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Sergio Mendes

Dance Moderno

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

    Magenta colour vinyl for RSD 2019. Limited pressing of 500 copies. Originally released in 1961. Sergio Mendes began his career as a serious jazz and classical pianist, at the same time working with Antonio Carlos Jobim's circle during the very earliest stirrings of Bossa Nova, the music which was soon to seduce the world! Soon established as the go-to collaborator for US jazz greats touring Brazil, he became firmly part of their world and milleu, signing to Atlantic as a solo. in a few brave and, yes, experimental steps making his way to the conquest of the pop world Brazil '66. Perhaps his very first steps in that direction were this album, Dance Moderno in which he takes all his understandings of the freedom of Modern Jazz, and combines it with a Bossa Nova derived lighter, dancier, almost poppier feel, which was to serve him so well as Bossa Nova and later he himself exploded into the mainstream. An album full of super dance grooves, and the flavours of both jazz and carnival, standards and brand new Bossa sounds, it's simply a must-have! A vital moment in history, and an irresistible groove too....it's a win/win! " jazz and classical pianist, at the same time working with Antonio Carlos Jobim's circle during the very earliest stirrings of Bossa Nova, the music which was soon to seduce the world! Soon established as the go-to collaborator for US jazz greats touring Brazil, he became firmly part of their world and milleu, signing to Atlantic as a solo. in a few brave and, yes, experimental steps making his way to the conquest of the pop world Brazil '66. Perhaps his very first steps in that direction were this album, Dance Moderno in which he takes all his understandings of the freedom of Modern Jazz, and combines it with a Bossa Nova derived lighter, dancier, almost poppier feel, which was to serve him so well as Bossa Nova and later he himself exploded into the mainstream. An album full of super dance grooves, and the flavours of both jazz and carnival, standards and brand new Bossa sounds, it's simply a must-have! A vital moment in history, and an irresistible groove too....it's a win/win!

    Shit Girlfriend

    "Dress Like Cher" / "Socks On The Beach"

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

      Shit Girlfriend is Natalie Chahal & Laura Mary Carter (Blood Red Shoes)... 500 only splatter vinyl,

      Sigur Rós

      22° Lunar Halo

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

        Soundtrack to brand new dance work by leading Taiwanese choreographer Tsung-lung, being premiered in Taipei to coincide with Record Store Day.  Cheng Tsung-Lung chose his favourite music from throughout Sigur Rós’s career, which was then twisted, bent and broken, and finally added to in the band’s Reykjavík studio to create a new perspective for the Cloud Gate dance company. Vinyl exclusive to Record Store Day. Limited edition on black heavyweight 12" vinyl. Spinned sleeve with printed with special inks.

        Sigur Rós

        Variations On Darkness

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

          Soundtrack to a series of choreographed performances from the Iceland Dance Company, originally commissioned for Sigur Rós’s Nordur og nidur festival at Christmas 2017.  Choreographer Valdimar Johansson was granted access to unreleased Sigur Rós material, as well as multitracks of chosen songs from the band’s catalogue, and personally created a score of high Nordic drama.  “The best thing we’ve done in ages,” said Jonsi on hearing Variations On Darkness for the first time.  Vinyl exclusive to Record Store Day. Limited edition on black heavyweight 12" vinyl. Spinned sleeve with printed with special inks.

          Silver Apples

          Oscillation

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            Oscillations 2019 is Simeon's new studio recorded, upgraded and augmented version of Silver Apples original 1968 classic track of the same name and reflects how he likes to play it live. Or in Simeon's words, 'Mixing it Up'. AA Side The Edge of Wonder - Andrew Weatherall Remix Andrew Weatherall is a huge Silver Apples fan, so no surprise he wanted to do a remix. This was his favourite track of the last album, 'Clinging to a Dream'. Here he lovingly works his magic on this extended remix.

            Spirit

            Spirit – Original Mix / Zaf & Phil Asher Edit

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            Spirit’s 12 minute self-titled track from the 1979 album ‘Put Your Hands Together’ gets an official re-issue on Rain&Shine. Backed with a perfectly formed edit for DJ and dancefloor use, contributed by legends Zaf & Phil Asher. A tough pull destined to never see a re-issue despite years of persuasion by Rain&Shine has finally come together with the blessing of producer Tim Johnson.

            Stalawa

            In East Africa

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

              Reggae's African connection meets the global ethos of Glasgow's Scotch Bonnet Records for their historic new EP. French-born, Glasgow-based producer Stalawa has voiced a talented selection of East African vocalists to thrilling effect, over his heftiest roots rub-a-dub rhythms. This project is the culmination of multiple fruitful visits to Kenya and Uganda by Scotch Bonnet proprietors, Mungo’s Hi Fi sound system. It has been fine-tuned between Glasgow and Kampala over the last three years.The A side features the wailing voice of Ugandan singer and emcee Blessed San. Showcasing a vocal style not unlike legendary Jamaican reggae veteran Michael Prophet (despite never actually having heard him before), Traitor is a mournful rebuke to all who violate his trust. Stalawa has mixed a haunting accompanying dub: all crashing drums and biting horns.The B side hosts a Kenyan-Caribbean collaboration on a vintage classic. Connoisseurs’ Jamaican singer Delroy Melody has recut his 1979 local hit Ease Up The Pressure, adding verses from Luganda Rasta lyricist C Wyne Nalukalala (meaning “the troublemaker”). The remade backing, based on Dennis Brown’s Easy Take It Easy, was built in Jamaica by renowned drummer Sly Dunbar and keyboardist Dennis ‘Jah D’ Fearon. Also on the flip is Kenya's “first lady” of hip hop and reggae Nazizi. Her song Ukiangalia (“when you see” in Swahili) rides a dubby update of King Tubby’s famous Tempo rhythm.All vocals bar Mr Melody’s were recorded in Kampala, Uganda by David Cecil and Wana Benjamin of East Africa Records, with brass parts dubbed by Stalawa in Glasgow. The guitar on Traitor is the work of popular Scottish vocalist Tom Spirals. Hornplay comes courtesy of Tim Quick, Liam Shorthall and Matieusz Sobieski.

              Stereophonics

              Live From Dakota

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

                Stereophonics iconic live album from their 2005 world tour is to be repressed on 180gram white heavyweight vinyl, for the first time since its original release 13 years ago. A whirlwind of stadium rock sees the band perform many of the highlights from their incredible career. Includes the anthems A Thousand Trees, Maybe Tomorrow, The Bartender and The Thief, Hurry Up and Wait, Just Looking and of course Dakota.

                Suede

                Head Music - 20th Anniversary

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                  Exclusively for Record Store Day 2019, Demon Records proudly presents the 20th anniversary 3 LP edition of Suede’s fourth album; "Head Music". Home to the hits “Electricity”, “Can’t Get Enough”, “Everything Will Flow” and “She’s In Fashion”. The extra third LP features ten non-album b-sides, issued in this format for the first time and pressed on 180g heavyweight coloured vinyl.

                  Suicide

                  Dream Baby Dream (RSD19 EDITION)

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

                    “THE BAND THAT WILL ALWAYS SOUND LIKE THE FUTURE” - Dangerous Minds. The classic Suicide ‘Dream Baby Dream’ single (originally released 1979) is re-issued exclusively for Record Store Day 2019. Released on 12”

                    Sonny Boy Williamson

                    Don't Send Me No Flowers

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

                      "Send Me No Flowers" The Sought After Jam Session Headed By Famed Bluesman Sonny Boy Williamson. Featuring Early Recordings Of Legendary Guitarist Jimmy Page. Reissued On Vinyl For The First Time In Over Three Decades. Limited Edition Transparent Heavwegiht Vinyl. Only 1,000 Individually Numbered Copies In Circulation. Complete With Record Sleeve Poster.

                      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

                            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

                              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

                                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. 

                                  Syd Barrett

                                  The Madcap Laughs - 180 Gram Vinyl Edition

                                    ‘The Madcap Laughs’ is the debut solo album by the English singer-songwriter recorded after Barrett had left Pink Floyd. He only made one full album and a couple of amazing singles with The Floyd, then two solo LP's of which this is the first.  It is a LOT looser than his previous work but still with that unique child-like sense of wonder and a lovely way with a melody.


                                    STAFF COMMENTS

                                    Andy says: Pure expression. A unique vision, slowly unravelling.

                                    FORMAT INFORMATION

                                    LP Info: Gatefold sleeve.

                                    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.

                                    Simon Bonney

                                    Past, Present, Future

                                      ‘Past, Present, Future’ features songs from Simon Bonney’s last two albums, ‘Forever’ (1992) and ‘Everyman’ (1994), as well as six unreleased tracks, including his cover of Scott Walker’s ‘Duchess’.

                                      Speaking to Billboard, he explains “It’s a very dynamic period in the world; a lot of people are feeling that they’re struggling to see how the future will unfold for them and whether or not they’ll have a place in the future. And that’s what a lot of these songs are about.”

                                      At the age of 16, Simon Bonney formed Crime And The City Solution in an abandoned building in Sydney’s business district. The band embodied the post punk ethos of nihilism and alienation and Simon’s lyrics and music were informed in part by life as a 14-year-old runaway in 1970’s Kings Cross, Sydney’s red-light district. In 1984, after a move to London, Simon formed a new incarnation of the band with Bad Seed Mick Harvey, Rowland S Howard (The Birthday Party), Harry Howard (These Immortal Souls) and Epic Soundtracks (Swell Maps). After four beautifully chaotic records, a run of cacophonous live shows in Europe and the US and a standout performance in Wim Wenders’ 1980s masterpiece ‘Wings Of Desire’, the band broke up and Simon and Mick relocated to West Berlin. Here Simon would form the longest lasting line up, the Berlin Crime And The City Solution, which featured Simon, Mick, Alexander Hacke (Einstürzende Neubauten), Bronwyn Adams, Thomas Stern and Chrislo Hass (DAF). From the band’s first offering, ‘Shine’, through their final album, ‘The Adversary Live’, the band was championed by influential journalists, with its albums regularly showing up in the Best Of lists.

                                      In 1992, with Crime And The City Solution on hiatus, Simon moved to the US on an impulse, stayed for a decade and released two records; the much loved and very personal ‘Forever’ and the socio-political ‘Everyman’, a record that has grown in relevance as rapid change and social dislocation has increased.

                                      In imagining the perfect soundtrack to these observations, he turned to the melancholy and plaintive sounds of dobro and lap steel of 1970s country music, the sound of longing for the familiar, for security and stability, songs about family and belonging, memories of a childhood farm in Tasmania. The result was two country tinged, compassionate and prescient portraits of life in late 20th Century America through Tasmanian eyes.

                                      His path led him into outback Australia, Micronesia, Papua New Guinea and Bangladesh - a life rich in extremes of colour and conflict, of trauma, of humanity and inhumanity, of power and powerlessness. It was not always easy to witness and eventually, as happens with all that walk this road, he had seen too much and it was time to stop. It was time to re-embrace something simple, something personal - his music. He pulled tapes from shoeboxes and listened to the old albums as well as tracks recorded for an unreleased album, ‘Eyes Of Blue’, recorded in Detroit with a band featuring Matt Smith (Outrageous Cherry, the Volbeats), Troy Gregory (the Dirtbombs, Electric Six, Killing Joke) and a guest appearance by Chuck Prophet and found that, far from sounding nostalgic, they sounded fresh and every bit as relevant - if not more relevant - than when he had recorded them.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Limited gold vinyl.

                                      Coloured LP includes MP3 Download Code.

                                      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 And The Wave Pictures

                                      Tequila Island

                                        Stanley Brinks is joined by The Wave Pictures for their fifth album together; and their first since 2015’s “My Ass”. That’s not to say either have been slacking in that time, both are notoriously prolific: The Wave Pictures have turned out 5 albums and Brinks 7 since they last came together in the studio. Stan arrived at the studio with several CDs worth of unrecorded songs on a balmy North London night and instructed The Wave Pictures to pick out some favourites to jam during the following three nights of recording sessions.

                                        To anyone familiar with Stanley Brinks' huge discography - more than 100 albums - it might sound more raw in a way, less sophisticated than some of his other recordings. It's still rich in jazzy sounds and original structures however, the songs looser and full of playfulness, with the lyrics carrying the essence of the songs. Tequila - the drink - was obviously the inspiration for the album. While writing, and while recording. Stanley Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne.

                                        Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

                                        The Wave Pictures are David Tattersall, Franic Rozycki and Jonny ‘Huddersfield’ Helm. Formed in 1998 when Franic and David lived in a village called Wymeswold, the band played with several drummers until Jonny became a permanent member in 2003 replacing Hugh J Noble. In the beginning the band learned to play together by covering Jonathan Richman songs but soon David was writing lots of original material. They have since released six studio albums to critical acclaim and played numerous sessions on BBC 6 Music, Radio 1 and Xfm. Interest generated from these recordings has enabled The Wave Pictures to play shows all over the world with artists including Jeffrey Lewis, Darren Hayman, Stanley Brinks, Freschard and Herman Düne. 

                                        FORMAT INFORMATION

                                        Coloured LP Info: Tequila and agave splatter coloured vinyl with download code.

                                        CD Info: Digipack CD with lyrics booklet.

                                        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.

                                        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.

                                        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.

                                            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.”

                                              Stef Chura

                                              Midnight

                                                “For most people who create art I would assume there is some kind of deep unanswerable hole in your soul as to why you're making it…” So says Stef Chura ahead of the release of Midnight, her gritty, vehement new album - recorded and produced by Will Toledo of Car Seat Headrest - and her first new collection of songs for the Saddle Creek label. Illuminating that search for answers with a fevered sense of exploration, Midnight is a bold leap forward from Messes, Stef’s contagious debut album, with every aspect of her new work finding bold ways to express itself as it rips through twelve restless and relentless new tracks.

                                                A couple of years on from the release of Messes, Stef is still based in Detroit, that most singular city which has seen it all, from the no-mans-land of its initial collapse through to the resurgent place it is now. Stef found inspiration from the people she surrounded with herself with, more so than the place itself. It’s no surprise that Midnight is testament to those kind of characteristics; a rugged and robust burst of defiance.

                                                Equal parts thrilling and angsty, Midnight is a testament to the collaborative process, a record that makes the very most of those who came together to make it, but more than that, it’s a firm statement of tenacity and perseverance, of not resting on your laurels but leaping forwards no matter the situation you find yourself in. From out of one day and into the next. 


                                                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.


                                                As faithful custodians of Suzanne’s vault of vintage electronic music, Finders Keepers present the first-ever release of these vital archive recordings. As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. 

                                                STAFF COMMENTS

                                                Barry says: There is something distinctly enchanting about Ciani's work, whether she is crafting ambient sketches on beautiful vintage modulars (the Buchla Sessions being a particularly beautiful recently released example), or in full, wistful melodic mode (like on my absolute favourite of her outings, "Seven Waves"). 'Flowers Of Evil' is a perfectly measured mix of the two, with more protracted sections being beautifully accentuated with warm pads and distant warped vocal samples. Stunning.

                                                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.”

                                                    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.

                                                      STAFF COMMENTS

                                                      Patrick says: Inspired by Sun Ra (in terms of outlook rather than style) La Luz frontwoman Shana Cleveland lets the incense burn and the breeze drift in on a gorgeous LP of stargazing folk. Softly psychedelic and bittersweet, "Night of The Worm Moon" reframes the Laurel Canyon sound for 2019.

                                                      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.

                                                      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

                                                        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.

                                                          '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.

                                                            Sarah Davachi

                                                            Pale Bloom

                                                              Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination. Recorded at Berkeley, California’s famed Fantasy Studios, Pale Bloom is comprised of two delicatelyarranged sides. The first—a three-part suite where Davachi’s piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress—recalls Eduard Artemiev’s majestic soundtrack for Andrei Tarkovsky’s Solaris.

                                                              “Perfumes I-III” employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike. While the first half of Pale Bloom showcases Davachi’s latent Romanticism, the sidelong “If It Pleased Me To Appear To You Wrapped In This Drapery” reveals the Mills College graduate’s affinity for the work of avantgarde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves—suggesting a well-tempered stillness, yet without stasis.

                                                              STAFF COMMENTS

                                                              Barry says: It's properly beautiful stuff this, shining with modern classical delicacy but bolstered by a dark undercurrent of neo-gothic organs and infrequent echoic piano stabs. Tentative and minimalistic, but sonically moving, Davachi makes it clear she is here to stay. Thoroughly gorgeous stuff.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Indie stores exclusive of 400 copies on clear vinyl.

                                                              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.

                                                              Venetian born Simone de Kunovich takes the Superconscious sound into refreshingly bizarre territory with his debut 12” "Mondo Nuovo Vol. 1". A student of film and the arts, Simone digs deep into archives of the mondo and exploitation genres, sampling obscurities and piecing them together with vintage synthesisers and a modern ear, producing mind-melting psychedelia suitable for late-night hypnotica and introspective home-listening.

                                                              From the manic resonance in “Strategia della Tensione” to the blissful atmospheres of “Mondo Segreto”, Mondo Nuovo Vol 1. is an intelligent collage of inspirations that blurs the lines between dance music and cinematic artefacts. A unique experience which sits comfortably amongst the Superconscious back catalogue.

                                                              STAFF COMMENTS

                                                              Patrick says: Name to watch! Simone De Kunovich splices, dices and tinkers his way straight into APC, Eric Copeland, Wino territories with this excellent EP of dancefloor psychedelia. Club grade weirdshit on a multi-timbral many textured tip.

                                                              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.

                                                              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.”

                                                                STAFF COMMENTS

                                                                Barry says: There certainly is a coherent thread running between a lot of the music coming from Australia nowadays, not in terms of sound necessarily, but the attitude and pacing of the music. 'Beware Of The Dogs' epitomises that effortless cool without ever feeling like it's too loose. tightly woven melodies and strummed guitars form the perfect backdrop to the wry political meanderings and stunning vocals peppered over the top. This really is a killer LP, and one that is sure to appear in my top-10 come the end of year.

                                                                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!

                                                                Stephen Duffy

                                                                I Love My Friends

                                                                  Stephen Duffy’s 1996 solo album I Love My Friends available for the first time ever on vinyl. Produced by Stephen Street, the album was released to unanimously positive reviews and remains a favourite among his fans. Following a time of personal upheaval, the album was the result of an unprecedented creativity for Stephen.

                                                                  “The tunes and the words were coming faster than I could write them down. That’s the dichotomy of I Love My Friends. My interior world was falling apart, but creatively it was a charmed existence.”

                                                                  After tasting worldwide chart success with his 1985 hit Kiss Me, Stephen went on to record four albums of exquisite bucolic pop with his group The Lilac Time before recommencing his solo career. Stephen was a formative player in the West Midlands post-punk scene alongside Swell Maps and Duran Duran, whose first incarnation he fronted. In 2002, he reunited with Nick Rhodes to release an album of their early songs with the group. One high-profile champion of I Love My Friends was Robbie Williams who, on hearing the record, became so obsessed with it that he asked Stephen to co-write his Intensive Care album. Robbie went on to cover a song from I Love My Friends record, The Postcard.

                                                                  I Love My Friends will be released on the new Needle Mythology imprint founded by Pete Paphides. For this release, brand new artwork has been created for the album, which itself has been specially mastered by Guy Davie at Electric Mastering for 180g vinyl. 


                                                                  FORMAT INFORMATION

                                                                  2xLtd LP Info: LP + 7".

                                                                  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.

                                                                      Steve Earle was nineteen and had just hitchhiked from San Antonio to Nashville in 1974. Back then if you wanted to be where the best songwriters were, you had to be there. Guy Clark had moved to Nashville and if you were from Texas, Guy Clark was king. Years later, Steve would be playing bass guitar in Guy’s band and flying high on what would become an indelible friendship of like- minded musicians who bonded in a kinship of stories told through song.

                                                                      Flash forward more than forty years to May 2016. Guy Clark had just succumbed to cancer after a long battle with Lymphoma. Guy had lived with his disease and had continued to write songs until the day he died. He also painted, built instruments and owned a guitar shop in the Bay Area. According to Earle, “You hung around with him [Guy] and knew why they call what artists do disciplines. Because he was disciplined.”

                                                                      The same can be said of Earle. In the fall of 2018, Steve and The Dukes went into House Of Blues studio in Nashville and recorded ‘Guy’ in six days. “I wanted it to sound live... When you’ve got a catalog like Guy’s and you’re only doing sixteen tracks, you know each one is going to be strong.”  Earle and his current, perhaps best-ever, Dukes line up take on these songs with a spirit of reverent glee and invention. The tunes are all over the place and so is the band, offering max energy on such disparate entries as the bluegrass rave- up ‘Sis Draper’ and the talking blues memoir of ‘Texas 1947’. Earle’s raw vocal on the sweet, sad ‘That Old Time Feeling’ is heartbreaking, sounding close enough to the grave as to be doing a duet with his late friend and mentor.

                                                                      You can hear little hints of where Earle came from. The stark ‘Randall Knife’ has the line “a better blade that was ever made was probably forged in Hell,” which wouldn’t be out of place in a Steve Earle original. Also hard to beat is ‘The Last Gunfighter’, a sardonic Western saga to which Earle offers a bravura reading of the chorus: “the smell of the black powder smoke and the stand in the street at the turn of joke.”

                                                                      In the end, however, ‘Guy’ leads the listener back to its beginning, namely Guy Clark, which is what any good ‘tribute’ should do. ‘Guy’ is a saga of friendship, its ups and downs, what endures. We are lucky that Earle remembers and honours these things, because like old friends, 'Guy' is a Diamond.

                                                                      STAFF COMMENTS

                                                                      Barry says: As protracted as 12-bar gets, it's comforting to hear someone pulling blues influences so wholeheartedly into swooning Americana, rich in southern charm and beautifully accomplished by a mix of great songwriting and mindblowing musicianship.

                                                                      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.

                                                                      Tasty reissue of Steve Elliott’s first album - "True Image" (1981). After failing to find musicians with the same direction and devotion to music he had acquired, Steve taught himself to play eleven different instruments and move from hometown of Pasadena, California to Denver Colorado.

                                                                      Eager to express his musical ability, Steve became a DJ on KDKO radio, and would then go on to compose, arrange and perform "True Image" on September 20th 1981 with a collection of drum machines, synthesizers, and contributing musicians on Rhodes, flute, guitar and vocals.

                                                                      Mr. Elliott’s philosophy is 'You hold in your hand a dream, a dream come true by a man whose only objective was to express the love he contains, the love we all contain within through music.'

                                                                      On many collectors want lists, passing for a median price of $450 online. 


                                                                      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.

                                                                      Susana Estrada

                                                                      The Sexadelic Disco-Funk Sound Of...

                                                                        Susana Estrada was one of the muses and main figures from the period known as 'Transition’ in Spain. No other woman represented better than her the freedom and sexual revolution which the country experienced in the 70s after the end of the dictatorship. A truly erotic Goddess, Susana was a model, singer and actress and one of the first women to perform fully-naked plays in Spain. She appeared in numerous erotic magazines and movies and her famous sexual counselling column for Play-Lady magazine caused a big commotion at the time. She reached fame with her erotic musical plays like “Historias Del Strip-Tease”, “Muñecas” (where she simulated to have sex with a robot!) or “Machos”.
                                                                        As a singer, in 1980 Susana released her first 45 for the Belter label from Barcelona: “Machos” / “Acaríciame”. Produced by Josep Lobell and Manuel Gas, it contained two sexy disco tracks which paved the way for her first LP, “Amor y Libertad” (Love and Freedom), released on the Belter sub-label Sauce in 1981. Produced by Cosmic Disco pioneer Josep Llobell (Oliver’s Planet), this is a real fest of 80s Italo Disco, Munich Sound, Boogie, Funk and Modern Soul. The fabulous, minimal production of Llobell collides with the sensual vocals and moanings of Susana, singing about sexual liberation and freedom. Of course, when the album was originally released, nobody understood it. Criminally underrated for many years, “Amor y Libertad” has now become a cult item in the international Cosmic Disco scene.
                                                                        But in 1980, a strange cassette by Susana called “Machos” was also released on the Belter label. It featured music and songs from the play of the same name. There, we can find “Espacial” (seven minutes of robotic funk and Space Cosmic Disco) and “Hagamos el amor” (“Let’s make love”), another sexadelic funk track much in the vein of the ones included on “Amor y Libertad”.
                                                                        On this comp, you’ll find the entire “Amor y Libertad” album except the two tracks which were not in a disco / funk vein (“Ven” and “Arena y mar”), plus “Machos” ( a Celi Bee & the Buzzy Bunch cover), “Acaríciame” from the first Belter 45 and two tracks from the “Machos” cassette: “Espacial” and “Hagamos el amor”. We’ve also included a previously unreleased track courtesy of Susana: “Tócame”, recorded in 2007, in a High Energy Euro Disco vein.

                                                                        Susana Estrada

                                                                        Amor Y Libertad

                                                                          Sexadelic disco-funk, boogie and Italo sounds by Spanish actress, singer and Sex Goddess Susana Estrada.

                                                                          “Amor y Libertad” (Love and Freedom), was originally released on the Belter sub-label Sauce in 1981. Produced by Cosmic Disco pioneer Josep Llobell (Oliver’s Planet, Enterprise), this is a real fest of 80s Italo Disco, Munich Sound, Boogie, Funk and Modern Soul. The fabulous, minimal production of Llobell collides with the sensual vocals and moanings of Susana, singing about sexual liberation and freedom. Of course, when the album was originally released, nobody understood it. Criminally underrated for many years, “Amor y Libertad” has now become a cult item in the international Cosmic Disco scene.

                                                                          Due to high demand, here's the first ever vinyl reissue of “Amor y Libertad” with the original tracklist and artwork, including a colour insert with photos and memorabilia.

                                                                          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.


                                                                            Simone Felice Feat. Four Tet

                                                                            Puppet / Prisoner

                                                                              Limited Pressing (500 worldwide..) of a special 7 inch of Simone Felice’s powerful new Single “Puppet” (Feat. FOUR TET) plus unreleased b-side “Prisoner”.

                                                                              "A lyricist to rival Dylan and Cohen. An album crackling with menace yet infused with tenderness, The Projector conjures magic with fragile rays of light in the darkness." - The Telegraph ****


                                                                              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.

                                                                                Rain & Shine present in 45 format, "Pray Again" and "Give Your Best To The Master" two certified dancefloor cuts from Shirley Finney’s 1979 LP.

                                                                                Officially licensed and re-mastered from Savoy reel-to-reel tapes.

                                                                                Shirley Finney is personally involved in this project, and is overjoyed to see her music hot in demand almost 40 years after the original recording. Limited copies - you know what to do. 


                                                                                "Pray Again" is Shirley Finney’s first LP outing from 1979. Officially licensed and re-mastered from Savoy reel-to-reel tapes. Undeniably one of the best 12” LPs for gospel / soul / disco instrumentation, vocal arrangement and pure vibes, whether for the bedroom or the dancefloor. Shirley Finney is personally involved in this project, and is overjoyed to see her LP hot in demand almost 40 years after the original recording (original LP will set you back $300+).

                                                                                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 & Joe Hart

                                                                                  Spit From The Sun / Igniter

                                                                                  This monster features two banging club tracks written and produced by Fraser and Hart at Fraser’s!

                                                                                  The A side, “Spit from the Sun” is a peak-time jacking acid number which will set any dancefloor on fire. Its rattling drums and pulsing bass stabs capture all the intensity of the convict poet on the vocal telling his story and lamenting the waste of his life behind bars.

                                                                                  Over on Side B, “Igniter” strikes a more subtle tone with its gently rising strings and breathy vocal. But don’t let the subtlety deceive you as those kicking drums and thumping bassline come through to get the dancers screaming for more as it hits its crescendo.

                                                                                  Top release that will render results guaranteed. Fierce, no shade. sistas. Fierce and no shade. 

                                                                                  STAFF COMMENTS

                                                                                  Sil says: Relentlessly urban and heavy machinery aesthetics on the mega A side on this jacking acid megatron!
                                                                                  Flipside focuses more on the bassline but heavy on the beat filled with melodic flares here and there. Interesting.

                                                                                  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.

                                                                                  Scott Fraser

                                                                                  Together More - Andrew Weatherall Remix

                                                                                  Been a while for cult imprint Birdscarer, and with Scott Fraser and Andrew Weatherall fronting up number seven on the buy-on-sight series this is certain to cause a twitch in the circuit boards of all the robo-dancers and cybalearic lovers out there...

                                                                                  It's another love to outerspace, as vocalist Louise Quinn mutters sweet utterances over a rotary, acid-flecked nu-cosmic chug. That familiar arpeggiated twinkle and gentle low end throb perfectly compliment the angelic phrasings of Quinn's ethereal vocal style.

                                                                                  Wevvers is on hand offering up a remixed version; utilizing the vocal to its full potential but adding a darker and more nocturnal instrumental behind it. Top drawer stuff as always; get them orders in quick 'cos they always sell out! 


                                                                                  STAFF COMMENTS

                                                                                  Sil says: Weatherall signature all over the place on the B Side. You know the drill with this genre pioneer on this mega sought-after label. Balearic with a twist I say.

                                                                                  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.

                                                                                  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.


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