but what was in fact Easter’s original mix, not Hibbert’s.

This limited edition 7” pressing represents the first-ever re-release of the original Hib-Tone recording of “Radio Free Europe,” and comes housed in a replica sleeve.

TRACK LISTING

Side A
Radio Free Europe

Side B
Sitting Still

Four decades after it lit up college radio and launched R.E.M.’s remarkable career, 'Radio Free Europe' is sending out a brand-new signal. Overseen by original producer Mitch Easter—who mixed the band's very first recording of 'Radio Free Europe' back in 1981—the EP opens with a never-before-released 2025 remix by GRAMMY®-winner Jacknife Lee (U2, Snow Patrol, Taylor Swift, The Killers). Lee, who produced R.E.M.’s final two studio albums, Accelerate and Collapse Into Now, gives the track a fresh take, while staying true to its indie-rock DNA. The 5-track set also features rarities from 1981—including the Original Hib-Tone Single mix of 'Radio Free Europe', B-side 'Sitting Still', plus demos 'Wh. Tornado' and 'Radio Free Dub', the latter making its digital debut. In 2009, 'Radio Free Europe' was inducted into the Library of Congress’s National Recording Registry for “setting the pattern for later indie-rock releases.”

TRACK LISTING

1. Radio Free Europe 2025 (Jacknife Lee Remix)
2. Radio Free Dub 1981 (Mitch Easter Remix)
3. Radio Free Europe (Original Hib-Tone Single)
4. Sitting Still (Original Hib-Tone B-Side)
5. Wh. Tornado (From Cassette Set) 

Released in 2001, Reveal was co-produced with long-time collaborator Patrick McCarthy. The album sees R.E.M. experiment with synthesized sound, but also make “a conscious return to their classic sound” (Allmusic). The record features hits “Imitation of Life” and “All the Way to Reno (You’re Gonna Be a Star).

This edition is pressed on 180-gram vinyl with a printed insert. 

TRACK LISTING

Side A
1. The Lifting
2. I’ve Been High
3. All The Way To Reno (You’re Gonna Be A Star)
4. She Just Wants To Be
5. Disappear
6. Saturn Return
Side B
1. Beat A Drum
2. Imitation Of Life
3. Summer Turns To High
4. Chorus And The Ring
5. I’ll Take The Rain
6. Beachball 

Released in 1998, Up is the eleventh studio album from R.E.M. In the UK ‘UP’ is platinum certified and charted at #2 on release. The album, featuring the singles "Daysleeper,” “Lotus,” “Suspicion” and “At My Most Beautiful,” draws inspiration from electronic music, using a wide range of tools to create a dreamy pop landscape that is reflective and moody. It was the band's first album without drummer Bill Berry, who retired from the group in October of 1997. This deluxe reissue celebrates the album’s 25th anniversary.   

“All these years later, it still has resonance... Up will always remain a strikingly gorgeous [album]” - Stereogum.

TRACK LISTING

Up (2LP Remastered Vinyl):
Side A
1. Airportman
2. Lotus
3. Suspicion
Side B
1. Hope
2. At My Most Beautiful
3. The Apologist
4. Sad Professor
Side C
1. You’re In The Air
2. Walk Unafraid
3. Why Not Smile
4. Daysleeper
Side D
1. Diminished
2. Parakeet
3. Falls To Climb

2CD + Blu Ray (Deluxe):
CD1 – Up
1. Airportman 
2. Lotus 
3. Suspicion 
4. Hope 
5. At My Most Beautiful 
6. The Apologist 
7. Sad Professor 
8. You're In The Air 
9. Walk Unafraid 
10. Why Not Smile 
11. Daysleeper 
12. Diminished 
13. Parakeet 
14. Falls To Climb
CD2 - Party Of Five Recording
1. Introduction 
2. What's The Frequency, Kenneth? 
3. Lotus 
4. Daysleeper 
5. Country Feedback 
6. Walk Unafraid 
7. Losing My Religion 
8. Parakeet 
9. The Apologist 
10. It's The End Of The World As We Know It (And I Feel Fine) 
11. I'm Not Over You 
12. Man On The Moon
Blu Ray
1. Up - 5.1 Surround Sound 
2. Up - Hi-Resolution Audio 
3. This Way Up (press Kit) 
4. Uptake (performance) 
5. Daysleeper (music Video) 
6. Lotus (music Video) 
7. At My Most Beautiful (music Video)

2CD:
CD1 – Up
1. Airportman 
2. Lotus 
3. Suspicion 
4. Hope 
5. At My Most Beautiful 
6. The Apologist 
7. Sad Professor 
8. You're In The Air 
9. Walk Unafraid 
10. Why Not Smile 
11. Daysleeper 
12. Diminished 
13. Parakeet 
14. Falls To Climb
CD2 - Party Of Five Recording
1. Introduction 
2. What's The Frequency, Kenneth? 
3. Lotus 
4. Daysleeper 
5. Country Feedback 
6. Walk Unafraid 
7. Losing My Religion 
8. Parakeet 
9. The Apologist 
10. It's The End Of The World As We Know It (And I Feel Fine) 
11. I'm Not Over You 
12. Man On The Moon

40 years after disbanding comes ‘Fond Reflections’, the debut album that never was from cult 4AD band Rema- Rema.

Rema-Rema featured former members of The Models and Siouxsie and The Banshees and their much-loved ‘Wheel In The Roses’ EP (1980) was among the first records to be released on 4AD. Their only contribution to the label’s storied history, they split-up before its release, going on to form or join bands as diverse as Renegade Soundwave, The Wolfgang Press, Mass and Adam and the Ants.

The debut album that never was, ‘Fond Reflections’ comes almost forty years after their debut EP and has been culled from the band’s rich archive of reel-to-reel and cassette recordings, with member Gary Asquith and mixing engineer Takatsuna Mukai painstakingly working on them to make the album as cohesive as possible.

The ten tracks pretty much reflect the band’s live set and is the closest to what their debut album could have sounded like. Worth noting too that although all their 1980 EP tracks are present on the album, they are all from different recordings.

TRACK LISTING

‘Fond Reflections’ (2CD / 2LP)
Feedback Song (Halligans Live Rehearsal Version)
Rema-Rema (Halligans Live Rehearsal Version)
Gallery / Oh Rock ‘n’ Roll
Lost My Way
Short Stories
International Scale
Fond Affections (Portobello Road Version)
Why Ask Why Instrumental (Halligans Live Rehearsal Version)
Entry (Halligans Live Rehearsal Version)
‘Extended Wheel In The Roses’

(2CD)
Feedback Song
Rema-Rema
Entry
Instrumental
Fond Affections
No Applause
Murdermuzic

Brand new studio album from Remember Remember, following on from their Scottish Album Of The Year shortlisted ‘The Quickening’ (2011).

"Forgetting The Present shares all the essential DNA of its precursors; thick waves of emotive guitars, piano and synth are punctuated by lovely melodic through-lines and delicate trickles at the top end that, in their fragility, make the big sounds even bigger. But each element feels more in-synch than ever before, from the chilly, Tubular Bells-referencing flow of opener “Blabbermouth” to the final strains of echoing electronics on “Frozen Frenzy”, the distant but soothing lullaby that closes the album." - Best Of Line Fit.

Recorded in Glasgow at Castle Of Doom Studios by Tony Doogan (Belle & Sebastian, Mogwai, The Pastels, The Delgados, Super Furry Animals) and mastered at Abbey Road by Frank Arkwright (Mogwai, Johnny Marr, Rudimental, Arcade Fire), ‘Forgetting The Present’ will be released on CD, heavy pressed gatefold double LP and digital download via Mogwai’s Rock Action Records label.

In a log cabin by Moose Brook in Hardwick Massachusetts is where Mary Remington grew up with her parents and brother. She was always a creative soul, painting and making artworks throughout her childhood and eventually graduating from MassArt. She travelled to farms to work the earth, to stone yards to cut stone, and to the rivers and oceans to dig for clay, finding rich meaning and potent metaphor for her stories and songs. In the summer of 2013 Mary spent a week at the Kerrville Folk Festival and sang her songs to an audience for the first time. This adventure turned her on to the idea that she should share her songs. Now Mary has recorded her first album of original songs with her friends Adrianne Lenker and James Krivchenia of Big Thief and Mat Davidson of Twain. In Embudo was made using full live takes onto a 4-track in a small house edged up along the Rio Grande in Embudo, New Mexico. Featuring: Adrianne Lenker (acoustic guitar, vocals) Mat Davidson (steel guitar, acoustic guitar, electric bass, vocals), James Krivchenia (percussion and engineer) and Mary Remington (vocals)

TRACK LISTING

1. All Words
2. Dresser Hill
3. Mary Mary
4. Fire
5. Green Grass
6. Holdfast
7. Tuesday
8. Mother
9. Wind Wind
10. Water Song
11. Wooden Roads

Jane Remover is something of an internet legend. They are credited with playing a key role in the creation of the digicore music microgenre, an overstimulated relative of hyperpop.

In fact, everything Jane Remover does has an overdose of stimuli: their songs are like the Tasmanian devil from Looney Tunes. A whirlwind of warped and excessive digital pop.

TRACK LISTING

1. Magic I Want U
2. So What?
3. Music Baby
4. Flash In The Pan
5. How To Teleport
6. Dream Sequence
7. Magic I Want U - Instrumental
8. So What? - Instrumental
9. Music Baby - Instrumental
10. Flash In The Pan - Instrumental
11. How To Teleport - Instrumental
12. Dream Sequence - Instrumental

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The 22 year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run. Her debut album 'Frailty' was written amidst the purgatorial summer after a high school graduation, en route to turning eighteen that September. The lyrics are a wayward coming-of-age diary of an LGBT+ teenager, stuck in the suburbs of a confusing, socio-politically turbulent America. Jane’s words sting, but are shrouded in meticulous production; a sui generis vein of DIY rock.

TRACK LISTING

1. Cage Girl / Camgirl
2. Lips
3. Fling
4. Holding A Leech
5. Backseat Girl
6. Idling Somewhere
7. Always Have Always Will
8. Census Designated
9. Video
10. Contingency Song (Album Version) 

Her debut album 'Frailty' was written amidst the purgatorial summer after a high school graduation, en route to turning eighteen that September. The lyrics are a wayward coming-of-age diary of an LGBT+ teenager, stuck in the suburbs of a confusing, socio-politically turbulent America. The LP was warmly received: Album of the Year List placements from Pitchfork and TheNeedleDrop, glowing reception from Paste, Insider and FADER, and a widespread resonance from a young audience who consider the album cathartic and relatable.

TRACK LISTING

1. Goldfish
2. Your Clothes
3. Misplace
4. Pretender
5. Search Party
6. Buzzcut, Daisy
7. Movies For Guys
8. Kodak Moment
9. Can You Tell?
10. How To Lie
11. Champ
12. Eyes Off The Wheel, I’m A Star
13. Let’s Go Home 

New album from prolific and genre-bending artist Jane Remover. Featuring Danny Brown on track 'Pyschoboost', Pitchfork says "The experimental artist does a complete 180 from their previous record and unleashes an inferno of raw thoughts that pushes everything - rap, pop, voice, their artistic persona - to the breaking point."

STAFF COMMENTS

Barry says: Noisy, free-wheeling experimental hip-hop that's deeply rooted in synth music and vapourwave, reminiscent of an amped-up PC Music vibe. Crisply produced, wonderfully odd and in the best way possible, thoroughly undanceable.

TRACK LISTING

1. TWICE REMOVED
2. Psychoboost (with Danny Brown)
3. Star People
4. Experimental Skin
5. Angels In Camo
6. Dreamasher
7. TURN UP OR DIE
8. Dancing With Your Eyes Closed
9. Fadeoutz
10. Professional Vengeance
11. Dark Night Castle
12. JRJRJR

After an epic licensing odyssey that's taken us almost 20 years, we're finally able to announce the 5LP boxset release of the first ever official re-issue of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
Many have tried - and failed - to reissue these albums by legitimate means. However, two decades since our initial approach, Universal Music has gone to great lengths to research their vast archives, and we have finally managed to succeed.
The complete Don Rendell & Ian Carr Lansdowne recording sessions have now undergone a full and unprecedented boxset reissue. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! The enclosed booklet contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.
The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest, and the quality of our box set pays testament to that.

TRACK LISTING

1 Blue Mosque
2 Latin Blue
3 Just Blue
4 Sailin'
5 Garrison '64
6 Blue Doom
7 Shades Of Blue
8 Big City Strut
9 Ruth
10 Tan Samfu
11 Jubal
12 Spooks
13 Prayer
14 Hot Rod
15 Dusk Fire
16 Crazy Jane
17 On! [clip]
18 Les Neiges D'Antan (Snows Of Yesteryear)
19 Bath Sheba
20 Black Marigolds
21 Elastic Dream
22 One Green Eye
23 Boy, Dog And Carrot
24 Cold Mountain
25 Black Hair
26 Mirage
27 On Track
28 Vignette
29 Pavanne
30 Nimjam
31 Voices
32 You've Said It 

The seismic rumbling of The Renderers goes beyond the fiendish pastoralia of their music. Long-time Christchurch residents, Brian and Maryrose Crook witnessed the earthquakes crumble the city. That, and Maryrose’s developing career as a painter (she is self-taught, only starting in her late thirties), inspired them to move to America and concentrate on touring here. So, where do they move? Obviously, a rock-throw’s distance from the San Andreas Fault, to Joshua Tree.

Not surprising, given the tenacity of the Crooks. Through endless band lineups and continual challenges, they have maintained a focused sound and approach to their music. A Renderers song creates its own space, one that threatens dissemblance at every turn. With two of the most distinct voices in New Zealand rock, they trade off vocal duties, and both contribute toward burying their songs in layers of swelling and swirling guitars.

For their new record, In the Sodium Light, The Renderers take a step back from the furious chug of their last album, A Rocket Into Nothing. Instead, they appear to be representing the landscape of their new home. Songs creep out of holes, seep and spread, permeating the room. The album is a languid, calm-waters drift over the abyss in a glassbottomed boat. Let the tide take you.

TRACK LISTING

1. Omaharsh
2. Seaworthy
3. Remembering Room
4. Mr Pulse
5. Strange Love
6. Hiding
7. Not Really Falling
8. Black Saturn
9. You Raise Me

Dutch sophisti-pop meets yacht rock. Includes the underground hits “Lay Me Down” and “Change Your Style”, a favourite of Norwegian DJ Prins Thomas. The album was featured in Chee Shimizu's book Obscure Sound, a discography of some of the most rare records from around the world.

TRACK LISTING

Side 1
1. Dry Your Tears
2. Lay Me Down
3. Sadman
4. Just One Look
5. It’s Absurd

Side 2
1. Jimmy
2. Come Closer
3. Change Your Style
4. Reaching For The Sky
5. Stranded Lady

Kyiv (Ukraine) born Sasha Renkas, made music as Antenna for almost a decade, releasing many EP's and a full length album. Now he follows his urge to make a different kind of music. The result is a full length album with slow, intimate, nighttime music varying from abstract pop ballads to ambient movie score pieces. At times they sound like stripped down Kate Bush instrumentals, drenched in reverb, or introvert Roxy Music with a touch of dub and nineties trip-hop. "This time I wanted to compose music and then perform my instruments live making this album. I used mainly old synthesizers and other instruments and a heavy layer eighties reverb machines. Before moving to the Netherlands, I was growing up in the nineties in Kyiv, surrounded by economic turbulence and a weird mix of music from different decades that overflowed the country after years of isolation. Accompanied by the weird early Ukrainian visual culture I was mesmerized by the music videos I saw on TV and I wanted to belong there. I guess I never really grew up, still drifting like a cowboy through imaginary spaces, in a timeless vacuum, outside of real life. I decided to release this album as Sasha Renkas, because it felt very personal and pure, all coming from a spacious, misty place where everybody is still alive and safe."

TRACK LISTING

01 West
02 Prozora
03 Safe Place
04 Boy
05 Night
06 Carrier
07 Hydro Park
08 Come To Me
09 Operator
10 Liman
11 You'll Be Okay
12 2 Days

Repetentes 2008 is 26 year old Brazilian multi instrumentalist, session super star, Globo Television soap opera jingle up-and-comer, 40% Foda label boss and Botafogo FR football hooligan Gabriel Guerra. Known affectionately as Guerrinha amongst his friends, Guerrinha - or as he’s referred to officially - Gabriel, turns in Superconscious Records’ 14th edition. After his absurd debut LP on Future Times and his more recent outings on his own 40% Foda and PAN records, Guerrinha keeps things relatively straight up with 4 absurdly fast but not necessarily furious club friendly tracks. Opener "Galaxia Fini" is break-led and DnB tempo, but has a dreamy quality and bassline warmth which leans on the housier side of things, albeit at mach 3. From there we work our way into the R&S rave and half time breakdown of fairground banger "Vernissage Anticonspiratoria" and the neon-tinged electro-funk of "Acavlcan Ritmos", a must for any Luke Vibert fans out there. Finally "Jornada Dos Faniquitos" sees us out in a similar style to the opener, all dewy pads, glistening synths and subby bass tones wrapped around a brain mulching breakbeat. All in all, ear pleasing-brain teasing brilliance from the young Brazilian. 

TRACK LISTING

A1. Galaxia Fini
A2. Vernissage Anticonspiratoria
B1. Acavalcan Ritmos
B2. Jornada Dos Faniquitos

Let It Be by The Replacements—Paul Westerberg, Bob Stinson, Tommy Stinson, and Chris Mars—is widely hailed as one of the greatest albums of the 1980s and a cornerstone of indie rock. On October 24, the landmark 1984 album returns in a newly remastered and expanded edition on 4xLP and 3xCD configurations.

This deluxe archival edition features a new remaster of the album from the original two-track analog stereo tapes, alongside previously unreleased and rare studio outtakes and intimate Paul Westerberg home demos. Delve into the band's infectious live energy with a complete, previously unreleased concert recorded in March 1984 at Cubby Bear in Chicago, IL.

As music journalist Elizabeth Nelson writes in the liner notes, Let It Be “is a record for girls, for the working poor, for the terminally shy, for anyone who ever felt like a freak in their own skin. And it still is... It is, in short, the blueprint for what so many of us wanted and needed rock and roll to be: a refuge, a provocation, a mother, a middle finger, and, in the end, a way out.”

TRACK LISTING

DELUXE 3CD EDITION:
Disc 1: Original Album Remastered
1. I WILL DARE (2025 REMASTER)
2. FAVORITE THING (2025 REMASTER)
3. WE’RE COMIN’ OUT (2025 REMASTER)
4. TOMMY GETS HIS TONSILS OUT (2025 REMASTER)
5. ANDROGYNOUS (2025 REMASTER)
6. BLACK DIAMOND (2025 REMASTER)
7. UNSATISFIED (2025 REMASTER)
8. SEEN YOUR VIDEO (2025 REMASTER)
9. GARY’S GOT A BONER (2025 REMASTER)
10. SIXTEEN BLUE (2025 REMASTER)
11. ANSWERING MACHINE (2025 REMASTER)

Disc 2: Rarities
1. GARY’S GOT A BONER (ALTERNATE VERSION) [2025 REMASTER]*
2. FAVORITE THING (ALTERNATE VERSION) [2025 REMASTER]*
3. PERFECTLY LETHAL (2025 REMASTER)
4. TEMPTATION EYES (2025 REMASTER)
5. WHO’S GONNA TAKE US ALIVE (2025 REMASTER)*
6. HEARTBEAT, IT’S A LOVEBEAT (2025 REMASTER)
7. ANSWERING MACHINE (HOME DEMO #1) [2025 REMASTER]
8. ANSWERING MACHINE (HOME DEMO #2) [2025 REMASTER]*
9. STREET GIRL (TAKES 1 AND 2) [2025 REMASTER]*
10. SIXTEEN BLUE (ALTERNATE VERSION) [2025 REMASTER]
11. UNSATISFIED (FULL LENGTH VERSION) [2025 REMASTER]*
12. ANDROGYNOUS (ALTERNATE VERSION) [2025 REMASTER]*
13. 20TH CENTURY BOY (2025 REMASTER)
14. HEY GOOD LOOKIN’ (LIVE) [2025 REMASTER]

Disc 3: Goodnight! Go Home!: Live At Cubby Bear, Chicago, IL, TBD March, 1984
1. CAN’T HARDLY WAIT (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
2. LEFT IN THE DARK (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
3. UNSATISFIED (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
4. I WILL DARE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
5. FAVORITE THING (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
6. KIDS DON’T FOLLOW (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
7. RUN IT (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
8. COLOR ME IMPRESSED (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
9. HAYDAY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
10. NOWHERE IS MY HOME (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
11. LOVE YOU TIL’ FRIDAY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
12. HELP ME RHONDA/G.T.O. (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
13. TAKIN’ A RIDE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
14. TOMMY GETS HIS TONSILS OUT (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
15. GARY’S GOT A BONER (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
16. JOHNNY’S GONNA DIE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
17. CAN’T GET ENOUGH (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
18. I’M IN TROUBLE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
19. DON’T ASK WHY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
20. TAKE ME DOWN TO THE HOSPITAL (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
21. SHIFTLESS WHEN IDLE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
22. MR. WHIRLY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
23. HITCHIN’ A RIDE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
24. BLACK DIAMOND (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
25. 20TH CENTURY BOY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
26. GO (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
27. GIMME NOISE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
28. WHITE AND LAZY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*

DELUXE 4LP EDITION:
LP1: Original Album Remastered
A Side
1. I WILL DARE (2025 REMASTER)
2. FAVORITE THING (2025 REMASTER)
3. WE’RE COMIN’ OUT (2025 REMASTER)
4. TOMMY GETS HIS TONSILS OUT (2025 REMASTER)
5. ANDROGYNOUS (2025 REMASTER)
6. BLACK DIAMOND (2025 REMASTER)
B Side
1. UNSATISFIED (2025 REMASTER)
2. SEEN YOUR VIDEO (2025 REMASTER)
3. GARY’S GOT A BONER (2025 REMASTER)
4. SIXTEEN BLUE (2025 REMASTER)
5. ANSWERING MACHINE (2025 REMASTER)
LP2: Rarities
C Side
1. GARY’S GOT A BONER (ALTERNATE VERSION) [2025 REMASTER]*
2. FAVORITE THING (ALTERNATE VERSION) [2025 REMASTER]*
3. PERFECTLY LETHAL (2025 REMASTER)
4. TEMPTATION EYES (2025 REMASTER)
5. WHO’S GONNA TAKE US ALIVE (2025 REMASTER)*
6. HEARTBEAT, IT’S A LOVEBEAT (2025 REMASTER)
7. ANSWERING MACHINE (HOME DEMO #1) [2025 REMASTER]
8. ANSWERING MACHINE (HOME DEMO #2) [2025 REMASTER]*
D Side
1. STREET GIRL (TAKES 1 AND 2) [2025 REMASTER]*
2. SIXTEEN BLUE (ALTERNATE VERSION) [2025 REMASTER]
3. UNSATISFIED (FULL LENGTH VERSION) [2025 REMASTER]*
4. ANDROGYNOUS (ALTERNATE VERSION) [2025 REMASTER]*
5. 20TH CENTURY BOY (2025 REMASTER)
6. HEY GOOD LOOKIN’ (LIVE) [2025 REMASTER]
LP 3 &4: Goodnight! Go Home!: Live At Cubby Bear, Chicago, IL, TBD March, 1984
E Side
1. CAN’T HARDLY WAIT (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
2. LEFT IN THE DARK (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
3. UNSATISFIED (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
4. I WILL DARE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
5. FAVORITE THING (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
6. KIDS DON’T FOLLOW (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
F Side
1. RUN IT (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
2. COLOR ME IMPRESSED (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
3. HAYDAY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
4. NOWHERE IS MY HOME (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
5. LOVE YOU TIL’ FRIDAY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
6. HELP ME RHONDA/G.T.O. (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
7. TAKIN’ A RIDE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
G Side
1. TOMMY GETS HIS TONSILS OUT (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
2. GARY’S GOT A BONER (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
3. JOHNNY’S GONNA DIE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
4. CAN’T GET ENOUGH (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
5. I’M IN TROUBLE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
6. DON’T ASK WHY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
7. TAKE ME DOWN TO THE HOSPITAL (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
H Side
1. SHIFTLESS WHEN IDLE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
2. MR. WHIRLY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
3. HITCHIN’ A RIDE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
4. BLACK DIAMOND (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
5. 20TH CENTURY BOY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
6. GO (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
7. GIMME NOISE (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*
8. WHITE AND LAZY (LIVE AT CUBBY BEAR, CHICAGO, IL, MARCH TBD, 1984) [2025 REMASTER]*

*Previously Unreleased

Debut single from this Leeds via Manchester via London duo on the fledgling O Genesis Recordings label.

Replicas, Helena Gee (vocals/ guitar) and Ashiya Eastwood (vocals/ guitar/ keyboard), formed at the end of last year and have been quietly building a growing fan base around the country with their enchanting slant on moody, yet melodic pop.

Produced by Tim Burgess, the new single is a three track EP featuring ‘Hearts Beat’, ‘In The City’ and Disappear’.

TRACK LISTING

A1: Hearts Beat (33 Rpm)
A2: The City (33 Rpm)
AA: You Disappear (45 Rpm)

Debut album from Reptaliens featuring members of Blouse, Wampire, Brainstorm and Woolen Men.

Portland, Oregon’s Reptaliens is the husband and wife team of Cole and Bambi Browning. The couple met on a basketball court while filming a music video for a mutual friend’s band that didn’t exist. The two knew almost instantly they were soulmates; after dating for six months they married under a blanket of smoke from the season’s forest fires.

Named in reverence for their interests in cult mentality transhumanism, and conspiracy theories, Reptaliens quickly evolved from a bedroom recording project to a full-fledged band that explores fringe pop culture through analogue synthesizers, electric guitars, melodic basslines and Bambi’s lulling vocals. The pair’s songwriting mirrors their strong connection. As Cole says, “Bambi and I write all the music. Sometimes we work together to construct songs and sometimes I’ll come home from work and she’ll have a masterpiece finished and perfectly crafted. We both add to each other’s songs and none really seem completely Bambi’s or mine. We do everything together.”

Inspired by all things science fiction, writers like Philip K. Dick and Haruki Murakami and music ranging from Paul McCartney / Wings to African artists Francis Bebey and Nahawa Doumbia, the band creates psychedelic, chameleonic dreamscapes that fall sonically and visually somewhere between abstract expressionism and surrealism. These ideas and influences all coalesce on ‘FM-2030’ - named after the renowned transhumanist writer and philosopher - the band’s debut album on Captured Tracks.

Thematically based around obsession, Bambi says she “gravitates toward other people’s obsessions and draws inspiration from them. I like to think of method acting and personify myself as the obsessor, writing from their perspective. I love pretending and creating around these personalities.” This play-acting on record translates to the band’s sincere and theatrical live performances that involve homemade costumes and on-stage guest appearances from a giant reptile man.

‘FM-2030’ was recorded at famed Portland studio The Green House with Riley Geare. As longtime active participants in the Portland music scene, Bambi and Cole called on a number of talented musicians for Reptaliens’ recordings and live performances, including Julian Kowalski (guitar), Bryson Hansen (synth) and Tyler Vergian (drums). However, Cole is quick to note, “Reptaliens is a concept more so than a band or any group of individuals. Those who are willing to let go and open themselves up to new experiences will be rewarded and emboldened. Those who want to turn away will have no choice but to look. The truth is out there.”

TRACK LISTING

29 Palms
If You Want
Simulation
666Bus
These Days
Satan’s Song
Nunya
Butter Slime
Forced Entry
Dreaming
Ubik

Reptaliens are ready to be direct. After exploring surreal realms of high concept synth-pop across two acclaimed albums, the Portland, Oregon, duo gained newfound clarity in a stark, grounded approach. That may seem unexpected for such a colorful act—known for heady lyrics about conspiracy theories and transhumanism—but Cole and Bambi Browning have streamlined to the lean, propulsive essentials on their self-produced new LP, Multiverse.

Shelving the dreamy synths altogether and working without their other bandmates due to lockdown, Reptaliens reset, picking up their guitars and emphasizing the catchy attack that’s been there all along. Drawing inspiration from the spontaneous energy of the ’90s alternative canon, the pair hit a surge in momentum after a casual-turned-revelatory listen to Jane’s Addiction’s 1990 classic “Been Caught Stealing.” Without even aiming to make a Reptaliens song, they wound up penning the set’s lead single “Like a Dog,” a sun-soaked groove-bomb that’s blissfully unencumbered by sonic baggage.

Across their first two albums Reptaliens established themselves as dedicated dreamers and deep thinkers, filling their wooly, homespun synth-pop with meditations on outré science fiction and philosophy. By contrast, Multiverse brings those lyrical concerns closer to home while the music takes a jangle-prone timeless form of subtly psychedelic guitar-pop, finding occasional dark cul-de-sacs but ultimately tending toward the light and breeze.

With mixing duties divided between Mikaelin “Blue” Bluespruce (Solange, Blood Orange) and Ross Brown from Kansas City bands Shy Boys and Fullbloods, Multiverse is a crisp pop record packed with surprising flourishes, from the crunchy chorus of “I Can’t Hide” to the smoky, serpentine guitar solo on “Jump.” Striking out into refreshing new directions at every turn, Multiverse indeed feels like a symbolic crossroads. And one that only yields more possibilities with each visit.

TRACK LISTING

1. I Feel Fine
2. Like A Dog
3. In Your Backyard
4. Take It
5. Don’t Wait For Me
6. Do You Know You Are Sleeping?
7. Go Away
8. Someone I Know
9. I Can’t Hide
10. Jump

When Bambi and Cole Browning started writing the songs that would be become Reptaliens’ 2017 debut LP, FM-2030, they had no intention of starting a band. Focusing at first on creating music and art on a purely personal level, the project soon took off when the duo brought on Julian Kowalski (guitar) and Tyler Verigin (drums) to form a live band. The fourpiece swiftly delved into songwriting inspired by sci-fi art and literature, cult mentalities, and deep connections. The result is the band’s self-defined genre of “dreamwave,” which connected musical influences ranging from Gary Wilson-inspired jazzy lounge music, the warmth of Broadcast’s recording production, to Todd Rundgren’s outer space synth sounds.

After touring throughout most of 2017 and 2018 with STRFKR, Cults, and Of Montreal, the band returned home and went straight into renowned Portland studio Jackpot to record their sophomore LP, VALIS. Titled after the 1981 Philip K. Dick novel, Valis is a cohesive collection of songs unified in sound and structure and supported by recurring lyrical themes, consistent with Reptaliens’ sound: 80’s analog synthesizers, tape delay echos, and a dreamy blend of guitar lines which ebb and flow throughout Bambi’s melodies. Tracks like “Shuggie 2” and “Sunrise, Sunset” are phantasmagoric, breezy and minimal, resulting in an intimate and personal atmosphere in which the listener can ruminate. Yet, the dynamism of Valis comes from a balance between the band’s more introspective tracks with kinetic synth pop songs such as “Echo Park” and “Give Me Your Love” and and the upbeat guitar driven tracks “Venetian Blinds” and “Baby Come Home”.

With FM-2030, Reptaliens divulged tales from an etic: outsiders perspective of cult kidnappings, alien abductions, and sci-fi speculations towards potential future realities. In Valis, the lense is turned inwards and, through the looking glass, the 12 tracks provides an emic glimpse towards the feelings and situations of the subjective experience.

TRACK LISTING

1. Sunrise, Sunset
2. Venetian Blinds
3. Shuggie 1
4. Shuggie 2
5. Baby Come Home
6. Changing
7. Echo Park
8. Give Me Your Love
9. Song For Moon
10. Wake Up
11. Sweet, Innocent You
12. Heather

Reptar are from Athens Georgia and are the latest signing to Lucky Number (Darwin Deez, Friends, Caged Animals, Sebastien Tellier, Gotye). They have a reputation for riotous, must-see live shows becoming the most talked about band of 2011’s SXSW with the NME declaring they were “the most synonymous name in Austin”.

Debut album Body Faucet, has been produced by Ben H Allen (Animal Collective, Gnarls Barkley, Bombay Bicycle Club) and it builds on the infectious dance-driven melodies established by the band on Oblangle Fizz Y'all EP (INCLUDED AS BONUS CD). Body Faucet finds the bands sonic wanderlust extending from African Music to post-punk to psych-pop.

“their playful electro-pop channels MGMT’s debut-album psychedelic-yet-ready-for-the-masses sheen, and their rambunctious antics recall the Black Lip’s punk bravado.” SPIN

“ Bouncing synth-pop recalling the gleaming, anthemic vibrancy of early MGMT, the galactic qualities of Empire Of The Sun and the playful oddities of Animal Collective. FLY

TRACK LISTING

1. Sebastian
2. Please Don’t Kill Me
3. Isoprene Bath
4. Orifice Origami
5. Houseboat Babies
6. Natural Bridge
7. Ghost Bike
8. New House
9. Thank You Gliese 370b
10. Sweet Sipping Soda
11. Three Shining Suns
12. Water Runs

Bonus Disc
1. Blastoff
2. Rainbounce
3. Context Clues
4. Stuck In My Id
5. Phonetics

The second self-titled album from Will Miller's Resavoir interweaves modern-day soul-jazz with bedroom beats, synth serenades and twilight sonatas – an endlessly listenable, subtly radiant symphony suitable for both the composition-minded musician’s musician and the hook-seeking playlist populist.

This album follows Resavoir’s 2019 self-titled debut album, a breakout success that landed in ‘Best of 2019’ lists by NPR Music and BBC’s Gilles Peterson, and has logged over 8 million streams across DSPs to date, and counting.

Through his movement further into an expanded palette of synths, pianos, live and programmed drums in addition to his MIDI-augmented trumpet, Miller has developed a signature cinematic soul-jazz sound rooted in hip-hop structures. No surprise, then, that his profile as a producer has raised significantly since the Resavoir debut, and that the years since have seen him operating the controls and guiding the ship on tracks for Eryn Allen Kane, Whitney, Knox Fortune, and SZA’s recently-released album SOS (which spent 10 weeks as the #1 spot on the Billboard 200 chart).

This is the backdrop for Resavoir’s second self-titled effort, a more polished and focused presentation of Miller’s evolving skills as a studio producer. His compositional touch is more articulate than ever. The short but sweet album features a massive list of contributors including Elton Aura, Whitney, Akenya, Matt Gold, Eddie Burns, Lane Beckstrom, Jeremy Cunningham, Irvin Pierce, Macie Stewart, Peter Manheim and many more.

TRACK LISTING

1. Heavenly
2. Inside Minds
3. Sunday Morning
4. Robot Dreams
5. Midday
6. Sunset
7. First Light
8. Future
9. Oh N On
10. Blutopia
11. Facets

Research is the punk/funk/disco project of drummer Geoff Serle (Radius, Tek-San, Sonicphonics). Research have previously had releases on the German Dossier Label, Rong/DFA, Bearfunk and Paper Recordings.

The two tracks here are extra mixes from the Paper release of 2012 which featured the vocals of Valerie Maxfield (Groove Armada).
This is the first time these mixes have been available on vinyl.

The Psychemagik Instrumental is a nu-disco banger featuring a hypnotic synth bass line alongside some spiky guitar and an 80's linndrum groove.
The Spigelsound Remix is a more deep house affair complete with vocal interpretations and elements from the original mix alongside some spacey Fender Rhodes and nice glitchy claps.

STAFF COMMENTS

Matt says: Ultra slick, high fidelity, full fat productions from Psychemagik and Spigelsound who take Research's "Day By Day" into upper echelon new disco territory.

TRACK LISTING

A. Psychemagik Instrumental
B. Spigelsound

The Residents are an American art collective best known for their over 60 studio albums that were recorded over a period of over forty years. They also created some outstanding multimedia works, mainly three CD ROM projects and ten DVDs. Working as an anonymous collective, their identities were kept secret until in 2017 Hardy Fox revealed himself as their primary composer. Hardy died in October 2018, but the group continue to record and perform. In 2021, the band wanted to depart on a European tour called Dog Stab! but the Covid pandemic put a halt to it. 2022 wasn't more lucky, but early in 2023, The Residents finally made it to Europe stopping in Amsterdam, Brussels, London, Dublin, Oslo, Berlin, Vienna and many others. The concert presented here is the show at Kampnagel, Hamburg. The tour now offered a wider retrospective of The Residents' work, with less emphasis on Metal, Meat & Bone and Duck Stab! than had been seen in the earlier Dog Stab! shows. Instead the concerts focused on the Duck Stab material, with an additional greatest hits part thrown in for good measure. After the tour, The Residents parted ways with their long-time collaborator, guitarist Nolan Cook. Although Cook was planned to join the group on a UK/Europe mini-tour of their theatrical show God In 3 Persons - Live! in April 2024, those shows were ultimately cancelled, leaving the last date of the Faceless Forever tour as Cook's final performance with The Residents.

TRACK LISTING

1. Jambalaya
2. Hello Skinny
3. Cut To The Quick
4. Laughing Song
5. Bach Is Dead
6. Boxes Of Armageddon
7. Would We Be Alive?
8. Marching To The Sea
9. Cold As A Corpse
10. Smelly Tongues
11. Moisture
12. Constantinople
13. The Monkey Man
14. Semolina
15. Kill Him!
16. Blue Rosebuds
17. Theme From Buckaroo Blues
18. The Stampede
19. Lizard Lady
20. Dead Weight
21. Hungry Hound
22. Die! Die! Die!
23. Diskomo
24. Nobody Laughs When They Leave

In 1989 The Residents recorded an album of Elvis hits called "The King & Eye". Anyone familiar with the group's work would not be surprised to hear no attempt at recreating the original arrangements - re-interpreting the songs and digging into their Freudian undertones, usually overlooked in the lyrics. For The Residents, Elvis's life became a cautionary tale: a story of lost innocence, and how, in death, Elvis became the ultimate Americana icon. Ironically, The Residents chose to make their statements on "The King & Eye" through the voice of an aging Elvis imitator. Fifteen years later, in 2003, The Residents asked German remix whiz, Paralyzer, to listen to the original 24 track master recording and see what he would do to re-interpret their album - Paralyzer accepted the challenge but asked the group to give him free rein in reconstructing the pieces.

Warsaw-based cellist/composer Resina (Karolina Rec) returns with a first standalone album in three years, taking a big step forward on a bold and brilliantly expansive record that explores ideas about language, the voice and the unpredictability of nature. Recorded by Resina and Michał Kupicz, with striking additional mixing & production work by Daniel Rejmer (Ben Frost, Björk, Foals, Girls Names), ‘Speechless’ is fluid and muscular, with wide dynamics and a dark and powerful dramatic weight. Across nine tracks, Resina’s cello, voice and electronics are set alongside drummer Mateusz Rychlicki, the 23-piece 441 Hz choir, with Magdalena Gajdzica playing flute (track 1) and Michał Fojcik adding field recording & sound design (track 4).

Removed from their regular, more refined classical contexts, cello and choir are subjected to electronic processing, expanded and deployed in a swirling, visceral sound-world, sometimes pushed into distortion and anchored alongside Rychlicki’s driving drumming. An amalgamation of noise, rock, ambient, choral and classical elements, ‘Speechless’ shifts from gossamer beauty to glowering threat; from pulsing minimalism to full-bore propulsive blow-outs. As well as moments of great beauty, it is shot through with shrieks and howls, cavernous bass drops, sirens and sudden pitch shifts.

TRACK LISTING

SIDE A

1. Mercury Immersion
2. Horse Tail
3. Failed Myth Simulation
4. Darwin’s Finches

SIDE B

5. Unveiling
6. Manic
7. Hajstra
8. A Crooked God
9. Recall

Fresh disco edits outing Respect have essentially named themselves after just the right attitude they expect of their rave-goers. Continuing to embody virtues of respect and respectability with another limited edition white label release, this sixth addition to the pile hears whimsical collieries, chicken-pickin' rhythms, and lurching remixes, with the B-side doing especially well to re-ingest the essential War cut 'The World Is A Ghetto' and its DJ Spinna nu-disco rendition. The breakdown is especially performative and brilliant, with scatting mimicries of guitar heard expertly interleaved.

TRACK LISTING

A1. Movin'
B1. The World Is The Ghetto

Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez. As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains “each instrument weaves independently throughout a passage in a curious game where the listener’s attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12”.

STAFF COMMENTS

Patrick says: When I played this to Barry, he's wide eyed response was only to smile wildly and say..."Balearic". Well, my esteemed colleague was quite correct, this is in fact as Balearic as sharing a cocktail with Moonboots while Jason Boardman soundtracks the sunset.

Luz Retina Edits - One shot, exemplary reworks from Tiago...

A clean sweep of undeniably funky industrial, Balearic-Goth anthems, reimagined for enhanced, 21st century dystopian escapism.

VERY limited!

STAFF COMMENTS

Matt says: Brilliantly creative and boisterous moments from the EBM cannon are deliciously cauterised for darkside dancefloor enjoyment. Leathers and goth boots sold separately.

TRACK LISTING

a. jump barrel
a. absolute body control
b. blind vision
b. the hungry years

Retribution Gospel Choir is a rock trio founded in 2007.
The group features Alan Sparhawk on guitar and vocals, Steve Garrington on bass and Eric Pollard on drums and vocals.
Alan also fronts the band Low with his wife, Mimi Parker, and Steve also plays bass in Low.
‘2’ is Retribution Gospel Choir’s second full-length album, and their debut for Sub Pop.

Retriever are the dark underbelly of the Newcastle music scene. They are a frenzy of thick fuzz-bass, jagged reverb laden guitar, cutting drum-machine beats and screeching feedback topped with a slice of bitter female vocal. It’s a formula that since playing their first ever gig in July 2009 has seen them gain acclaim with support slots for The Slits, These New Puritans, Dum Dum Girls, Crocodiles, The Pains Of Being Pure At Heart and Yuck among others as well as playing the Evolution, Middlesbrough Music Live and Tramlines Festivals.

With Garth on guitar, Jackie on vocals and Chappy playing bass, Retriever are proud non musicians with an emphasis on sound, mood and instinct. Recognizing that aesthetics are overlooked all too often nowadays, they not only sound like a band, they look like a band. A three pronged attack of visual and aural overload wrapped in white light and black leather, kicking a black boot into the face of mediocrity. Retriever have quickly become known for their raw and powerful live performances, guaranteeing onlookers have gone away with a melody circling in their head, a ringing in their ears, and a need to experience Retriever again.

Retromigration returns to WOLF music for his fifth outing on the label. Never one to disappoint, The Ausfahrt 9 EP showcases the artists development into club ready, deeper territories with all five tracks oozing peak time business from the moment the needle hits the record. Another highlight in the artists ever-growing discography. Turn it up!

TRACK LISTING

A1. Unused
A2. Hurt
B1. The Gene
B2. Exit 9
B3. Team Spirit

Eleven tracks featuring the single "Blood, Bunny, Larkhall", live favourites "Cities On Fire", "Agony/Agatha" and "We're All Going Home In An Ambulance", and the scathing track "Crushed Under The Weight Of The Enormous Bullshit". Reuben have returned to the fray with the best record of their careers: Inventive, exciting, emotional and packed with great tunes.

Celebrating 20 years of Reuben’s second album ‘Very Fast Very Dangerous’, Xtra Mile Recordings have released a special anniversary edition triple LP featuring the original album, demos, new illustrated artwork from frontman Jamie Lenman and an etching. The artwork also includes never seen before photos taken by renowned photographer Scarlet Page from around time of the album’s recording in 2005.

Recorded and produced by Chris Sheldon (Biffy Clyro, Foo Fighters) the album features the singles – ‘A Kick In The Mouth’ and ‘Keep It To Yourself’ as well as the epic ‘Every time A Teenager Listens To Drum & Bass A Rockstar Dies’. The demos included in this anniversary edition were recorded at Jacob's Studios in Farnham are of the entire album plus other non-
album tracks. These are the first time these demos have been released on vinyl.

TRACK LISTING

SIDE A
1. A Kick In The Mouth - Reuben
2. Some Mothers Do 'Ave 'Em - Reuben
3. Best Enemies - Reuben
4. It's All About Control - Reuben
5. Every Time A Teenager Listens To Drum & Bass A Rock Star Dies - Reuben
6. Nobody Loves You - Reuben
SIDE B
1. Blamethrower - Reuben
2. Keep It To Yourself - Reuben
3. Lights Out - Reuben
4. Alpha Signal Three - Reuben
5. Goodnight - Reuben
6. Return Of The Jedi - Reuben
7. Boy - Reuben
SIDE C
1. Don't Die (Jacobs Demo)
2. Blitzkrieg (Jacobs Demo)
3. Approaching By Stealth (Jacobs Demo)
4. Worn To Be Seen (Jacobs Demo)
5. Three Hail Marys (Jacobs Demo)
SIDE D - Etching
SIDE E
1. A Kick In The Mouth (Jacobs Demo)
2. Some Mothers Do 'Ave 'Em (Jacobs Demo)
3. Best Enemies (Jacobs Demo)
4. It's All About Control (Jacobs Demo)
5. Every Time A Teenager Listens To Drum & Bass A Rock Star Dies (Jacobs Demo)
6. Nobody Loves You (Jacobs Demo)
SIDE F
1. Blamethrower (Jacobs Demo)
2. Keep It To Yourself (Jacobs Demo)
3. Lights Out (Jacobs Demo)
4. Alpha Signal Three (Jacobs Demo)
5. Good Night (Jacobs Demo)
6. Recouping Is So 1987 (Jacobs Demo)
7. Boy (Jacobs Demo)

Reuben's Daughters is not a band, it's a name for all of the musical works by Reuben Myles Tyghe, a pure product of Bath's musical scene. Reuben performs solo, write and record albums featuring a wide pool of guests, collaborate with other artists, has a six piece live band... it's all Reuben's Daughters. The daughters part of the name allows all of his musical endeavours to have a fluidity... And the album is full of this light and smotth fluidity that gets directly to the listener's hear without fighting it. Or, in the words of Keely Stoltz: "“Playful and adventurous pop where solid grooves undulate underneath technicolor island slide guitars. Who knew some of the sunniest new music in the world could be crafted in the southwest of England?”

TRACK LISTING

1. The Well 
2. Underwater Garden 
3. Those Eyes Can't Lie To Me 
4. Fragile Frame 
5. Messenger
6. Bundle Of Love 
7. Everyday Sunday
8. Mami Wata

These four young men from Arizona have developed into a high-caliber emo-core outfit with added texicana flavouring. They've an immense talent for precocious, intricately constructed songs seething with charm and innocence. They combine the textured, moody twang of Wilco and Calexico with the emo anthems of The Promise Ring and the indie rock of Pavement. Currently touring the US as main support to Jimmy Eat World, Reubens Accomplice have also featured on volume 5 of the Emo Diaries series.

Like an updated version of the classic Elvis Costello debut this Long Island band combines a fuzzbox sound and sleek pop-rock sensibility with the edgy style of 2002 emocore. With dual vocals and driving guitars matched against organ and a slinky bassline, their well-crafted songs are infectious and full of zip. New on Victory Records, The Reunion Show and Foo Fighters / Jimmy Eat World producer Nick Raskulinecz have come up with a brilliantly realized album that showcases their pristine melodies and crunchy guitars perfectly.

Rock Action announce the first release on the label by Rev Magnetic.

Combining elements of dream pop, R&B, shoegaze and post rock, Rev Magnetic revolves around the core of musician and author Luke Sutherland, a long-time Mogwai collaborator on stage and on record. 

‘Gloaming’, with its celestial tale of disappearing love, provides a snapshot of the band’s forthcoming debut album which, with a cosmos of transformative sound references ranging from My Bloody Valentine to Teebs, Lemmy-era Hawkwind to ABBA and Vaughan Williams to Stravinsky, is due for release later in the year.

TRACK LISTING

Gloaming
Firmament Gear

This is the debut album from Scottish quartet Rev Magnetic, who meld elements of R&B, shoegaze and post rock into their singular, blissfully spacial dream pop. Called ‘Versus Universe’, the album reflects a cosmos of transformative sound references ranging from My Bloody Valentine to Teebs, Lemmy-era Hawkwind to ABBA and Vaughan Williams to Stravinsky into its 11 otherworldly tracks. While touring the world as guest multi-instrumentalist with Mogwai, Luke (Long Fin Killie, Bows, Music A.M. Jomi Massage) used the downtime to sketch a bunch of songs. Once home, he recorded them with the help of Audrey Bizouerne ((Gift Horse) bass, Sam Leighton (drums) and Gregor Emond (guitar), who played with Luke in Hynd. 

TRACK LISTING

1. Versus Universe
2. At The Mercy Of Fabulous Thoughts
3. Daughter Of Astronauts
4. Sunny Windy Winter Morning (Rainbows Spanning The Valley)
5. Schoenberg In America
6. Woodland Sorority Carwash
7. Yonder (Là-haut)
8. A Minotaur's Mass
9. Gloaming
10. It Shoulda Been You
11. Palaces

Martin Rev is best known as one half of the seminal duo Suicide (with Alan Vega). Listening to his solo albums, it becomes clear that Rev was responsible for the group’s music. Suicide mirrored the reductive and radical traits of the contemp- oraneous punk scene that was in the process of emerging, but their electronic, minimalist form of language was so unique, so innovative, that they would become a major influence on the likes of Daft Punk, Air and Aphex Twin. Alongside his work with Suicide, Martin Rev continued as a solo artist, releasing his eponymous debut album in 1980 on New York’s Infidelity label. Rev’s early solo excursions can be traced back to the original ideas which can be found – in modified form – in Suicide songs: as instrumental versions which have been texturally enriched, like a familiar figure which has nevertheless taken on a completely new existence.

Cheyenne
Although it was not released until 1991, Martin Rev’s third solo album features a wealth of material from the year 1980. For “Cheyenne”, Rev created instrumental versions of many of the tracks which had formed the basis of the second Suicide LP entitled “Alan Vega / Martin Rev”. The sphere of Martin Rev’s influence and the relevance of his music may well be related to the fact that he was one of the first artists who succeeded in grasping the abstraction of electronic music, infusing it with a sense of immediacy built on raw energy. Whilst the likes of La Monte Young, Terry Riley, Steve Reich, Philip Glass and Kraftwerk were busy digging in the electronic music garden, Martin Rev found inspiration in the streets of New York. Rev’s music is informed by characteristic influences of the city, a place where doo-wop harmonies intermingle with the hiss and hum of the metropolis, dissolving into a collage of noise. So it is that dreamy, chiming melodies blur into ominous whirrs and drones emanating from rhythm machines and layers of distorted synthesizer. This polarity between convergence and alienation describes something deeply American, as reflected in the track names and the cover image of a rodeo rider: “The idea came from the way the tracks sounded as instrumentals. They took on a different visually descriptive dimension, even more so in combination. The visualization was an immediate sound- scape of the American landscape. That’s where the titles and cover came from.” Many of the pieces found on Cheyenne can be traced back to the sessions for the second Suicide album Alan Vega / Martin Rev (1980) which was produced by Ric Ocasek, singer for The Cars. Almost a decade passed before Martin Rev got around to editing and developing the material. “Most of the album was recorded in 1980, but the remaining few tracks from 1988 into the early 90’s. The 80’s tracks all went under a concerted editing process, to make them work for me even better as instrumentals. I didn’t get around to that until there was an offer to release them, which was in the early 90’s as well.” Indeed, Cheyenne plays out like a rural, yet intense road movie, crossing a landscape rich in beauty and contradictions.

TRACK LISTING

1 Wings Of The Wind (7:58)
2 Red Sierra (6:36)
3 Dakota (2:58)
4 Cheyenne (3:09)
5 River Of Tears (3:49)
6 Buckeye (2:15)
7 Little Rock (7:00)
8 Prairie Star (2:27)
9 Mustang (2:40)

Martin Rev is best known as one half of the seminal duo Suicide (with Alan Vega). Listening to his solo albums, it becomes clear that Rev was responsible for the group’s music. Suicide mirrored the reductive and radical traits of the contemp- oraneous punk scene that was in the process of emerging, but their electronic, minimalist form of language was so unique, so innovative, that they would become a major influence on the likes of Daft Punk, Air and Aphex Twin. Alongside his work with Suicide, Martin Rev continued as a solo artist, releasing his eponymous debut album in 1980 on New York’s Infidelity label. Rev’s early solo excursions can be traced back to the original ideas which can be found – in modified form – in Suicide songs: as instrumental versions which have been texturally enriched, like a familiar figure which has nevertheless taken on a completely new existence.

Clouds of Glory
His second solo effort, was released on the French label New Rose in 1985, although the recordings on Clouds Of Glory actually dated back to the earlier part of the decade, following on from the Suicide sessions for the duo’s second album. Martin Rev remembers: “Clouds of Glory was produced from visual and musical sketches I had in mind which then coincidedwith an invitation by Marty Thau, previously Suicide’s manager, to take advantage of studio time he had accumulated from other projects. The essence of my ideas was then realized in the studio. Clouds was started in 1981 and completed in 1984 when additionalstudio time was made possible to complete it, based on the offer by New Rose Records.” In spite of Clouds Of Glory having been recorded with the sameequipment as the Alan Vega / Martin Rev Suicide album, it occupies a completely different space, evoking the solemnity of religious music through its underlying meditative tone. “I look now upon the album as part of a personal journey into the frontier of music; a process which is never ending in its revealing of possibilities to satisfy my musical aspirations.”

TRACK LISTING

1 Rocking Horse (5:45)
2 Parade (6:45)
3 Whisper (4:04)
4 Rodeo (6:37)
5 Metatron (6:25)
6 Clouds Of Glory (6:22)

Demolition 9 is New York electronic music pioneer Martin Rev’s ninth solo album, and first new material since 2009. Comprised of 34 wildly divergent vignettes – only one of which reaches three minutes in length – he describes it as autobiographical “yearning for joy and the unattainable perfection of the artistic ideal.” The record spans a lifetime’s worth of moods and musings, encompassing fragments of Rev’s varied passions accrued across his nearly half-century long career. From violent percussion experiments to neo-classical reveries to noir-sleaze abstractions and beyond, Demolition 9 offers a radically non-linear spelunk through the dreams and distractions of one of the 20th century’s most influential sonic iconoclasts.

TRACK LISTING

1 Stickball
2 Salve Dominus
3 Deus
4 Pace
5 My Street
6 T'Amo
7 Into The Blue
8 Requiem
9 Now
10 Blayboy
11 In Our Name
12 Never Mind
13 Vision Of Mari
14 Warning
15 Salvame
16 Dies Irae
17 RBL
18 Venitas
19 Stretch
20 Creation
21 Toi
22 Pièta
23 It's Time
24 Tacha's Toy
25 Back To Philly
26 Stelle
27 Inside Out
28 Beatus
29 Tuba
30 Rêve
31 Concrete
32 She
33 Darling
34 Excelsis