MAGIC MIX

ALL GENRES

BACK CATALOGUE - S

Shiho

The Body Is A Message Of The Universe

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

    Clear pink colour vinyl. A special limited edition reissue of this rare and unusually dreamy electronic ambient new age album.Originally created and released in a  small edition in Japan back in 1987 by the mysterious musician/magician Shiho.

    Snapped Ankles

    Violations

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

      Snapped Ankles release their brand new violations of songs by Can ('Bel Air'), The Fugs ('CIA Man'), Joey Beltram ('Energy Flash') and The Comateens ('Ghosts'). Limited white vinyl edition with download code.                        
      From the forest floor:“These four tracks were dug up from the sturdy roots of the Ankles undergrowth - but in the process the original recordings were damaged. We reconstructed them using the latest in biomechanical stem re-assemblage processes, which invariably has lead to some misinterpretations and considerable violations of the original recordings. As we tried to decipher the magical genetic code of the originals, events around them informed the nature of these violations; forest fires tore through the wealthy neighbourhood of Bel Air, friends vanished into the dating app dimension never to be seen in solid earthly form again, and as our log synths pounded along to a broken copy of Joey Beltram’s ‘Energy Flash’, we created a possession so potent that the we were left pondering the difference between the mental states of ‘trance’ and ‘ecstasy’. Having unearthed The Fugs’ ‘CIA Man’ some years before, we were shocked to discover a newer more sinister agency had taken over from the diatribe’s protagonist with an updated set of ills. Now the forest is full of agents, we are taping up our microphones and masking our connections!”

      Snow Patrol

      Don't Give In / Life On Earth

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

        Snow Patrol present Record Store Day Special which has a 100% recycled product with off black colour vinyl in commemoration of International World Earth Day 2018. World Earth Day Falls a day after RSD 2018. A sticker will be on this product.

        Sorrow

        Under The Yew Possessed

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

          Under The Yew Possessed is the debut album by Sorrow, a group comprised primarily by Rose McDowall and her then husband Robert Lee. Originally released on World Serpent in 1993, Under The Yew Possessed was a stylistic jump from an artist associated primarily with sparkling pop music and a cult hit in the growing neo-folk movement. Self-recorded by the duo with guest musicians from the hidden reverse of the U.K.’s post industrial landscape, this is the first time this work has been available on vinyl. 500 copies GOLD VINYL

          Sparks

          The Best Of & The Rest Of The Island Years 74-78

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

            This double album represents one of the most exciting, inventive and witty musical sequences across LP One – ‘The Best Of Sparks’ reissued on vinyl for the first time since it’s 1978 appearance.LP Two ‘The Rest Of Sparks’ rounds up all of the band’s Island B-sides from the period, of which have only ever been available on the 2015 Sparks Box set and prior to that unreleased. Remastered from the original _” master tapes, the set comes pressed on 180GM transparent red vinyl.                                                             

            Sparks

            You've Earned The Right To Be A Dick

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

              Previously unreleased track outside of Japan (physical Japan only CD) ‘You’ve Earnt The Right To Be A Dick’ is a track taken from the ‘Hippopotamus’ album sessions. The exclusive limited edition Record Store Day product has taken direct inspiration from the award winning album artwork. The 7” disc is in the shape of a hippo’s head, the same on the album art. This incredible cut out makes the 7” instantly collectable amongst Sparks fans and vinyl lovers alike.

              Spiritualized

              Fucked Up Inside (RSD18 EDITION)

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

                Re-mastered by John Rivers at Woodbine Studios especially for vinyl release. Milky clear coloured heavyweight 180 gram vinyl LP in an embossed and hot foil finished sleeve

                Sufjan Stevens

                Mystery Of Love EP

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

                  Sufjan Stevens' contributed three songs to the Call me By Your Name soundtrack: "Visions of Gideon", which was used at a very emotional scene at the end of the film, "Mystery of Love," for which a video was made and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film. For the song “Mystery of Love” he received an Academy Award nomination in 2018. The first pressing of The Mystery Of Love 10” EP is pressed on transparent vinyl. This limited edition of 10.000 copies is individually numbered and only available on Record Store Day.

                  Sam Amidon

                  All Is Well

                    New to Bedroom Community comes Sam Amidon and "All Is Well". The album was recorded in label boss' Valgeir Sigurosson's state of the art Greenhouse studio in Iceland. Away from Sam's usual home-recording set-up he was left to concentrate on his intuitive interpretations of age-old folk songs, drawing simultaneously on his experiences growing up as a child of folk musicians in Vermont, and his more recent work in New York with experimental indie-rock bands Doveman and Stars Like Us. Amidon's trademark delivery is perfectly offset by the tenderly plucked notes of his six string on "Saro", with orchestration provided by Nico Muhly and horns erupting around the listener. A dizzying amalgam of trombone, Eyvind Kang's ghostly viola, and processed percussion transform a children's singing game into the ominous ambiguity of "Little Johnny Brown". The distinctive bass of Ben Frost is evident on the pensive "Fall On My Knees", while subtle layers of electronics add an intrinsically modern aspect to the proceedings. Couple this with Sigurosson's production wizardry and you'll realize that despite links to the Appalachian folk music of the past, "All Is Well" is an album that could only exist in the present.

                    Siavash Amini

                    Tar

                      Continuing his experiments combining elements of drone and modern classical music, Tehran based composer Siavash Amini`s 4th solo LP "TAR" explores the fragile tensions between an individual and a collective subconscious. TAR is an inquiry of how fears and hopes of an individual can be related to a broader state of mind shared collectively. Making it`s starting point the expression of these feelings in dreams and nightmares of each individual, and translating the images, feelings and textures into sound. After a series of noisier and less melodic albums, this release catches the active listener with a subtle tension created by oscillating sounds somewhere between discomfort and transcendence. Even if some parts of TAR are quite disturbing, the record gets never simply dark. There is a much more sophisticated attitude that deludes us into a deeper act of listening and provokes some new synapse formations. TAR was premiered in February 2017 as a part of CTM festival`s Fear Anger Love edition.

                      'From behind a wall of public discourse, focus groups and corporate memos, Strahinja Arbutina moves out onto the streets, with four cuts of Croatian electronics pulled from man hunt techno, hood funk and industrial waves.'

                      Strong addition to NS's continuously growing cannon of electroid punk maneuvers. Strahinja Arbutina has previously released on Bank and Vivod as well as tapes for Always Human and Out Of Order. Military grade mechanics characterize the EP, with tank-like power ushering "STMPHS" and "No Reason" forward under barrages of shell fire and toxic gases. "Public Speaker" is a truly destructive offering and sounds like perhaps the armored exterior has been penetrated resulting in a cacophonous series of explosions and digital haybailing, flailing circuitry and noxious fumes. "Sit" closes off the experience with a tuff and direct attack of saturated, side-chained drum assaults. It doesn't get more Natural Sciences than this - a glorious release for the label! 


                      Sibelle Attar

                      Paloma's Hand EP

                        Five years after her acclaimed debut album Sleepyhead (Pitchfork, nominated for the Swedish Grammys etc) the Swedish pop artist Sibille Attar is back with new music, now signed to Stockholm indie label PNKSLM Recordings (ShitKid, HOLY, Sudakistan etc). A prominent artist on the Swedish indie scene for the past 15 years, Sibille Attar's solo debut, released via Universal imprint Stranded Rekords, was one of 2013's biggest Swedish albums and Paloma's Hand carries on the torch, showcasing a slightly darker and more ominous take on her brand of psychedelic pop, with the songwriting and melodies intact.

                        Sven is perhaps the most original funk artist going right now. His atmospheric grooves take you to far away places. His bass playing and compositions are unmatched in the modern funk genre.

                        "Man Oh Man, I’ve been waiting for this for sometime. Right in time for summer! Sven is perhaps the most original funk artist going right now. His atmospheric grooves take you to far away places. His bass playing and compositions are unmatched in the modern funk genre. Gonna crank this one all weekend and for many weekends to come. Thanks Sven." -Moonmadness

                        Sami Baha is a Turkish producer based in South East London. His music was introduced to the world via his 2016 EP 'Mavericks'. Sami got into producing through being a rapper himself, working with local rappers in Turkey and producing beats for them, before setting his sights outside the country. 'Free For All' features MCs from all corners of the globe: UK drill squad 67's Dimzy, Stockholm's Yung Lean and Chicago rapper and singer DJ Nate (aka Flexxbabii). The record also features Egyptian MCs Dawsha and Abanob. Sami's production is refined and elegant, familiar tropes are reassembled in original ways, the instrumentation reflecting his background and influences simultaneously. Everything Sami brings to the album sounds relaxed and minimal, but tough, built from thoughtful arrangements and instruments, shot through with emotion and a dreamy night-time feel. 

                        One of the most pivotal figures in the history of Malian music is Sorry Bamba. His work spans five decades and his music bridges the gap between Mali's cultural traditions and new the music which arose from the musical crossovers which occurred in Mali's post-Colonial period. 

                        In 1979 Sorry produced his third LP for the Paris based Sonafric group. Long out of print Africa Seven is pleased to be re-issuing the LP with the authorization of the newly reformed Sonafric group. The re-issue benefits from extensive restoration and re-mastering to a spectral analysis level, bringing and polishing long lost and distorted sounds.The six track masterpiece opens with "Mayel". It blends Afro-space grooves, cowbell and swirling organ with psych guitar and punchy horns. "Kanaga 78" was named after his band of the time. Sounding as fresh (if not more so) in 2016 as it did in 1979 the hypnotic bass, expansive drums, twisting organ and snakelike fuzz-guitar all combine to create a masterpiece of African psychedelia. "Bayadjourou" closes off Side A of the LP with its pulsating, incessant organ hook-line and driving tom drums while adding in layers of Malian vocal from a female chorus and Sorry himself. Side B opens up with "Tjamantie Kolo" which is powered by driving conga and drums layered with traditional vocals and distorted picked electric guitar lines. "N'Nebakaidi" focuses on the song writing skill and delivery of Sorry who delivers a masterful vocal over grooves which somehow manage to sound melancholy but somehow also forlornly uplifting at the same time. The LP closes with "Nani Nani" which is a brass driven wall of African sound. Stay tuned for further re-issues of Sorry Bamba's first and second albums soon on Africa Seven.

                        STAFF COMMENTS

                        Patrick says: Get your oven gloves at the ready, because this record is red hot! Fusing stomping, straight ahead percussion with wild psych solos, swirling organ and proggy synth wig outs, this African trip is Bamba's masterpiece. Back in print for the first time in 27 years - buy on sight!

                        Our favourite Yorkshire-based 12-string maestro Serious Sam Barrett returns with another self-released future classic on his YaDig? record label. Having wooed us at his Manchester gig last year for Crowfoot we all got very excited here at Piccadilly for Sam's timeless songwriting skills and virtuoso guitar playing. After going through the previous albums and EPs, it's nice to see Sam evolve somewhat on this album - taking in upright bass, accordion and a small drum kit to fully expand the Sam Barrett sound; and loosing none of the authenticity or magic with it. Essential an album inspired and written whilst on tour, it's a collection of songs about being on the road, missing home and missing, of course, the woman of your desires; with the subject matter rarely veering off these classic subject themes. Sam keeps us hooked right till the end though - his heart-on-sleeve lyrics, clear vocal delivery and breathtaking guitar work a sonic Cupid's arrow directly to our hearts. Cupid rears his head quite a lot through Sam's work, and pleasantly returns with earnest on this album (much of the A-side taken up with love lust meanderings about wonderful woman - "Cupid's Song", "She's My Only One", "Better Give It Up"). When Sam talks about being far from home, you know he means it, and learning of his recent US tour the songs speak a thousand pictures of a naive Yorkshire lad in the big, vast country of the American West coast and all that goes with it. From start to finish a breathtaking record, probably my favourite to date. This cat's just starting his musical ascent it seems, improving exponentially and I feel privileged to almost be there from the start of the trip; get on the train and join the journey now - you won't be sorry!

                        STAFF COMMENTS

                        Matt says: Back with another treasure of an album, Sam is joined by upright bass, accordion and percussion on this timeless future classic from deepest Yorkshire. If you play guitar or enjoy stripped back, heartfelt music, I can't recommend this enough.

                        FORMAT INFORMATION

                        Ltd LP Info: Beautiful sleeve art from Sami Graystone and Kate Bristow.

                        Ltd CD Info: Beautiful sleeve art from Sami Graystone and Kate Bristow.

                        Serious Sam Barrett

                        Serious Sam Barrett

                        Towards the end of last year, I was lucky enough to see this guy play in a lovely event organized by the lads at Crowfoot Records. He blew me away with his honest, genuine, old time guitar style coupled with great lyrics touching on all things important to your average young adult (skateboarding, drinking, travelling on shit public transport to see girls etc...). A charismatic performer, with a strong Yorkshire dialect; his 12-string guitar chimed, resonated and strummed away all night, with the crowd reveling in the beautiful music and surroundings. I was further delighted to see that Sam had recorded four full length albums, and promptly snapped them up at the gig, insisting he bring some into the shop in the new year. Well here we are in 2014 and Sam's ferried two titles across the border for your listening pleasure. This, the self titled, comprises of ten original compositions and features his trademark 12-string guitar alongside mandolin and voice. Personal favourites are "Henessey Nights" and "Long Gone". The former is an ode to being young and free and loose on the streets with your best friends while the latter is a heart wrenching break up song with the overpowering smell of whiskey running through it. This private press record is a timeless, succinct slice of reality that every home needs! The new bluegrass explosion starts here! Recommended. Comes with CD.


                        STAFF COMMENTS

                        Matt says: Solo album by the one and only Sam Barrett. Yorkshire's finest guitarist... he does weddings you know?!

                        FORMAT INFORMATION

                        Ltd LP Info: CD included

                        Today was a good day. Sam Barrett brought his new album into the shop in a spume of excitement. It'd been a while since he last graced our shop with his immediately encapsulating presence. This badboy from Bradford (or killer for Keighley, I always forget (Ed- Sam is actually from Addingham)) single handedly turned me onto 'olde time' bluegrass, folk and rock'n'roll with an unforgettable performance in Manchester no more than three years ago. Three albums later and Sam's confidently announced this one is his best yet! So I sit down and put the needle on the record and that sweet syrupy voice comes breathing outta the speakers, his ring-ding-jangle 12-string majesty goin' right at it from the off. Talking about all that good stuff but obviously now heavily informed by someone who's currently spending loads of time on the road. His playing seems to have reached its zenith, effortlessly conjuring up rambunctious, barn-dance slaying riffs and melodies on his trademark steel string or (now fully fledged) delicate banjo. This is still music for whiskey swillin' on the porch, delivered with all the style and attitude of someone who can still rip up the half-pipe in Wakefield Bones. There's a lyrical proficiency and sheer craft of storytelling here that's phenomenal. Sam's words keep you hooked till the end, eager to discover the end of the tale. For anyone who needs convincing on this guy's OG authenticity, check out the bonus, full colour photo-zine that accompanies the album (first 200 copies only - and we've only got about 15 of them!); a beautifully put together project by Sam's girlfriend featuring an amazing insight into the US' deep south (a fascination of Sam's), life on the road and some really iconic US imagery. I think I agree with Sam when he says this is the best one yet, and just completing this set of notes fills me with a whiskey-warm glow and a pine-forest of goosebumps. Highly recommended and surely essential for anyone with a penchant for bluegrass and traditional rock'n'roll - a future classic of the genre.

                        STAFF COMMENTS

                        Matt says: Absolutely killer new album from Yorkshire's Sam Barrett; perfect for whiling away those sun-scorched afternoons in the garden with a cold beer.

                        FORMAT INFORMATION

                        Ltd LP Info: Limited edition LP - initial copies come with full colour photo-zine "Point The Van Down South".

                        Syd Barrett

                        Barrett

                          'On his second solo album, Barrett was joined by Humble Pie drummer Jerry Shirley and Pink Floyd members Rick Wright (organ) and Dave Gilmour (guitar). Gilmour and Wright acted as producers as well. Instrumentally, the result is a bit fuller and smoother than the first album, although it's since been revealed that Gilmour and Wright embellished these songs as best they could without much involvement from Barrett, who was often unable or unwilling to perfect his performance. The songs, however, are just as fractured as on his debut, if not more so. "Baby Lemonade," "Gigolo Aunt," and the nursery rhyming "Effervescing Elephant" rank among his peppiest and best-loved tunes. Elsewhere, the tone is darker and more meandering. It was regarded as something of a charming but unfocused throwaway at the time of its release, but Barrett's singularly whimsical and unsettling vision holds up well'. - All Music.

                          Syd Barrett

                          Barrett - 180 Gram Vinyl Edition

                            On ‘Barrett’, Syd's second solo album, he was joined by Pink Floyd members Rick Wright and David Gilmour. Gilmour and Wright also acted as producers. Syd needed this help as things were getting a touch more fractured for him  and obviously you can hear this in the music.  It is still  a great  record though, from a trailblazing, unique talent.


                            STAFF COMMENTS

                            Andy says: Whimsy, melody and magic. Last outing from a legend.

                            Syd Barrett

                            Opel

                              'For several years, the existence of "lost" material by Syd Barrett had been speculated about by the singer's vociferous cult, fueled by numerous patchy bootlegs of intriguing outtakes. The release of Opel lived up to, and perhaps exceeded, fans' expectations. With 14 tracks spanning 1968 to 1970, including six alternate takes and eight songs that had never been officially released in any form, it is equally as essential as his two 1970 LPs. The tone is very much in keeping with his pair of solo albums; ragged, predominantly acoustic, melodic, and teetering on the edge of dementia. At the same time, it's charming and lyrically pungent, with Barrett's inimitable sense of childlike whimsy. The production is generally more minimal than on his other albums, even bare-bones at times, but if anything, this adds to the music's stark power. Highlights are the lengthy brooding title track, the multi-layered swirl of "Swan Lee," the alternate take of "Dark Globe" (with much better, more restrained vocals than the previous version), and the exuberant, infectious "Milky Way." Meticulous liner notes and excellent sound complete this lovingly archival package'. - All Music. 

                              Steffen Basho-Jungans

                              Last Days Of The Dragons

                              "Last Days Of The Dragons" is Berlin based Steffen Basho-Junghans' wondrous collection of eight free wheeling finger picking 6 and 12 string guitar tunes. "Last Days.." marks the third in Locust's perennial series of 'Wooden Guitar' solo discs since the 2003 release of the compilation of the same name.

                              Shane Beales (With Baby Ingrid)

                              I'll Repair Your Mistakes

                              This collaboration with Baby Ingrid, is the debut solo album from Liverpool based songwriter Shane Beales. His songs are honest, and his voice holds a delicate authority. Influences include Radiohead, Ben Folds and Dave Matthews Band.

                              Sir Richard Bishop

                              VDSQ Solo Acoustic Vol. 8

                                New solo acoustic recordings from the Sun City Girls master guitarist, SRB returns to familiar themes and introduces new ideas simultaneously on this tour de force performance of his singular style.

                                Simon Breed

                                The Smitten King Laments

                                Simon Breed has played under his own name and steam around the UK and Europe for the best part of a decade, and having supported the likes of Nick Cave and the Magic Numbers he has gained a wide fanbase, with his Facebook group now calling him Jeff Jarvis (as in Buckley and Cocker)! "The Smitten King Laments" contains eleven of Simon's finest songs yet; concise, sometimes perverse, always haunting; fingerpicked tunes augmented by glockenspiel, harmonium and loops. The album was constructed from scattered weekends and late night recording sessions in the studio (Simon has a 9-to-5 job editing kid's comics) with the help of a clutch of willing musicians. The themes of the album's songs are Simon's cornerstone – social fissures and personal fractures. Having received a big thumbs up from Bad Seed Mick Harvey, this is Simon's finest set of recordings to date.

                                Stanley Brinks

                                Stanley Brinks (Foxtrot)

                                Stanley Brinks is the new guise of Andre Herman Dune, former member of the French anti-folk trio Human Dune. This is his debut single and features two tracks "Stanley Brinks - Fox Trot" and "French Leave - Bolero".

                                Sandro Brugnolini

                                Overground

                                A virtuoso saxophonist and inventive composer, Sandro Brugnolini was one of the plethora of library and soundtrack specialists hailing from La Belle Paese in the sixties and seventies. Inspired by Ennio Morricone's breakout success, the likes of Brugnolini took to the studio and began experimenting with jazz, funk, psychedelia and orchestral composition, creating some of the heaviest grooves and most out there jams ever committed to wax. The companion to the jazz heavy indulgence of "Underground" from the same year, 1970's "Overground" saw Bugnolini incorporate proggy fx, psychedelic riffs and tribal percussion to create a set of deep freak funk nuggets. So let loose to the searing solos of "Celluin", smoke up to the ghostly groove of "Adrie's Dream" and cop a load of the mind expanding "Cirotil" - then take a deep breath, because another seven perception shifting fusion bombs await. Rare as hens teeth in its original form, this is a must have for any deep musical archeos out there.

                                STAFF COMMENTS

                                Patrick says: This lost library masterpiece finds Italian maestro Sandro Brugnolini in properly progressive form, fusing searing psych guitar licks, funk basslines and jazz percussion into a beat diggers' dream. Far out!

                                FORMAT INFORMATION

                                Coloured LP Info: Strictly limited edition of 300 numbered copies on multicolour vinyl with MP3 download card.

                                At its heart, Hundred Acres -- the third full-length album from Wisconsin singer/songwriter S. Carey -- finds him grounded comfortably in his skin, but still with one foot in the stream. More direct than ever, there is a wellspring of confidence in this new batch of songs that lays bare the intricacies of life while keeping its ideas uncomplicated.

                                Trained in jazz, Carey’s astute musicianship has never been in question nor taken for granted, and the execution of Hundred Acres’ new ideas is seamless. He intentionally unburdened himself from a more complicated instrumentation palate for these ten songs, and, in effect, this modification to his approach brings the content of the work much closer to a living reality. By giving equal status to the indifference of nature and the concerns of a material world -- while employing more pop-oriented structures instead of the Steve Reich- or Talk Talk-ian repetitions of his past work -- a new balance is struck that creates something unique. This in turn provides equal status for the feeling that created each song, and the feeling each song creates. Almost impossibly, there is more air between the bars; Carey and his contributors sway like treetops in the wind, remaining flexible enough that they never threaten to break.

                                FORMAT INFORMATION

                                Coloured LP Info: Translucent green LP.

                                Sean Carey is the drummer of Bon Iver and an acclaimed solo musician in his own right. ‘Range Of Light’ is the follow up to his well received ‘All We Grow’. Like its predecessor, ‘Range Of Light’ deals in hugely beatific, restorative panoramas of beauty. An array of musical light and shade, drawn from Carey’s love of jazz, modern classical and Americana.

                                Shanti Celeste & Hodge

                                Soba Dance

                                Oh yeah, papi, toma temazo! Hodge and Celeste team up to produce what I understand to be and unapologetic banger but let me be clear, fellow reader, it is a banger in my books! To be banger and in my books it has to be solidly off the beaten track and not able to please the masses - just the literati. Are you in? Surely you are. 'Soba' with its galloping rhythm and misty pads encompass my definition of... banger masher. So does the more trippy journey and slightly sombre corners displayed in 'Pips' and the irrevocably great 'Alula' - a true dancefloor destroyer. 
                                 
                                This is the record that finds Shanti and Hodge teasing new ideas together whilst retaining dancefloor magic and sensibilities. Did I say 'Oh yeah'? Well... oh yeah to myself then! 
                                 
                                If you are short of dough, make this the only 12" you get this week. No regrets. 


                                STAFF COMMENTS

                                Sil says: Dancefloor realness that it has been much needed through all my prelistenings this week. Hence I get extremely excited and I even start to shake my aging hips. But who would not with this 3 scorchers that see Celeste and Hodge kill it with such elegance? Top draw wax.

                                Sarah Mary Chadwick

                                Sugar Still Melts The Rain

                                  New Zealand multi-instrumentalist and visual artist Sarah Mary Chadwick is not a new face to Melbourne’s music community. After spending a decade fronting the New Zealand formed grunge band ‘Batrider’, Sarah became tired of the collaborative requirements intrinsic to band life and shifted her focus to songwriting independently, drawing inspiration from ‘weird old New Zealand musicians’ and the way they ‘tinker away and work for decades for little to no commercial success’.

                                  Six years and three solo records later - ‘Eating For Two’ (Bedroom Suck Records), ‘9 Classic Tracks’ (Siltbreeze) and ‘Roses Always Die’ (Rice Is Nice Records), Sarah will join fellow songwriters Homeshake, Jaye Bartell and Tim Cohen on Omnian Music Group’s label Sinderlyn to release her fourth solo record Sugar Still Melts In The Rain.

                                  To listen to Sarah’s music is to be an observer to her thoughts on love, death and mental health. Sometimes this anguish bears itself in quiet moments of the record, but more often torment manifests at the break of Sarah’s voice as she sing-shouts painfully self-aware lyrics. Learning that Sarah’s songwriting is thoroughly autobiographical is perhaps more unnerving than the sexually deviant pornographic art that she creates to accompany her music.

                                  Sharon 'Mhati' Chatam (Reverberi)

                                  Fantasy

                                    Originally released in 1973 on RCA, this obscure library music title was produced by Maestro Gianfranco Reverberi using the pseudonym of Ninety as previously done before for other records like Psycheground Group Library on Lupus and the 2 Underground Set releases. The style is different from the aforementioned LPs and is closest to the style of murky erotic cult soundtracks created for Renato Polselli (Delirio Caldo, Riti Magie e segrete orge nel Trecento, etc.) as “Fire Shadows in the sunset" features congas, groovy piano, spacey synthesizers and vocals. It contains many other amazing tracks like "I've Got An Idea" which includes insane fat drums, hypnotic bass, trippy piano and beautiful phased flutes, or the jazz groove "Closed In a Drugstore”, the uptempo funk "You're So Vain” (Carly Simon), the hip hop drum on the cover versions of “Daniel” (Elton John, Bernie Taupin), “Sylvia’s Mother” (Shel Silverstein) and “Vincent” (Don McLean), and the slow psychedelic cinematic lounge of “Quel che non saprei dirti mai a parole”.

                                    FORMAT INFORMATION

                                    LP Info: Limited edition of 500 copies with Cinedelic glossy cover with title on cover in relief. Includes digital download code.

                                    It is hard to believe that five years have passed since Sylvain Chauveau's last 'proper' album. Of course there have been re-issues peppering the years since 'Down To The Bone', as well as more than a few collaborations and soundtrack appearances, but Sylvain has purposefully waited to allow his ideas to come to fruition. On mentioning his new album a few years ago, Sylvain commented that he didn't think it would appeal to everyone and that he wanted to take a fresh direction. The Depeche Mode songs he had explored on "Down To The Bone" had given him ideas he felt he needed to explore, and "Singular Forms (Sometimes Repeated)" is his attempt at an album of 'songs'.

                                    In many ways, "Singular Forms (Sometimes Repeated)" is constructed the way albums used to be – it is compact and filled with vocal hooks and melodies, yet Sylvain has deconstructed the musical forms he grew up listening to and reduced them to their base level. Vocal snippets fall through the stereo field and his signature piano motifs splutter and cough through processed digital hiccups. As Carsten Nicolai and Ryuichi Sakamoto deconstructed classical music, Sylvain attempts here to study and dissolve the roots of popular music. Each piece feels like it could have started as a three-minute pop sing-along before the accompaniments were stripped away and the component parts reduced to merely a backbone.

                                    "Singular Forms (Sometimes Repeated)" is a daring and challenging listening experience. The widescreen theatrics of Sylvain's previous work have all but disappeared, leaving an album that is stark and incredibly beautiful. It is an album rooted in a love of art and music, both minimal and mainstream and celebrates Sylvain's influences. One listen might
                                    only reveal surface details, but listen again and you will find much, much more.

                                    A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, ‘Paint A Lady’ now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

                                    Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like ‘acid folk’ and ‘soft rock’, it’s difficult to imagine a time when the legendary Susan Christie album didn’t exist. When Finders Keepers Records first shared the unheard 60s songs like ‘Paint A Lady’, ‘For The Love Of A Soldier’ and ‘Echoes In Your Mind’ with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan’s new found fanbase instantly felt like they had known these songs all of their lives. Which is why it’s hard to believe that the music on this lost 60s acetate was only pressed 12 years ago.

                                    As the label’s lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label), ‘Paint A Lady’ has slowly become one of Finders Keepers’ most requested re-releases and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential album.

                                    The oft overused term ‘mythical’ applies to this album on many levels. Perhaps it’s the woozy nostalgia found within the pop craft of ‘Paint A Lady’ that has led to false rumours that original 1960s copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track and the acid-drenched sound effects on ‘Yesterday Where’s My Mind’ were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result, Susan Christie and her producer and husband of 40 years, John Hill, have happily taken the repeated phrase ‘unbelievable’ as a compliment to their songwriting skills and foresight.

                                    In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom- built for the nostalgia market: ‘No One Can Hear You Cry’ might lament the unrequited yearning for a record deal which never quite followed Susan’s won one-hit wonder novelty hit ‘I Love Onions’; similarly, ‘When Love Comes’ might allude to the subsequent 35 year wait for the right label to eventually come along.

                                    ‘Echoes In Your Mind’ and the aforementioned ‘Yesterday...’ could easily allude to the haunting melodies that sat in the can on John Hill’s studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track ‘Paint A Lady’ itself, complete with its future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender, at which point you eventually step back and see the bigger picture.

                                    These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60s America simply wasn’t ready for. It is just over 12 years since champion record rustler Keith D’Arcy (who you’ll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of ‘Paint A Lady’ and it’s almost a longer 50 years since Susan and John added their final touches to these recordings that tragically went into hibernation for over four decades.

                                    Whether this album has been on your wish-list for what seems like a lifetime, or you are taking your first plunge into this deep puddle, when the needle drops on the first track you’ll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

                                    Stef Chura

                                    Messes

                                      Stef Chura’s debut studio album, Messes, is born of her years of experience playing around the Michigan underground, setting up DIY shows in the area, and moving around the state. “Right when it starts to feel like home/It's time to go," she sings on its opening cut, 'Slow Motion', a twisty, dim-lit guitar pop song where she curls and stretches every word. There are worlds of emotion in the ways Chura pronounces phrases with twang and grit, alternatingly full of despair, playfulness, and abandon. Chura calls her music “emotional collage,” eschewing start-to-finish storylines in favour of writing intuitively about feelings, drawing from experiences and references related to a certain sentiment.

                                      Originally from Alpena, Michigan, Chura moved to the Ypsilanti area in 2009, where she began playing shows before ultimately moving to Detroit in 2012. Chura has been home-recording and self-releasing her songs for six years, playing bass in friends’ bands as well. With a trove of demos and 4-track home recordings, some of which she’d released on small runs of cassettes over the years, Chura says she wasn’t sure what to do with her life before heading into the studio. “One of my best friends passed away and I thought, what do I have to do before I die? I have to at least make one record.”

                                      She recorded the entire album with Fred Thomas (Saturday Looks Good To Me) throughout 2015. Thomas plays bass on most of the record, and a bit of guitar and drums. Drummer Ryan Clancy of Jamaican Queens and Dale Earnhardt Jr. Jr. adds the bulk of the drums. Through intricate guitar work and warm, textured production, Messes finds her trying to make sense of life’s ups and downs. “It’s about emotional mess, not physical mess,” Chura says. “The title track is about knowing that you are going to do something the wrong way, but you’re doing it anyway because you want that experience. I’ve had to do a lot of things the wrong way in order to figure out how to live my life.”

                                      A very special Disposable Music edition comprising two programmes of lost early 80s North American synthesiser music from American / Italian Buchla pioneer Suzanne Ciani and Alaska’s only dedicated electronic collective Clone. Comprising of instrumental versions of Ciani’s much coveted cassette-only electronic advertising portfolio (featuring Atari music and power tool jingles) alongside a Clone archive of exclusive Anchorage one-off radio synth sessions and theme tunes, this release represents another Disposable Music milestone bringing lost embryonic electro and proto-synth pop from a place beyond the outskirts of the oblivious record industry.

                                      Quite possibly one of our most requested releases on any format and one of Finders Keepers proudest vault digging moments to date, the limited release repackaging of Suzanne Ciani’s original cassette portfolio of electronic advertisement music harboured some of her most radical and uninhibited experiments - unconsciously redefining synth-pop and electro from behind American TV screens whilst totally evading the radar of the record industry. These commissions originally made for companies such as Atari, a major power tool firm, soft drinks companies and printed publications, provided a new canvas and challenging directive for Suzanne who would deploy her maverick expertise with some of the most experimental electronic instruments and forward thinking visual/sound artists. As one of the only female composers in the global advertising industry Ciani’s results represented a small sound revolution in the world of production music forging deep nostalgic memories of the would-be electronic-music generation in its wide-eyed infancy.

                                      Finally for their precious Disposable Music series, Finders Keepers are now able to present these originally truncated TV and radio recordings in their full-length forms mastered from original tapes including much coveted instrumental versions. Including 15 tracks in total these original recordings are presented here in a new wider musical context as pieces of early synth based pop music, designed specifically for widespread commercial consumption whilst retaining veritable maverick integrity an attribute that quickly diminished at the hand of less adventurous, less sensitive and more complacent production music composers.

                                      Finding a perfect bedfellow on this early synthesiser based Disposable Music edition and adding weight to one of our most exciting musical partnerships of recent years these newly excavated early 1980s recordings from the Alaska based Clone synthesiser collective (see Harmonitalk CACHE04) are the results of the group’s wide library of weekly synth jam sessions primarily recorded for band leader (and electronic harmonica soloist) Gary Sloan’s weekly radio show The Import Hour ,which specialised in playing the earliest slim pickings of global new wave and electronic music to the station’s Anchorage fan base. Relying on the very records and tapes that actually made it over to Alaska in 1980, Gary and Clone would compose and create their own music to fill the gaps providing us with a long archival shelf of C60 and C90 masters to cement their legacy of perhaps the only dedicated synthesiser initiative to exist in this extreme North American state.

                                      The American Delia Derbyshire Of The Atari Generation.

                                      With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials and the electronic sound effects in the original Stepford Wives film (amongst many others) the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolised by a male dominated media industry, a woman’s touch was the essential secret ingredient to successful sonic seduction. A classically trained musician with an MA in music composition this American Italian pianist first came across a synthesizer via her connections in the art world when abstract sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the instrument that would come to define Ciani's synthetic sound (The Buchla Synthesiser).

                                      Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers and proto-video nasties Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends Suzanne and her Ciani Musica company became the testing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experiments which have remained untouched for over 30 years... until now.

                                      Finders Keepers Records are happy to announce a new creative archive based relationship with Suzanne Ciani, a very unique and celebrated experimental composer in her own right, who, as one of the very few female composers in the field (save Chicago's Laurie Spiegel, Italy's Doris Norton, and a post-op Walter Wendy Carlos) turned a hugely significant wheel behind-the-screens of many early computerised music modules throughout the 1980s dating back to her formative years studying at Stanford's Artificial Intelligence Labs in the early 70s. Suzanne Ciani's detailed and academic approach to music and electronics coupled with an impeccable sense of timing and melody (and a good sense of humour) shines throughout this new collection of previously unreleased recordings. "Lixiviation" complies and recontextualises both secret music and commercial experiments of Suzanne Ciani made for micro-cosmic time slots and never previously documented on vinyl or CD.


                                      Suzanne Ciani

                                      Fish Music

                                        THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                        As the first and only dedicated label to liberate the private, noncommercial artefacts from Suzanne Ciani’s groundbreaking Ciani Musica studio vault, Finders Keepers Records presents an incredible cryogenically suspended slice of precious precocious immersive fledgling synthesis for this ultra limited RSD 2107 title.

                                        Ironically well removed from the intension of phonographic application in its original inception, this anti-pop wash of marine biology modular synth sound design was originally proposed by a very young Ciani for exclusive infinite loop airings in a giant mid-American shopping mall aquarium in 1977.

                                        Potentially conjuring ambient scenes from the consumerist satirical Dawn Of The Dead while sonically ushering a genuine desire for total musical science reevaluation/revolution via a decidedly mainstream portal, the Fish Music project is a striking eerie example of how Ciani’s “Subversion With A Smile” approach led to a long career breaking boundaries in formal music technology, film scoring, the advertising industry and gender equality - all of which has continued to fuel her passion and channel her life lust and artistic appetite much to the benefit of future ambitious trajectories of music.

                                        Owing much to the memory of genuine synthesiser maverick Don Buchla this conceptual release is very much the product of artistic America at its progressive halcyon but, with its illustrious and idiosyncratic composition, communicates subtle undertones of Suzanne’s feminine Italian origins which seldom reside outside of the efforts of Roman library composers like Casa, Tomassi, Raskovich and siblings Antonioni and Maria Teresa Luciani.

                                        Sourced from Suzanne’s private archive and available here for the first time ever. Presented here as an isolated one-sided pressing on aquatic clear vinyl and including the original press release and a press cutting this limited release proceeds a wider series of unreleased Ciani work for 2017. File under… water.

                                        Limited to 500 copies for the UK and Eire.

                                        Stelvio Cipriani

                                        Deviation OST

                                          THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                          Before Jose Larraz made his notorious cult classics Vampyres and Symptoms, he helmed three unique British horror films that aren’t very well known today. His second feature film was Deviation a quiet little film, with moody atmospherics followed by intense moments of perversity. First issue ever, in a limited edition of 500 copies for the RECORD STORE DAY 2016, Dagored presents this haunting, sophisticated score composed by the great Stelvio Cipriani.
                                          - FIRST RELEASE EVER
                                          - LIMITED NUMBERED EDITION OF 500 COPIES IN TRANSPARENT VINYL.


                                          Stelvio Cipriani

                                          Rhythmical Movement

                                            Maestro Cipriani is one of the most known and appreciated composers of Italian soundtracks, whose unmistakable style makes it one of the most appreciated and collected. "Rhythmical Movement" came out only as a promo-library LP for CAM records in 1980 and is therefore a very rare album pressed in limited quantity. But what impresses most is the high level content and, as explicitly expressed in the title, no rhythm decreases. After a jazz intro depart sequentially tunes full of funk, soul, samba and disco, with references also to the classic tradition of Italian poliziotteschi for which Cipriani is the absolute Master. Alternating on a drum and congas base are wahwah guitar, but also often distorted as in fierce riffs of "Storm in a teacup" and "Do not tamper with my things", piano-electric and horns. Two tracks, "What can I do" and "Living and Loving" were composed with Michael Fraser, the famous UK musician and producer very active in Italy since the early 70s. Also of note are the curious "Percussion Gun" and "Chicago U.S.A." built on the popular bassline of "In-a-Gadda-da-Vida" by Iron Butterfly. An unmissable record to listen and dance to, with a wonderful minimal mirror-cover with title in relief.

                                            Sonor Music Editions dig deep into the bulging bag of Italian Library greats and pluck out some more mysterious magic for the heads out there. The catchy "UST 7013" is yet another legendary jam on the Fonit Library series 'Hi-Fi International' composed by none other than the mad maestro Stelvio Cipriani. Probably written for some obscure movie, this infamous session from 1976 (only recently discovered by the digging community) immediately became a holy grail for DJs and collectors. As we dive beyond that expressionist sleeve we're treated to some thoroughly cinematic vibes, as Morricone-esque western and romantic movie themes rub shoulders with insane beats and spacey avant-garde.

                                            Miami by way of Fayetteville and Little Rock, Steven A Clark’s raw, confessional singing and personal stories pair with pulsing synthesizers and rhythms that hang in the air like a glowing grid of roadside neon. It’s a means for the soft-spoken artist to process all the drama in his head. 

                                            On songs such as ‘Not You’, he flips a brutally honest breakup tale and draws emotions and empathy from being on the ‘right’ side of the conversation. 

                                            The title track uses a slinky, sensual beat to create a perfect backdrop to tell the story of a weekend-long tryst in Vegas. For a man of few words, his unadorned and uncomplicated lyrics hit home. 

                                            “… a heroic underdog of the specific, delivering diarylike lyrics detailed enough to provide a loaded portrait of a young man in transition.” - SPIN

                                            FORMAT INFORMATION

                                            Indies Exclusive LP Info: Indies exclusive blue vinyl edition.

                                            Indies Exclusive LP includes MP3 Download Code.

                                            Steven A Clark

                                            Where Neon Goes To Die

                                            ‘Where Neon Goes To Die’ explores a complex relationship full of highs and lows. From sultry pop to heart aching ballads, the album retells Clark’s travels through the city’s nocturnal fantasyland through hooky, R&B-infused synth pop - file alongside Prince and Frank Ocean - that (maybe ironically) could fill the floors at the same clubs he’s singing about. Of course, when Clark writes about his city he’s really writing about himself.

                                            ‘Where Neon Goes To Die’ retells Clark’s travels through the Miami’s nocturnal fantasyland. At its core, it is the story of a musician casting aside the distractions of his youth and discovering not only a new level of maturity but a new level to his talents.

                                            After a string of mixtapes and EPs and his 2015 debut album ‘The Lonely Roller’, Clark is making music more confidently than he ever has before, sliding effortlessly between effervescent future disco on ‘Feel This Way’ to purple-tinged slow-burn soul on ‘Easy Fall’, a duet with Gavin Turek.

                                            Shana Cleveland & The Sandcastles

                                            Oh Man, Cover The Ground

                                              ‘Oh Man, Cover The Ground’’s softly-stated melodies and breezy air operates on its own sense of time. Though the songs still settle comfortably into threeminute parcels, their gestation bucked at the convention of pop music’s stringent time format.

                                              “I’m really into meandering, fingerpicked open-tuned acoustic guitar, like John Fahey and Robbie Basho,” says Shana Cleveland. “I started playing guitar in that style during a year right before I moved to Seattle when I was lonely and bummed out in the San Fernando Valley and found solace in spending long afternoons fingerpicking slow moving improvisations.”

                                              This casualness is evident in the music - you can hear it in the airy ambience of album opener ‘Butter & Eggs’, the gentle piano and strings accompaniment on the title track, the particularly Fahey-esque explorations of ‘Itching Around’ and ‘SPATM’. Even the timeline of the album’s development seems to defy the ephemeral haste that permeates so much contemporary music.

                                              The bulk of ‘Oh Man, Cover The Ground’ was recorded in Shana’s basement. “I wanted it to sound casual and kind of loose like my favorite folk albums, so we didn’t practice much before recording and a few of the musicians were playing the songs for the first time.”

                                              FORMAT INFORMATION

                                              Ltd LP Info: The LP is available exclusively to independent retailers on limited edition lake blue coloured vinyl (90 copies for the UK & Eire). A digital download card is included.

                                              Shana Cleveland

                                              Night Of The Worm Moon

                                                Shana Cleveland has been beguiling listeners for years in her role as the superlative frontwoman for elastic surf rockers La Luz. Now Cleveland is evolving her sound on the new solo full-length Night of the Worm Moon, a serene album that flows like a warm current while simultaneously wresting open a portal to another dimension. As much a work of California sci-fi as Octavia Butler’s Parable novels, Night of the Worm Moon incorporates everything from alternate realities to divine celestial bodies. Inspired in part by one of her musical idols, the Afro-futurist visionary Sun Ra (the album’s title is a tip of the hat to his 1970 release Night of the Purple Moon), the record blends pastoral folk with cosmic concerns.

                                                Cleveland dreamt up this premise while living in Los Angeles, a city where--as deftly explored on La Luz’s recent Floating Features--reality and fantasy casually co-exist. Abetting Cleveland during the recording process was a familiar gallery of co-conspirators: multi-instrumentalist Will Sprott of Shannon & the Clams, original La Luz bassist Abbey Blackwell, Goss, pedal steel player Olie Eshelman, and Kristian Garrard, who drummed on Cleveland’s previous solo effort (with then-backing band The Sandcastles), 2011’s Oh Man, Cover the Ground.

                                                But whereas that album was internal and contemplative, Night of the Worm Moon occupies a different, vibrant kind of headspace. UFO sightings, insect carcasses, and twilight dimensions are all grist for Cleveland’s restless creativity, and they and other inspirations collide beautifully on the album’s 10 kaleidoscopic tracks--a spacebound transmission from America’s weirdo frontier.

                                                FORMAT INFORMATION

                                                Coloured LP Info: First 300 copies on exclusive indie coloured vinyl.

                                                Coloured LP includes MP3 Download Code.

                                                After making us wait almost two decades for new solo material before last year's "Saudade", Steve Cobby is back in the blink of an eye with his second LP in as many years, once again on his own Declasse imprint. I suspect self-releasing suits Mr Cobby, and "Everliving" sees him embrace the creative freedom it allows. The fourteen immersive and expansive cuts are spread lovingly across three LPs rather than cramped onto a double, allowing each track the time and space to grow and evolve at its own pace. The result is an LP which entirely envelops you within its own sonic world, beguiling your senses with hypnotic keys, lilting rhythms, gentle guitars and pan global sounds. More electronic than its predecessor, "Everliving" delves deeper, gradually easing you into a trance like state through repetition and an expert understanding of space. So far the release has been met with universal praise from the likes of Dave Harvey, Phil Mison, Richard Norris and Peter Kruder, and really, who are we to disagree? Superb.


                                                STAFF COMMENTS

                                                Patrick says: Surely it's about time Hull appointed Steve Cobby 'first among equals' and had done with it. The insanely talented Yorkshireman is on peerless form here, blending mellow dub, outernational sounds and acoustic warmth into a sublime bit of laid back listening. Cap doffed, sir, cap doffed.

                                                FORMAT INFORMATION

                                                3xLtd LP Info: Triple clear vinyl pressing.

                                                Hull's finest son, Fila Brazilia's Steve Cobby returns with his first solo material in 18 years and it is well worth the wait. Released on his new Declasse imprint, "Saudade" sees the veteran producer superbly weave a lifetime of influences and experiences into a panoramic world view spread across twelve expressionistic soundscapes. Across four sides of pristine white wax, Cobby marries vibrant rhythm and playful melody, alternating irresistible grooves with the horizontal beauty of blissed out orchestration. The producer has scattered the album with souvenirs from all corners of the globe, be it the Caribbean pans of "Melismatic", the African thumb pianos of "Passerines" or the West Coast funk of "Clawfist" and "Why Sleep Through Your Dreams?". While the LP boasts plenty of hypnotic grooves to get lost in, but also delights on the more concise cuts, such as the jazzy "Rapelle" and the atmospheric "The End Of A Perfect Death". Essential for fans of our Balearic selections or the textured downbeat of Nightmares On Wax, "Saudade" is a strong contender for my album of the year. I'll leave it to our good friend Boggy to have the last word...

                                                "Those of you not aware of Steve Cobby will be one of two things. Young or tone deaf. Here is a solo album inflected with indescribable feeling of Saudade. True craftsmanship." - James Holroyd (Back To Basics, Bugged Out)

                                                FORMAT INFORMATION

                                                2xLtd LP Info: Limited edition white vinyl pressing. 200 copies only!

                                                Shirley Collins

                                                English Songs Volume 2 (RSD Exclusive)

                                                  THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                  At the beginning of Shirley Collins' recording career in 1959 she recorded a series of 7" EPs for the Collector Records label. Originally released in short press runs, these rare early recordings have been very hard to find for nearly five decades.

                                                  Just like the original, this comes in a front-laminated, flipback sleeve, but with a beautiful new inner bag illustrated with rare photographs.

                                                  For Record Store Day, 16th April 2016, Fledg'ling Records is very proud to announce the release of a newly-remastered vinyl-only version of English Songs volume 2 (the third of her Collector EPs).

                                                  Shirley Collins

                                                  An Introduction To

                                                    During the 1960s and ‘70s Shirley Collins was regarded by many as the first lady of folk music, the subsequent decades have only served to enhance that reputati on. Between 1955 and 1978 she recorded for the Folkways, Argo, Harvest and Topic labels. After the release of ‘For As Many As Will’ in 1978 she withdrew from performing and the music world aft er developing dysphonia. Shirley recently returned to recording after a very long hiatus and is still widely acknowledged as one of the finest singers and ambassadors to have emerged during the Folksong Revival of the 1960s.

                                                    Few singers of the English folk revival have attempted as much on record as Collins – an extraordinary combination of fragility and power. “I like music to be fairly straightforward, simply embellished – the performance without histrionics allowing you to think about the song rather than telling you what to think.” Through an impressive series of experimental recordings Shirley established an extraordinarily sympathetic marriage of traditi onal songs handed down through generati ons of rural labouring people with ground breaking contemporary arrangements – recordings that have scarcely been equalled in subsequent decades. This collection draws together some of her most iconic recordings and will serve as an Introducti on to her very special catalogue of music.

                                                    “Shirley Collins is without doubt one of England’s greatest cultural treasures.” Billy Bragg

                                                    The return of Shirley Collins after a 38 year silence. ‘Lodestar’ is a collection of English, American and Cajun songs dating from the 16th Century to the 1950s, recorded at Shirley’s home in Lewes by Stephen Thrower and Ossian Brown of Cyclobe and produced and musically directed by Ian Kearey.

                                                    Though Shirley Collins (MBE) has been absent from the music scene for many years, her impact has not diminished. The likes of Graham Coxon, Jonny Greenwood, Stewart Lee and Angel Olsen laud her and a documentary, ‘The Ballad Of Shirley Collins’, is currently in progress. Additionally, she was given the Good Tradition award at the BBC Radio 2 Folk Awards in 2008, elected President of the English Folk Dance & Song Society in the same year and was awarded an Honorary Doctorate in Music from Sussex University this year. Shirley released her first memoir, ‘America Over The Water’, in 2004 and is currently working on her second book.

                                                    “Shirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived, and yet utterly humble” - Stewart Lee.

                                                    FORMAT INFORMATION

                                                    Deluxe LP Info: The deluxe LP comes with a 24 page 12” booklet containing a full and extended essay by Stewart Lee with notes and annotations from Shirley Collins, plus a copy of the album on CD in a printed card wallet.

                                                    LP Info: The standard LP comes with a 4 page booklet featuring notes and annotations from Shirley. Also includes a digital download card.

                                                    CD Info: The CD comes in a capacity wallet with a 28 page booklet containing a full and extended essay by Stewart Lee, with notes and annotations from Shirley Collins. This edition will be for first press only before reverting to a standard jewel case format.

                                                    Shirley Collins / Davy Graham

                                                    Folk Roots, New Roots

                                                      Reissue of previously deleted classic Folk album - Back to Black.

                                                      Shawn Colvin

                                                      Whole New You

                                                      The new album from grammy award winner Shawn Colvin featuring some of her best work yet including quality songs like "Whole New You" and "A Matter of Minutes".

                                                      Simon Connor

                                                      Seaside Surprise

                                                      "Seaside Surprise" is the debut release from Manchester based musician Simon Connor. After gigging as an acoustic solo artist for the past year the arrangements on the EP have been fleshed out with a full band, a string section and electronic beats. The well crafted songs are given a much wider scope and the sound sits somewhere in between Radiohead, Elliott Smith and Scott Matthews.

                                                      Unlucky for some, but unlikely for Tusk, we reach number thirteen in the series thanks to this synthesized trip from Steve Cook. "Self Control" starts off life as simmering chugger with some sleazy female vox before morphing into a slo mo acid monster. "Still Hardcore" does what it says on the tin, taking the 'ardcore blueprint and slowing it right down into a weird and warped mogadon mover. On the flip "Juno How I Feel" (ooh, we do like a good synth related track title pun) is a meaty and beaty take on Chi-town's dancefloor heritage feature prominent use of, you guessed it, a Juno synth. Ripping sequences and jack track percussion with a whispered vocal cooing "D'You Know How I Feel" (double pun alert). EP closer "Hacid" takes us right back to the old school of the Haccie with rave stabs, acid squiggles, the vocal sample from "Hallelujah" and plenty of bang for your buck. A few more tracks like this and the Criminal Justice Act 1994 will magically disappear.  

                                                      FORMAT INFORMATION

                                                      12" Info: strictly limited 180g 12" vinyl, hand stamped, individually numbered, no digital.

                                                      ‘Bugger Me’ is Sam Coomes’ first ever solo album. Coomes is probably best known as half of the long-running underground pop duo Quasi, the other half being Janet Weiss, herself better known as the drummer for Sleater-Kinney.

                                                      ‘Bugger Me’ is, in Coome’s own words, “Suicide meets The Beach Boys. Not the sophisticated ‘Pet Sounds’ Beach Boys, but more like ‘Surfer Girl’ stuff. More conscious reference points were Chris Montez or Timmy Thomas.”

                                                      All formats include a 16-page black and white booklet.

                                                      FORMAT INFORMATION

                                                      Indies Exclusive LP Info: Exclusive black and white coloured vinyl LP available to independent retailers.

                                                      'Red Kite' is the much-anticipated new solo album by Saint Etienne’s lead singer Sarah Cracknell. Musically, 'Red Kite' has a sophisticated, pastoral feel, drawing on classic 60s pop with less of a dance music influence than Saint Etienne. Sarah has co-written all the songs bar one cover version, ‘The Mutineer’. It’s fanfared by new single ‘Nothing Left To Talk About’, an uplifting indie-pop duet with guest vocalist Nicky Wire of the Manic Street Preachers.

                                                      The album was recorded at Big Pink, Oxfordshire and in Cardiff in winter 2014 and early 2015, and is co-produced by Carwyn Ellis of Colorama.


                                                      Samantha Crain

                                                      You Had Me At Goodbye - Bonus Disc Edition

                                                      Fifth album (third for Full Time Hobby) from Samantha Crain, following 2015’s “Under Branch & Thorn & Tree” and the 2014 album “Kid Face.”

                                                      Written over 4 months at the back end of winter whilst at home in Norman, Oklahoma, You Had Me At Goodbye was penned whilst Samantha was working shifts at a pizza place to save up money for touring, recording, paying bills, and as a self-confessed ‘film nerd,’ binge watching movies. “Oklahoma is beautiful but my relationship with it is complicated. There are mountains, plains, prairies, rolling hills, high deserts and plateaus, with an amazing creative community of people making beautiful visual art, interesting films and loud music. But it’s extremely Christian, conservative, and whilst people say it’s ‘friendly,’ really, people are only friendly if you’re white and aren’t dressed unconventionally. I feel welcome and alienated all at once.”

                                                      Bolstered by the visionary production of John Vanderslice (Spoon, the Mountain Goats, Strand of Oaks), mixed and engineered by Jacob Winik (The Magnetic Fields, Hot Buttered Rum), Samantha returned to the Bay Area in California to, once again, record the album in analog at Tiny Telephone Studio.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: First pressing of vinyl is pink in gatefold sleeve with download code, 750 for Europe.
                                                      Includes limited indies only bonus CD ‘Kinda’, while stocks last. Features acoustic versions of the whole album, plus the bonus track ‘Re-Run Cartoon’.

                                                      CD Info: Includes limited indies only bonus CD ‘Kinda’, while stocks last. Features acoustic versions of the whole album, plus the bonus track ‘Re-Run Cartoon’.

                                                      Silvano D’Auria

                                                      Sortilegio

                                                        • “Sortilegio” literally means ‘spell’ and was shot in Italy between 1969 and 1970. One of the most mysterious movies that came out from the golden age of Italian cinema, its soundtrack was recorded in 1974.
                                                        •The movie had never been officially distributed and probably had never reached the final stage of post-production. The film is lost, gone forever apparently.
                                                        •Four Flies Records’ researchers had been able to locate the original master tapes of the soundtrack, which had been re-mastered and is going to be released as a deluxe limited edition 180gr LP, with extensive liner notes signed by composer Silvano D'Auria and film critic Davide Pulici (Nocturno Cinema).
                                                        •Originally recorded in Rome at the famous RCA Studios, the soundtrack casts a fine blend of jazz-funk and prog-rock elements.

                                                        One of the most mysterious movies of the golden age of Italian cinema, “Sortilegio” is a visionary horror movie directed by Nardo Bonomi, starring Erna Schurer and the famous Italian director Marco Ferreri as a co-star. The movie also featured Corrado Farina (director of the legendary “Baba Yaga”) as assistant director. As the influential Italian magazine Nocturno Cinema stated some time ago, the movie had never been distributed and is to be considered definitively lost. Thanks to Four Flies Records’ meticulous research, at least the soundtrack of the movie survives: the original master tapes have been finally recovered and restored, thus to be released for the very first time. Recorded in Rome at the famous RCA Studios, “Sortilegio” is a dark and esoteric soundtrack composed by Silvano D’Auria. The soundtrack casts a fine blend of jazz-funk and prog-rock elements, and features some of the greatest session musicians of those times, like Silvano Chimenti (his fuzzy guitars are unmistakable).

                                                        Sumptuous deluxe limited 180 gr. editions, Four Flies’ works are accompanied by precious liner-notes and are enriched by archival images, original artwork and lettering designed by Luca Barcellona.

                                                        FORMAT INFORMATION

                                                        Ltd LP Info: Limited Deluxe Edition 500 copies with gatefold sleeves and gloss inners, remastered from the original masters.

                                                        Seven Davis Jr releases his debut album 'Universes' via Ninja Tune – his most honest and heartfelt musical statement to date. Recorded in LA, San Francisco, Amsterdam and London, it’s a unique exploration of his musical landscape, traversing tempos and flipping styles with typical panache but always embedded in the bedrock of soul and funk.

                                                        Born in Houston, Texas, before relocating to Northern California, Seven Davis Jr was raised on the classics - from Michael Jackson and Prince to Stevie Wonder and Aretha Franklin. He studied gospel and jazz singing, inspired by the likes of Frank Sinatra, Nat King Cole and Burt Bacharach. During his teenage years he discovered dance music, specifically house and jungle.

                                                        SDJR’s early Bandcamp output was more closely aligned to Los Angeles’ vibrant left-leaning electronic underground. Nurtured by the Hit+Run crew, he owes his first official release to Kutmah (who bagged "Thanks" for his ‘Worldwide Family Vol.2’ compilation on Gilles Peterson’s Brownswood imprint in 2012). It was the only four-to-the-floor jam on an album curated by a DJ who is rarely drawn to that style and that fact alone is significant.

                                                        When he’s making straight ahead house music, the swing is reminiscent of classic Todd Edwards and the drums bump ‘n’ shuffle like Tuff Jam and Derrick Carter. And the vocals… well at times it’s like he’s channeling the spirit of George Clinton, offset with the sweet character of Peven Everett - the perfect balance of rough and smooth - it’s that undeniable funk that hooks in the hip-hop fans, the cats that don’t generally mess with “house” music. "Good Vibes" (feat. Julio Bashmore) nails this dynamic in a whirlwind 3 mins 18 secs that recalls Daft Punk at their boisterous best - proof that sometimes all you need is a chopped-up disco loop and a hook.

                                                        Elsewhere on "Universes" Seven brings a similar soulful energy that Moodymann or Theo Parrish purvey. "Sunday Morning" picks up where Seven’s "Wild Hearts" 12” left off, a mighty ditty with the cheeky mantra “I bet ya never had a love like this before?” sitting pretty upon bustling drums and bass punctuated with snatches of guitar. “It’s about having healthy confidence in yourself and what you can offer the world,” says Seven. There are more introspective moments on the record too – such as "Fighters" and "Afterlife" (feat. Kutmah) – that explore murkier downtempo depths.


                                                        FORMAT INFORMATION

                                                        2xLtd CD Info: Exclusive indies-only 2CD edition with an additional disc featuring bonus beats from Seven’s ‘Life In Deep Space’ poetry opus.

                                                        Stanton Davis And The Ghetto Mysticism Band

                                                        Isis Voyage: Unreleased Music & Alternative Mixes From The Brighter Days Sessions

                                                        The original spacey jazz-funk sound of the Brighter Days album by Stanton Davis' Ghetto Mysticism Band has been championed by everyone from Gilles Peterson to Andrew Mason of Wax Poetics to hip hop producer and rapper Madlib. Isis Voyage is a collection of unreleased music and alternative mixes from the Brighter Days sessions. Many of the tracks on Brighter Days were shortened to be more accessible to the listening public. Isis Voyage contains the original, longer versions of many of these songs including "High Jazz" and "High Jazz Reprise." Back in October 2012 Stanton Davis and Cultures of Soul Records' label head, Deano Sounds, went into the studio to mix down tracks from the original multitrack reel to reel tapes. Two unreleased tracks, "Odwalla" and the title track "Isis Voyage," were among the material discovered while mixing down the music. Also included are extended instrumental versions of "Things Cannot Stop Forever" and "Funky Fried Tofu." Bonus tracks include remixes of "Things Cannot Stop Forever" and "High Jazz" by UK disco remix expert Al Kent.

                                                        The quiet master breaks his silence! Deason's "LIFE" e.p. is an homage to the classic Detroit sound by one of its most respected artists. "LIFE" takes familiar Detroit Techno elements and delivers a fresh 4 track e.p. of dancefloor pounding peak-hour modern classics. Limited edition clear vinyl.

                                                        Often referred to as the best R&B songwriter you've never heard of, Sam Dees has penned hits for Gladys Knight, Aretha, Whitney, George Benson, The Temptations, Teddy, Millie, Jackie, and pretty much any soul outfit you'd care to mention. He's no slouch in the singer department either, racking up a host of top R&B and northern hits on Chess, Atlantic, Polydor and SSS during the 70s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like "Child of the Streets", "Troubled Child," & "What's It Gonna Be," share Mayfield's commitment to social commentary, and Dees knows his way around a love song, too. It's absolutely essential.


                                                        Stax Dempsey

                                                        Monet Sky

                                                        First two songs from next year's LP produced in conjunction with Mo Wax producers Parsley Sound. Stax Dempsey's "Monet Sky" is full of simple, beatific melody and gently plucked guitar BJ Cole adds his unique pedal steel guitar sound to "Endless Summer", but what you really have here are two simple, classic songs that come from a tradition that stretches from Leadbelly to Lambchop, from an American outsider with a guitar and a headful of dreams, and not much else that matters..

                                                        And The Unicorn is the first solo album from Robots In Disguise's Sue Denim, to be released on 13th August 2012 on Sue's own label, Superhealthy. And The Unicorn is Sue's 10-song début solo release. Recorded and co-produced in North Wales with award-winning producer/mixer David Wrench (Bear In Heaven, Caribou, The School, James Yorkston, Y Niwl), And The Unicorn presents a mixture of simple and honest tracks that are less typical singer-songwriter and more nostalgic pop - sometimes reminiscent of a female Syd Barrett, Jonathan Richman, or Kevin Ayers.

                                                        Having had plenty of electro fun, touring the world and releasing 4 albums as half of Robots In Disguise in the Noughties, as well as acting in cult TV comedy series The Mighty Boosh, on this album Denim has swapped the synths for seagull cries (The Plan) and drum machines for a toy drum kit (Bicycle) on her adventure into a warm, dreamy and sometimes poignant celebration of life, love, books, bicycles and boys on film, delivering a unique view of the world through her easy, free flowing melodies and lyrics.

                                                        Musically, And The Unicorn is based around acoustic guitar and piano, with Sue's voice sounding natural, dynamic and intimate. She uses her bass skills to sweet dubby effect on the opening track, 'Bicycle', and plays Velvet Underground style violin on 'I'm Not An Island'. Added to this are electric guitars, massed percussion, layered harmonies, and during recording breaks Sue cycled around Anglesey & Bangor making field recordings, sometimes referencing the lyrics of the songs - rain in ‘Hollow’, a walk on the pier in ‘The Plan’ - and sometimes less literal, more mood-inducing - ticking clocks in ‘For JT & Carson & Emli’. 'This was all part of the plan, dream dates and astral weeks, we're naked, and don't make a stand, I'll meet you on the pier at midnight' .

                                                        "Music Weaver - Sandy Denny Remembered" is the first ever definitive cross-label anthology celebrating the work of Sandy Denny and is timed to coincide with the 30th anniversary of Sandy's untimely death. As well as containing the cream of Sandy's solo work there are choice cuts from when she fronted Fairport Convention and Fotheringay and her collaborations with Led Zeppelin (on the "Battle of Evermore" from Led Zeppelin "IV"). "Music Weaver" contains 36 songs including rare demos, album tracks and live BBC recordings.

                                                        Sandy Denny

                                                        Like An Old Fashioned Waltz

                                                        More beautiful sadness for you! Sandy's 1973, third solo offering is rich with nostalgia. Not only are two of the songs covers from her father's record collection but Sandy's own tunes are heavy with romance, memory, loss and loneliness. There are five absolute anthems on this album and the singing is beautifully embroidered with subtle inflections and emotional nuances. It wasn't for nothing that Robert Plant named her as his favourite of all the British female singers. And this edition's unaccompanied take of "No End" has to be up there with her greatest ever performances.

                                                        FORMAT INFORMATION

                                                        CD Info: Digitally remastered with, sleevenotes and enhanced packaging plus four bonus tracks: "At The End Of The Day (Alternate Take Without Strings)", "King & Queen Of England (Demo)", "Like An Old Fashioned Waltz (With Fairport Convention)" and "No End (Solo Piano Version)".

                                                        Sandy Denny

                                                        Like An Old Fashioned Waltz (RSD18 EDITION)

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

                                                          45th aniversary vinyl reissue of Sandy's third solo LP (1973) hasn't been pressed since 1986. Considered by many to be her best solo release, it features musicians from her Fairport days, including Richard Thompson on guitar, contains the track 'Solo', one of very finest compositions and probably her best known after 'Who Knows Where The Time Goes?'. Pressed on clear vinyl.

                                                          Sandy's second solo LP in 1972 was a bit less folky and more singer-songwriterly than her debut. She'd duetted on "Led Zeppelin Four" with Robert Plant and come up with perhaps her stongest set of songs. The arrangements were more expansive and the sound more ambitious, which was just as well since a number of the songs dealt with the healing powers of music. As she said herself: 'I can't write happy songs'... so here's another lush, melancholic, autumnal record for all you dreamers and true believers.

                                                          FORMAT INFORMATION

                                                          CD Info: Digitally remastered with sleevenotes and enhanced packaging plus five bonus tracks: "Here In Silence", "Man Of Iron", "Sweet Rosemary (Demo)", "Ecoute, Ecoute" and "It'll Take A Long Time (Live With Fairport Convention)".

                                                          Sandy Denny

                                                          The North Star Grassman And The Ravens

                                                          After leaving Fairport Convention in '69, Sandy Denny made one record with her new group Fotheringay, and then this, in 1971, her first solo LP proper. The amazing Richard Thompson plays guitar and infact this album shares a similar, dense, drone-based tonality with his own debut solo effort. It's also a little idyosyncratic, truth be told, but there's still moments of unbelievable beauty here. With two alternate takes and two songs begun (but unfinished) during the sessions, now included, this is a must have purchase for all you Nu-Folkies and oldies alike!

                                                          FORMAT INFORMATION

                                                          CD Info: Digitally remastered, with sleeve notes and enhanced packaging plus four bonus tracks: "Late November (El Pea Version)", "Walking The Floor Over You", "Losing Game" and "Next Time Around (No Strings)".

                                                          Consolidating 2 years of solo work, “Hard To Please” is the debut album by Canadian polymath Sally Dige. First coming to prominence in the synth-wave scene with an elusive, meta-persona in a blur of homemade costumes, Dige’s world has grown to encompass visual art, theatre and design elements. Most surprising on her long-awaited debut however is the occasional removal of the various masks and characters Dige has played to date, revealing something more tangible and fragile underneath.

                                                          “Hard To Please” still revels in a darkly thrilling, Euro synth-pop music, awash with dry ice and hidden in shadow, most personified on the instant classic 'Immaculate Deception'. However, on the long, nocturnal walk home Dige begins to sing of loneliness, being lost, the transience of our relationships. Attention to detail is paramount. On the title-track the crisp early-80s, swooning bass line duets with Dige’s desperate plea to a lover fading into the distance, a presence lamented with even more pathos on the towering, early-4AD-esque, slow-burner 'Your Girl'. It’s a new fragility that effortlessly manages to convey a luxurious, inescapable sensuality at the same time.

                                                          Indeed, 'Hard To Please' portrays a clear narrative, with electronic body movers like Doppelganger portraying an out-of control, self-obsessed persona at the beginning of the record. Breaking down into the foggy murk, the more hopelessly romantic album closers “A Certain Beauty” and “Dance Of Delusion” burn a ghostly image into the listener’s mind, as Dige, or someone like her, over Cure-like swooning reverberations entreaties the powers that be to let her dance. Dige never fully reveals her hand, but the game is worth playing endlessly.

                                                          Final Chapter are back!
                                                          Swedish producer Sean Dixon once again contributes with his characteristic sound.
                                                          Classic analogue synths and drum machines used in his very own way, with the result being three killer melodic and warm tracks, all with short vocal parts on top.
                                                          Fellow swede Sankt Göran wraps things up with an excellent floor friendly remix of the title track Believe.
                                                          Enough said, let the music speak.

                                                          Support/Quotes by:
                                                          Brendon Moeller: Mr. Dixon’s finest work to date IMHO. Strong, forward-thinking, melodic trax

                                                          XDB: The 8.5 tune is great and my favourite. Nice depht and drive.

                                                          D´Marc Cantu: Sean Dixon's Final Chapter nicely captures that sleezy classic sound that I love so much. My favorite cut on the release, six seconds, is a groove filled body workout, picking this one up for sure

                                                          Youandme: Cool record!!

                                                          Aroy Dee (MOS): Yeah man, great release! Especially 8.5 and Six Seconds are great deep & moody tracks!

                                                          Stella Donnelly

                                                          Beware Of The Dogs

                                                            Stella Donnelly is a proud, self-proclaimed shit-stirrer. On lead single “Old Man,” the biting opener of her electrifying debut album, ‘Beware of the Dogs,’ she targets the song’s titular creep, “Oh are you scared of me old man or are you scared of what I’ll do? You grabbed me with an open hand. The world is grabbing back at you.” When something needs to be said, whether it’s to an abusive man, a terrible boss, or a clueless significant other, the 26-year old Fremantle, Western Australia-based musician is fearless in telling it like it is. Delivered entirely with a sarcastic wink and a full heart, ‘Beware of the Dogs’ proves across 13 lifeaffirming songs the power in sticking up for yourself, your friends, and what’s right.

                                                            The album showcases an artist totally in command of her voice, able to wield her inviting charm and razor-sharp wit into authentically raw songs. It’s a resounding statement of purpose in recent memory and most importantly, it’s a portrait of Donnelly taking charge. She says, “this album made me feel like I was back in the driver’s seat. It was really liberating and grounding to realize that no one can fuck with this except me.”

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Opaque olive vinyl.

                                                            From 1982 comes this minimal track by deejay Sammy Dread, backed with an even more stripped down dub version from Channel One house band The Revolutionaries.

                                                            FORMAT INFORMATION

                                                            7" Info: Jamaican import dinked 45. Not the best pressing ever!

                                                            Sam Duckworth

                                                            The Mannequin

                                                              "This is a record I wrote over September and October of last year. The record came together from ideas I knocked about with whilst touring Get Cape. Wear Cape. Fly. At times it has moments of splitter-induced cabin fever and tension, but I like to see it as a record that had a bit too much time to think. I spent a lot of time working with metaphors and parables to try to make sense of the current political climate, and the more time I spent thinking about it, the more confused I got and the more convoluted the songs became. Taking the songs into the studio was a lot of fun. Trying to make head and tail of the sketches was tough at first, Chernobyl doesn't really rhyme with many things. In the end it all went down pretty quick, Me and Jay Malhotra spent a few days trying to capture the late night lucid space of travelling with a bleakness of war. Andy Theakstone (drums) and Jamie Allen (Bass) spent a few days with us at Andy's studio (Unit studios) in Letchworth hammering out the band songs, catching the grooves and adding a bit of well needed release. A good mix from Dean Barratt and here we are. I hope you like the album." Sam

                                                              Sly Dunbar

                                                              Sly Wicked And Slick

                                                                Classic '70s dub LP from the drumming half of the Taxi rhythm duo. Reissue of this Frontline series.

                                                                Steve Earle & The Del McCoury Band

                                                                The Mountain

                                                                  Originally released in 1999 and widely regarded as one of the best albums of that year, New West is proud to reissue one of Steve Earle's finest works. Released in 1999, The Mountain marks a radical departure from Steve Earle's previous works as it was his first wholly bluegrass album. He later revealed that he had made the album as a tribute to the founder of bluegrass music the legendary Bill Monroe, who had died in 1996. In order to help flesh out the songs he had written for the album, Steve Earle called upon the famous bluegrass band of Del McCoury; widely regarded as one of the finest bluegrass bands on the planet who at that point. The album was a critical success and yielded Earle's 7th Grammy nomination when it was nominated for 'Best Bluegrass Album' in 2000.

                                                                  FORMAT INFORMATION

                                                                  2xLP Info: Available for the first time ever on heavy duty 180g vinyl.

                                                                  Stacey Earle And Mark Stuart

                                                                  Never Gonna Let You Go

                                                                  Husband and wife team who have both enjoyed previous success in their own right as well as together. Stacey's endearingly evocative style was first heard in 1990 in duet with her older brother, country renegade Steve Earle. "Never Gonna Let You Go" is their second album, built around the couple's obvious chemistry together.

                                                                  Rain & Shine continue the love for Steve Elliott’s self-produced music by giving his second LP "Completion Of A Miracle" (1982) another lease of life.

                                                                  Remastered from the original reel-to-reel tapes. Includes dancefloor cut "Wake Up" which is both syrupy sweet and undeniably funky, and remarkably like fellow Californian Ned Doheny. "You Touched Me" is another evocative, bedroom-boogie-soul number with classic drum machines powering an assembly of synth-strings and unique vocal murmurings. Another essential release from Rain & Shine - set to become a future collector’s item? Youbetcha!


                                                                  American experimental musican Shane English offers up an expansive long player for Ron Morelli's cult LIES label. On this outing we see the producer collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name). Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Cohesive throughout, you can easily find yourself lost in the blurred, Event Horizon style eeriness. Evocative and highly engrossing, this is the soundtrack to being alone on an abandoned space station with only radio signals and the IR spectrum as company.

                                                                  Premium is the glistening debut album from New York-based Sam Evian. Sam describes the album as; “an analogue dream in a digital world.” Like flowing water, its cool surface entices and refreshes - then reveals hidden emotional depths. The sound of Premium recalls a sunbaked cassette of Pet Sounds or All Things Must Pass, composed with glowing guitar chords, aching pedal steel, Wurlitzers and iconic 20th-century synths. Inspired by the soulful classic sounds of Jackson Browne, Shuggie Otis, Sly and the Family Stone and The Band, as well as contemporary influences such as Cass McCombs, Broadcast, Cate Le Bon, and Chris Cohen, this is music meant for a close-up experience; spacious, dreamy, fun, and disarmingly open and honest.

                                                                  The music came together quickly when Sam found himself in what he calls, “a premium set of circumstances.” An engineer and producer as well as in-demand guitarist, Sam befriended the founders of Brooklyn’s Figure 8 Studio, Eli Crews and the enigmatic and inspiring Shahzad Ismaily. After helping them to build and wire the studio, Sam explains how he found himself at the centre of a musical community; “I was surrounded by endlessly talented and fun musicians in a beautiful recording environment that I helped build. I felt confident and happy, so the music came together easily.”

                                                                  That musical community included the group that recorded Premium. The album’s nine songs reflect the casual, relaxed atmosphere Sam created for himself at Figure 8, gathering his friends to record in o¬ff hours, capturing moments of o¬ffhand inspiration and laughter. There was Austin Vaughn on drums (Here We Go Magic, Luke Temple), a long-time friend from North Carolina School of the Arts, and Brian Betancourt on bass (Hospitality, Here We Go Magic, Luke Temple). They were joined by Michael Coleman on keys, a prolific player and producer, as well as being Figure 8’s studio manager. Pedal steel was provided by Dan Iead (Cass McCombs), and recorded at New York’s legendary Magic Shop studios in the days just before it closed. The tracks were some of the very last recordings in the room that had witnessed sessions by David Bowie, the Ramones, Blondie, Real Estate, Kurt Vile and generations of others. Other guest performers include vocalists Cassandra Jenkins and Hannah Cohen, Shahzad Ismaily, Eddie Barbash (the saxophonist on the Colbert show) and Steve Marion (aka Delicate Steve)


                                                                  Sam Evian

                                                                  You, Forever

                                                                    As it has been said: no matter where you go, there you are. With his new album You, Forever, Sam Evian, the project of New York-based musician, songwriter, and producer Sam Owens, is here to add some eternity to that sentiment.

                                                                    “This is you, forever,” he says. “It’s about accepting that you are responsible for you, that you’re in charge of your actions. Everything you do affects others and yourself, so, no matter what you choose to do, be there and learn from it.”

                                                                    It’s a mantra that powers self-starter Owens, a producer and sound engineer by trade who entered the scene with his debut Sam Evian full-length, Premium, in the fall of 2016. The notion takes on a dual meaning that is echoed across You,Forever.

                                                                    “There’s a ton of romance on the record,” he says. “Maybe it’s all romance.”

                                                                    You, Foreveris Owens’s first foray into a more soul-baring sensibility and places the artist directly in the sightlines and heartlines of his listeners. The album (as well as 2017’s “Need You,” a collaboration with the multi-hyphenate musician Chris Cohen) was written on the heels of his experience touring Premiumwith his band and was recorded across the latter half of last year. The tours—which included opening shows for bands like Whitney, Teenage Fanclub, Luna, Nick Hakim and Lucius—taught him much about feel and interaction. Further fueled by a desire to escape from the glow of screens and to embrace a sense of limitation, he quickly developed a new set of instrumental songs written for a band rather than just himself and recorded them on a Tascam four-track cassette recorder in his parents’ house in North Carolina.

                                                                    “Just like most people, my recording studio day job had me staring at a computer eight hours a day,” he says. “I just needed to get away from the glowing rectangle. The only way to do that was to work on tape. The four-track is so limiting; you’re forced to get only the bones of the song down. You can’t do any overdubs, so it was fun to work on that with the experience of the live band behind me. And something about playing my family’s instruments in the garage where I grew up spurred a set of songs that became the new record.”

                                                                    Inspired by these limiting techniques, Owens borrowed an eight-track reel-to-reel tape recorder from a friend, rented a house in upstate New York, and took his band – Brian Betancourt (bass), Austin Vaughn (drums), Adam Brisbin (guitar), and Hannah Cohen (backup vocals) – there to record the new album in July of 2017. Focusing on instrumental grooves and the vibe he had achieved on the original four-track recordings, Owens found the process so enlightening he decided to up the ante yet again by banning tuning pedals from the house.

                                                                    “Tuning pedals make it so easy to sound good together, so when you eliminate them it takes everything back to the ’60s, which is when all my favorite records were born,” he says. “It makes everything more questionable, weird, and unruly in a really simple way.”

                                                                    Dreamy album opener “IDGAF” explores the notion of embracing one’s passions and pursuing one’s goals no matter the impositions in their path. On one hand a subtle stand against the current political climate and on another a call to be responsible, Owens calls it a romantic song that embodies his act of self-mixing his record: “I had to put myself aside and let the music happen.”

                                                                    “Health Machine” is a crunchy, slow-burning but deliberate stomper glowing with warm electric guitar noodling, saxophone wailing, and Owens’s reverb-laden lyrics that he says detail an abstract version of how he relates to his own physical form. “It’s about the unattainable health that I would like to imagine for myself on tour. The line ‘We slither out on a Tuesday feeling tired and hopeless’ is such a hilarious picture: four people in a minivan slithering out of Atlanta, Georgia, stopping at a CVS and getting a bunch of Zicam. Health is your job if you’re touring as a musician, although it’s a job I don’t do so well.”

                                                                    “Country” is a fleet, nimble driving song written after Owens and his girlfriend (Hannah Cohen, who also sings throughout the album) took a cross-country road trip and encountered what they perceived to be a dust storm in rural Nevada. “For a hundred miles we didn’t see a person or even a tree, then all of a sudden this giant dust cloud appeared which turned out to be ten cowboys on horses lassoing cows. It was the most real thing I’ve ever seen.” In fact, Owens wrote every song on the album with the act of driving-while-listening in mind, and says many of the lyrics came together following that life-changing road trip—the only time he has ever driven across America without anyone waiting on him to show up for a soundcheck. But despite the allure of the transient life, his heart belongs to one place.

                                                                    “The record is about romance, and about my love for living in New York and trying to separate myself from any idea I had previously of living in New York,” he says. “I’ve kind of designed my own world there.”

                                                                    Whether behind the wheel in the dust bowls of America, navigating the bustle of his adopted home, playing festival stages with rock legends, or getting back to basics in his parents’ garage, no matter where Sam Evian goes, there he is…forever.

                                                                    Former member of Opal and Mazzy Star. After performing for several years with Aonnemone, a band once touted as the missing link in the country music/dream pop connection, Suki spent the last couple of years in the studio working with Joe Kennedy on a set of nine songs. These were eventually sent off to be mixed & masterd by Kramer. The result is hazy, bittersweet pop in the vein of Galaxie 500 and Felt. The songs are at once dreamy and enigmatic yet immediately accessible. Suki manages to evoke much of the same delicately pretty gloominess as Opal while adding her own serenely melodic warmth. 'A female-fronted The Clientele with a slightly more American brand of melancholy.' -Filter Magazine.

                                                                    Scott Fagan’s debut album, ‘South Atlantic Blues,’ is a genuine lost classic - a mystical, mythical and deeply soulful masterpiece.

                                                                    Recorded when Scott was just 21, virtually homeless and with pennies to his name, it was released in 1968 on Atco Records but remained obscure, confounded by a series of frustrating near-misses. From being mentored by Doc Pomus to being discovered by Jasper Johns, Scott’s incredible story and music unfolds on ‘South Atlantic Blues,’ remastered and reissued for the first time ever on CD and vinyl on Saint Cecilia Knows (the label that also released the acclaimed Mickey Newbury box set, ‘An American Trilogy) in association with Scott Fagan’s own lil’fish records.

                                                                    Steeped in delicate psych, soul and resonant acoustic guitars “that stroke and stone you to the core” (Shindig). It’s an epic song cycle about Fagan’s hard-scrabble life in the Virgin Islands, where he was raised and lived until 19 before returning to his birthplace of New York City. A teenage prodigy, mentored and managed by songwriters Doc Pomus and Mort Shuman, Scott recorded early material for Columbia and Bert Berns’ BANG label before signing with Atco. In 1969, artist Jasper Johns discovered ‘South Atlantic Blues’ in a cut-out bin, fell in love with the record, and used it as the inspiration for three artworks, known as ‘Scott Fagan Record.’

                                                                    The pieces are now housed in the permanent collections of MOMA, the Met and the Walker Art Center. Born on 52nd Street, Scott was the son of a sax player and singer who fraternized with jazz greats. That familial connection with music would come full circle when Fagan discovered he was the biological father of songwriter Stephin Merritt of the Magnetic Fields. They did not meet until the premiere of a documentary about Doc Pomus in 2013. A conversation between the two is included in the liner notes of this CD release. The initial pressing of the vinyl comes as a limited edition, hand-numbered, 180g vinyl with a reproduction of Jasper Johns’ 1970 lithograph, ‘Scott Fagan Record,’ as cover art, and includes a digital download.

                                                                    The CD comes with extensive liner notes, rare photos, and a download of five bonus tracks—the original 1965 demo for Doc Pomus as well as a recently-discovered acetate, the only copy in existence of a previously-unknown Doc Pomus song, All For The Sake Of Love, that only Scott Fagan recorded. 

                                                                    For a label that wasn't around long, Strata East achieved the same sort of label recognition that Impulse! or Blue Note managed to build. In other words, you knew what you were getting when you bought a record on the label, even if you didn't know the names on the outside of the cover. This is no exception. Who is Shamek Farrah? Who knows? Who cares? It's the music that's important. This is the standard spiritually intense new jazz one learns to expect from the label, soaked in some Eastern influences but always with its ear to the street. Musicians took their roles as leaders and spokesmen very seriously back then. This very adult statement from a group of very serious men is no exception. However, what might be an average, forgettable session is rescued by the propulsive engine of Milton Suggs' bass. He adds the fire and the drive that keeps things interesting and prevents the music from wandering into a circular spiritual morass. For fans of the sound or the label, this can be heartily recommended.


                                                                    Stephanie Finch And The Company Men

                                                                    Cry Tomorrow

                                                                    "Cry Tomorrow" is a little gem. A casually stunning love letter to classic song. An album whose sound recalls "Loaded" era Velvet Underground tunes alongside The Modern Lovers and Brill Building pop -- but ultimately all revolves around Stephanie Finch's relaxed, cool, confident presence. Backed by The Company Men: Chuck Prophet, Kelley Stoltz, and Rusty Miller. "Cry Tomorrow" is an instant classic.

                                                                    Simon Finn

                                                                    Pass The Distance

                                                                      "If'n you ain't beelined to that "Add to Cart" button already, allow me to lube it up for ya. Recorded in Chalk Farm Studios in London by Vic Keary for his Mushroom imprint (also home to Chillum and Second Hand), Pass the Distance sees landless folkie Simon Finn chase, tumble down and ultimately ravage his beasties and neuroses in a myriad of gripping and frequently terrifying ways.
                                                                      Callin' it acid folk or psych folk or freaked out Xtian primal scream just ain't gonna do the business. Finn ain't finna get buttoned in. Though you can hear the stoned lilt of contempo bonnet-wearers like Donovan on "The Courtyard," the lyrics come off more like Jerry Moore on a Leonard Cohen bender. Things do get pastoral, too, but Finn's spokes are so clotted with mud and hay, he winds up collapsin' and gaspin' down a dry well ("What A Day").
                                                                      But just when ya think ya boy is outta breath, on comes the tottering monolith that is "Jerusalem," in which Finn croaks til hoarse and foamin' about the state of contemporary believers. A swollen organ drone keens like an Irish wake in the background. Finn sounds like he's playin' guitar with those gauntlets people use to handle razor wire. The percussion struggles to escape in one piece. Of course, all the religious horse hockey is really just a red herring for the paralyzing anger and alienation consuming dude, but if'n you's a sturdy enough chap to have hung thru the first side, you musta figgered that out.
                                                                      Side B calms it down a touch but the wonders still abound. Leads smother themselves, beauty is lost, folks get betrayed, menacing jokes are cracked. I spose I oughta emphasize the word "cracked" huh? Ya get the notion Finn is on a tough journey, but it's almost better just to wonder what great personal wilderness landed him on the road in the first place.
                                                                      First time and long-overdue Stateside pressing. File awkwardly between Leonard Cohen's Songs from A Room and Kenneth Higney. Seems like Finn could use some company." - Sebastian Morris-White, Buffet of Loathsome.

                                                                      Sam Forest

                                                                      Down The Hillside

                                                                        "Down The Hillside" is the debut solo album by Nine Black Alps' Sam Forrest. In spring 2008 Sam took time off to write and record a semi-acoustic album in his house in York, England. With the exception of backing vocals courtesy of singer-songwriter Hayley Hutchinson and drums by Alan Leach, all of the instruments were played and recorded by Sam which lend the album a stripped-back lo-fi atmosphere a world away from the hard rock sounds of Nine Black Alps.

                                                                        FORMAT INFORMATION

                                                                        CD Info: Limited to one thousand hand numbered copies.

                                                                        Scott Fraser / Mushrooms Project

                                                                        Horn Wax Eight

                                                                        The ever reliable Horn Wax returns with another couple of machine funk chuggers for the future industrial types at the ALFOS parties. First behind the controls is Axis man Scott Fraser, who dishes up a super heavy bass driven slo-mo industrial techno cut which goes by the name "The Arch". As dark and menacing as it gets this one builds and builds while pinning you to the wall with a throbbing bass sequence. Eventually, once you've been pummelled into submission, Scott takes his foot off your chest and picks you up high with some techy stabs. It's already at the top of Dave Walker's weekly picks, and we know he's never wrong. On the flip, Mushrooms Project offer something a little less bruising with the stargazing "Analogue City", a cosmic disco gem packed with rippling synth sequences, sonic explosions and Floydian guitar histrionics. Time slows as you hurtle through the galaxy on this zero gravity journey.

                                                                        From Scunthorpe, but having lived in Manchester for a few years, Stephen Fretwell has been 'Boy Most Likely To' for a while now. His "8 Songs" mini-album and 2 EPs have sold like hotcakes in our shop and if you liked them you're going to love this album. It was recorded in Abbey Road and is lush, full yet never over-done. It's still open-hearted, melancholy and beautiful stuff - a little Dylan, a little Kloot-ish- but just so tastefully coloured in that you feel he may just one day walk out of the cosy, dark haven of the Night And Day bar into the dazzle of international stardom! Certainly there have been few better songs than "Play", "Emily" or "Lost Without You" written this year. It's too late for our Year End chart but you can be sure this record would have been right up there if it hadn't have been. It's effortlessly classic. You'll all love it!

                                                                        Stephen Fretwell

                                                                        Man On The Roof

                                                                        Fretwell was born in Scunthorpe in 1981, a fact that belies the maturity and worldliness of his song-writing. These days, he's mostly resident in Manchester, but he liked New York so much he decided to make his second album there. "Man On The Roof" will surprise people. It's not as melancholy as "Magpie", but it's just as beguiling. This means the lugubrious sway of "Coney"; the romantic "The Ground Beneath Your Feet", 'about redemption, about being saved by a woman'; while "Funny Hat" and "William Shatner's Dog" are both about the same person. "Sleep" and "Coney" concern adultery in body and mind respectively, while the couples in "Bumper Cars" and "Darlin' Don't" struggle to get past whatever first base is.

                                                                        Armed with a bottle of patchouli oil, a wrap of mushroom powder and an A&R masterplan, Multi Culti man Dreems charted a course for Berlin. Upon arrival, well, after a three day rave at Berghain, GHB romp at Cocktail D'Amore and falafel at Khartoum, Dreems tracked down MC affiliate Sascha Funke and hatched his plan. The seasoned producer was sent to a sub zero warehouse space, where he found percussion hero Niklas Wandt finalising his collaborative Growing Bin LP with Wolf Müller and debut single with NWD upstarts Neuzeitliche Bodenbeläge. In the longstanding DIY tradition of balls out experimentation, Funke had him record a variety of slapped, bowed and scratched percussions (congas, talking drum, prepared cymbals played with a bass bow) over his tracks. These first efforts were later expanded into joint sessions at Sascha's home studio and, within a few weeks, the journey reached it’s destination: Wibe strasse, Deutschland.

                                                                        At first glance, they seem an odd couple: a techno veteran of almost thirty years meets a side-burned upstart socialized in Free Jazz and Krautrock. but the shared sonic influences come through in the hypnotic, dubbed-out sound, perhaps rooted in the close connection the two share to the Rheinland region in West Germany, Funke as part of the Kompakt family and Wandt by origin and socialization in the Cologne and Düsseldorf music scene centered around the Salon des Amateurs. Regional flavours, global appeal.

                                                                        Multi Culti, promoting local collaboration, one freaky record at a time.

                                                                        STAFF COMMENTS

                                                                        Patrick says: Proper post kraut weirdness here from Funke & Wandt, who fuse blurry synthwashes, unpredictable percussion and spoken vocal into bleeping NDW pop - perfect for daytime sessions or nights on the pipe.

                                                                        Serge Gainsbourg & Jean-Claude Vannier

                                                                        Les Chemins De Katmandou

                                                                        After decades in the making Finders Keepers Records proudly present us with the first-ever pressing of Serge Gainsbourg’s most elusive and coveted soundtrack studio recordings - co-written, arranged and orchestrated by the genius Jean-Claude Vannier (‘Histoire De Melody Nelson’) during what many consider to be the dynamic duo’s most definitive creative period.
                                                                        Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone’s lost ‘Danger Diabolik’ soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie ‘Les Chemins De Katmandou’ have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.
                                                                        Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like ‘La Horse’, ‘Cannabis’ and ‘Sex Shop’. Laying the stylistic, futureproof foundations for subsequent decades of forward-thinking Gallic funk mastery.
                                                                        Comprising Vannier’s signature recipe of thick plucked bass lines, close-mic’d drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to ‘Les Chemins De Katmandou’ (aka ‘The Road To Katmandu’ or ‘The Pleasure Pit’) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.
                                                                        This previously lost full soundtrack score now exists on vinyl for the first time ever as an infinitely important milestone in the early development of the duo who would shape the sound of French pop music for years to come.

                                                                        Serge Gainsbourg

                                                                        Initials SG - The Ultimate Best Of

                                                                        At last, 12 years after his death, a proper retrospective of France's greatest export! His recording career spanned four decades, taking in everything from jazz to rock to reggae, but it's probably for his orchestral easy listening and low-slung cinematic funk that he's best loved round thse Northern Quarter parts. Everyone from Air to David Holmes and Andy Votel are hugely influenced by his sound. If all you know is "Je T'aime... Moi Non Plus", then prepare to have your life enriched with the delights of "Bonnie & Clyde", "Requiem Pour Un C", "Ballade De Melody Nelson" etc. 23 tracks in all, on both vinyl and CD.

                                                                        Selected by Sky Girl co-conspirer Julien Dechery, Le Raccourci culls 15 tracks from Gandera's extensive cassette discography, discarded DAT recordings, and split CD with Lyon toy music project Klimperei. ...

                                                                        While Gandera's nostalgic melodies incidentally parallel with the piano key manoeuvres of Pascal Comelade, Robert Haigh and Dominique Lawalrée, Le Raccourci could only stem from the escapist desires of one Eric Morin.

                                                                        The impressionist landscapes of a sensitive soul self-reflecting, these miniature compositions alternate across a rudimentary set up of piano, field recorder, sampler and four track. Melancholic utterings hastily captured some 100km east of Paris.

                                                                        Classically trained by the same teacher as his parents, Gandera first began recording in the confines of his university dorm room, inspired by a C60 from friend and future collaborator Bernard Odot (A Gethsémani). Humbly existing without sparing a thought to music industry or career, Gandera's personal effects surfaced via the European and US cassette networks from 1988 to 1994. Impressively accomplished for the DIY scene they orbited, these tapes were issued in scant quantities, rendering his pieces as private secrets shared and duplicated in small concentric circles. Aside from a sole, avowedly traumatic performance, the material was never shared in a live context.

                                                                        These sentiently charged compositions only hint at his larger catalogue, but act as a compelling cross section of the artist's oeuvre. The identity is further detailed by archival images, Glen Goetze penned liner notes and original artwork from Perks and Mini's Misha Hollenbach.


                                                                        FORMAT INFORMATION

                                                                        Ltd LP includes MP3 Download Code.

                                                                        Stef Giaccone

                                                                        Cosi' Che Va

                                                                        New release on the excellent Johnson Family records. Stef recorded this at Broken Dog's studio, who are also the backing band. Stef is formely Of Howth Castle, the Thurston Moore approved folk/psych outfit and Franti, the Italian 'Crass'. Sounding like Broken Dog (obviously ) /Tram with the Italian Ryan Adam's singing. Ltd. edition clear vinyl, in hand stamped sleeves.

                                                                        Niiiiice sound pal! Scott Gilmore with some ultra-synthetic future tropicalia here on your favourite holiday house label - International Feel. "Electric Gestures" gets us underway perfectly, a low filtered hook with wobbly synthlines and plump textures, it's both immediately accessible but refracted back through some alien filter, so as to make the whole thing slightly otherworldly. "Things Forgotten" is that long lost Brazilian folk b-side, only again, it glows with an radiance so strong that it exits human form into something more transient. "Lately" continues this theme with exotic, beguiling motifs - flutes, strings, pipes, all blended into a swirl of digital processing and ambience before "Another Day" closes off proceedings with a gentle push back to land; vocoder vox, steady b-line and a wealth of Balearic instrumentation converging on the mix only to be psychedelized further still by Gilmore's intricate outboard fx. A well realized and engrossing listen here, well sequenced throughout and sounding super fresh. Excellent stuff.

                                                                        Glasgow's Esk follows up their album from Jim Coulter with a new long player from Scott Gordon. Highly recommended for lovers of all things drone n' ambient and the second crushingly epic album to be released this week, alongside the new Gas LP. A composition of treatments for adapted piano harp and electric guitar it sees the source material taken to the very farthest extreme of its original origin, yet still somehow maintains its biotic nature despite the onslaught of DSP.

                                                                        'In 2016, I managed to salvage a piano that belonged to my brother and had spent four years sitting in a garage. Getting it home nearly killed my van. The first objective was to strip the harp and mount surface transducers to it with the hope of being able to excite the strings and ultimately explore a tuneable sympathetic reverb. After a lot of trial and error, workable results were produced which became the foundations for "Relief Tours". The album was recorded over six months or so with tracks typically centering around one or two objects - some kind of treatment for the piano and improvisations on electric guitar. Experimenting with the objects is never something I’ve been particularly scientific about by any means, nothing more than the basic sequence of continuing to develop the best results that had emerged from the previous experiment. Concepts were typically very simple e.g. getting percussive overtones from the piano strings. My usual approach is to sketch some possible methods then just begin, so in this case it was tugging winds of horse hair and then settling on an angle of about 30°. This produced the deep bell like sound that can be heard on "Benthic Salvage".

                                                                        'Certain sounds would often dictate the course of things. For example, the juddering of a rubber ball being dragged down a smooth surface would, in turn, result in trying to recreate the same percussive movement on the piano harp with a car spring and some big magnets, which then went on to provoke something else and so on. The results would influence the next decision and eventually a track would begin to take shape. Each track hosts a small group of related ideas like this with the tonal work often being the last stage - improvised reactions to the textural parts.

                                                                        'The physicality and movement of the sounds, and the instrument-like properties that came from experimenting with objects, both sonically and tangibly, were really the driving force behind the record.' - Scott Gordon


                                                                        FORMAT INFORMATION

                                                                        Ltd LP Info: Limited LP with a unique, hand-scored obi strip and A4 insert)

                                                                        Sebastien Grainger & The Mountans

                                                                        Sebastien Grainger & The Mountans

                                                                        Best known for his contributions as singer and drummer for Canadian dance-punk duo Death from Above 1979, whose decadently catchy anthems took the world by storm, Sebastien Grainger is soon to be even better known to the world as a singer and songwriter who, as Pitchfork rightly reflected, 'is all about two things and two things only: the rock, and the roll'. Fans of his prior music will likely be surprised and delighted by his new direction - muscular and smart rock. Big chords, soaring choruses and a voice that portrays a man still climbing.


                                                                        next 100

                                                                        Latest Pre-Sales

                                                                        237 NEW ITEMS

                                                                        The new self titled album from @LadytronMusic is out today. It’s their first album in seven years on Ladytron Music… https://t.co/8kbjEmO9hd
                                                                        Fri 15th - 4:37
                                                                        .@DavidBowieReal fans. His 1983 album Let’s Dance has been reissued/remastered. Out today on @parlophonehttps://t.co/45eM108QJy
                                                                        Fri 15th - 1:35
                                                                        Hollow Earth is the new album out today from @PyeCornerAudio aka Martin Jenkins, his third for Ghost Box. It’s conc… https://t.co/USB9oQ9yrj
                                                                        Fri 15th - 12:14
                                                                        .@dinkededition No 5 has landed 🙌🏻 @HOOMESHAAKE album ‘Helium’ available on “fruit punch” coloured vinyl, hand nu… https://t.co/hLkc9AvkLC
                                                                        Fri 15th - 11:43
                                                                        The brand new banners are up on this glorious #newmusicfriday here in Manchester. Today they are representing… https://t.co/4sPp6jtjAX
                                                                        Fri 15th - 11:12
                                                                        E-newsletter —
                                                                        Sign up
                                                                        Back to top