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The 3 Pieces

Vibes Of Truth

    A true is a masterpiece of genre-bending groove, Vibes of Truth covers all the bases: from silky-smooth R&B, to politically conscious jazz-funk grooves, Vibes of Truth has it all. Long sought-after by collectors for the three club friendly tunes within its grooves, “Backed Up Against The Wall,” “Concrete Jungle,” and “I Need You Girl,” this lost classic from the Fantasy catalog represents the very best of the mid-70’s jazz-funk crossover sound and fits perfectly in a collection next to the likes of the Blackbyrds’ City Life or RAMP’s Come Into Knowledge.

    FORMAT INFORMATION

    LP Info: - First-ever 180-gram vinyl reissue
    - Lacquers cut by Kevin Gray, Cohearent Audio
    - Old-school style tip-on jacket
    - Includes Jazz Dispensary "Authorized Dealer" window cling

    The Abbasi Brothers

    Something Like Nostalgia

      "Something Like Nostalgia" is a film for your ears, a cinematic glimpse into the purity of everyday life. Written over two years, these 15 scenes are like snapshots of daydreams, their soundscapes are their subtitles, and the origin is not so very foreign. Yousuf and Amman Abbasi represent a new generation of evocative and epic instrumentalists. Following in the footsteps of the late 70s output of Eno & Byrne and Rodelius, then wading through the enigma of early 80s 4AD, they arrive in the 21st century with a sound that is familiar and yet all their own. Intensely motivated by the moving image, The Abbasi Brothers have created a new lexicon of music using digital instruments, electronics, guitar, piano and found sound. Through dreamlike 'sound-scenes' that celebrate nostalgia and the gentleness of the mundane in our day-to-day living they manage to make the ordinary extraordinary. While engulfed in their take on life-as-film made super-real is so rewarding one doesn't want the simple moments to ever end. Intricate and evocative, this is music to accompany the dance of waving hands as the train leaves the platform.
      here.

      A great little single from this Halifax 5 piece. A blend of taught drums and Morse code guitars mixed with a fine layer of loose vocals make "Thieving Magpie" a jaunty and rattling number whereas on the flip there's a more emotionally downbeat "Friend of Mine".


      STAFF COMMENTS

      Laura says: Think The Strokes covering The Smiths, but with a cool female vox.

      Melodic techno and electronic soul music here from The Abstract Eye - better known as Gifted and Blessed aka one hot ass mother fucker! Originally released on Valentine Connexion in 2011, now available again in a shiny new jacket. With a fixation for vintage electronic instruments, the extraordinarily gifted Gabriel Reyes-Whittaker creates striking electronic songs under many monikers, integrating the technological with the spiritual and ancestral in his music. Here we get playful electronics mixed with inspired electro rhythms. With a keen ear for synthesis, TAE creates really sumptuous patches that you wanna jump right into! Maintaining that essential balance of electronic elements paired with rich musicality, the four tracks on offer here are nothing short of brilliant, showing a producer totally in tune with his instruments and not lacking in confidence. All composed around a loose 4/4, various degrees of analogue and digital performance and expression highlight the different moods and flavours across this pioneering 12". Thoroughly recommended! 

      The Abstracts

      King Of Clubs

      Disguised under the name of producer Pee Ditty Pee, Prince Paul is the latest producer to provide two sides of private reel breaks madness for Kenny Dope's cute Sure Shot series.

      The Abyssinians are a Jamaican roots reggae group, famous for their close harmonies and promotion of the Rastafari movement in their lyrics. "Declaration Of Rights" was the group' second single (following the Rasta hymn - "Satta Massagana") and featured featured Leroy Sibbles on backing vocals, and like their first single, was a huge hit in Jamaica, (and subsequently in the international market) and has been covered several times since. Another essential reissue from Studio One.

      From the underground of Stavanger Norway one could expect some serious filth and crunch, but Ullis Tapes issues two soft, gentle and almost slick house tracks with bubling acidic melodies and pads on the A-side (with Tom Ace from Club No-No 3) and lengthy slow chorded lullaby house on the flip which feat. Bejjer. Originally released via Fett Distribution with little fanfare, it's nice to get chance to get these soft-house anthemns available for all our customers here at Picc HQ. If you like the dreamier side of Sotofett, Lord Of The Isles, Vakula, Moon B etc, you're gonna love this. Delighltfully rich and textured compositions which straddle boundaries between the celestial and organic. Ace.

      STAFF COMMENTS

      Matt says: Criminally slept upon first time round, Ullis Tapes offer up another chance for the masses to grab this soft house classic. Don't sleep!

      The Ace

      I Dream Love / Man Out Of Time

        "The Ace came together, as far back as 2008, out of the ashes of a band called The Freebooting Profiteers. They are, Jonny Wilson, guitar, Daz Parkinson, drums and Nige Spencer, bass. Their '66 style, Freakbeat/ Beat Garage tunes were recorded in Ghost Town Studios, in Leeds with Ross Haldon. Various cds were released and the band have had great support from Bill Kelly on WMFU, New Jersey. Mike Murray on WRUR, Rochester, NY. Glory Boy Radio, 6 Towns Radio, UK and Ice Cream Power Pop and more, in Europe. This is the bands first foray into vinyl territory and is a sizzling slab of Garage goodness. We hope you'll like it."

        The Acorn

        Tin-Fist

          Tin Fist is being issued on vinyl for the first since its 2007 original release date. The vinyl includes two never before heard bonus tracks ‘Shoot The Moon’ and ‘Sleepwalking’. The Acorn, led by Rolf Carlos Klausener, is very thoughtful, deliberate and at times haunting. Think of the best of worlds encompassed by Bright Eyes, Under Byen and Bruce Springsteen and a song like the dark, mysterious and hushed "Heirlooms" immediately comes to life. Soft and melodic before slowly gaining a harder tone, the track morphs into a tension-filled coda that never breaks through the surface. And while Tin Fist might only be a eight-song EP, this song exemplifies the strength of the effort. "Dents (Glory, Pt.1)" has a distinct folksy nature that gently pushes it along, resembling a fine Appalachian tune that might have been attempted in Wilco's earlier incarnations. Following a warm "Brokered Heart" which has ample twists and turns, the Acorn show another side of themselves with the melodic pop oozing out of "Feral Chile" that sounds like XTC influenced by dance-rock. Carrying on this momentum is the joyful "Spring Thaw" that has the same bounce and panache as songs by the Diableros and the Arcade Fire. – (Taken from a Pop Matters review)

          The Acutes

          Set On You

          The second single by Leeds band The Acutes, follows "When I Left Work Today". Spikey guitars and abrasive vocals over a manic percussive drum rhythm once again create a quirky, catchy, lo-fi gem.

          The Adverts

          Cast Of Thousands

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

            Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of “Crossing The Red Sea”, The Adverts “Cast Of Thousands” has since been recognized as a lost classic of the time period. TV Smith’s cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert’s bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield “Tubular Bells”) the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV’s best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart.

            They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear “Cast” for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on “My Place” or via the anthemic surge of “Television’s Over”, with TV’s hook factory on full display on the anti-love song “Love Songs”, and the band closing the album with the creeping ballad “I Will Walk You Home”; The Adverts had grown from a great punk rock band to a great rock band. Available on coloured vinyl for Record Store Day. Download includes two bonus tracks. 

            FORMAT INFORMATION

            Coloured LP Info: White vinyl.

            Coloured LP includes MP3 Download Code.

            Fronted by Chris Kearney, who has a powerful, defined and distinctive vocal delivery, The Aeroplanes have taken the sound so associated with scouse bands over the last fifteen years and moved it simultaneously onwards and upwards. With a strength and depth of repertoire that belies the relatively short space of time the band have been together, they are capable of producing raw energy ("Don't Stop Me"), whilst expressing true emotion ("Black Hole").

            FORMAT INFORMATION

            10" Info: Limited edition 10".

            The Afghan Whigs

            Congregation - Vinyl Reissue

              1992’s ‘Congregation’, The Afghan Whigs’ third album, finds the Whigs’ soul and psychedelic influences shining through and helped define the band’s sound for years to come. ‘Congregation’ has been out of print on vinyl since its original pressing sold out many years ago - now re-cut onto double vinyl.

              FORMAT INFORMATION

              2xColoured LP Info: Loser Edition coloured vinyl format only available to independent retailers. 180g vinyl with a digital download card.

              ‘Do To The Beast’ is the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing angst and obsessions.

              The new album is both a homecoming - it marks their return to Sub Pop, for whom the Whigs were the first signing from outside the label’s Northwest base - and a glimpse into the future of one of the most acclaimed bands of the past twenty five years.

              ‘Do To The Beast’ is an appropriately feral title for one of the most intense, cathartic records of Dulli’s entire career. It adds fresh twists to The Afghan Whigs canon: there’s the film noir storytelling of ‘Black Love’, the exuberance of ‘1965’, the brutal introspection of ‘Gentlemen’. However, the album exudes a galvanized musical spirit and rhythmic heft that suggest transcendence and hope amidst the bloodletting.

              Recorded in LA, New Orleans, Cincinnati, and Joshua Tree - a virtual map of the band’s past and present homes, the album features Whigs co-founders Greg Dulli and John Curley, along with the core band of guitarists Dave Rosser and Jon Skibic, multi-instrumentalist Rick Nelson and drummer Cully Symington. Also featured are soul iconoclast Van Hunt, Mark McGuire (Emeralds), Johnny ‘Natural’ Nagera (Usher’s musical director), Alain Johannes (Queens Of The Stone Age, Arctic Monkeys), Clay Tarver (Bullet LaVolta, Chavez), Dave Catching (QOTSA, Eagles of Death Metal), among others.

              STAFF COMMENTS

              Laura says: Greg Dulli and co return in fine style with this swaggering blend of rock'n'roll angst, classic r'n'b and soul. A dark and uncompromising tour de force.

              FORMAT INFORMATION

              2xLtd LP includes MP3 Download Code.

              The Afghan Whigs

              Gentlemen

                "The Afghan Whigs' sound was growing larger by the release during the days on Sub Pop, so the fact that Gentlemen turned out the way it did wasn't all that surprising as a result ("cinematic" was certainly the word the band was aiming for, what with credits describing the recording process as being "shot on location" at Ardent Studios). While Gentlemen is no monolith, it is very much of a piece at the start. While "If I Were Going" opens things on a slightly moodier tip, it's the crunch of "Gentlemen," "Be Sweet," and "Debonair" that really stands out, each of which features a tightly wound R&B punch that rocks out as much as it grooves, if not more so. Greg Dulli's lyrics immediately set about the task of emotional self-evisceration at the same time, with lines like "Ladies, let me tell you about myself -- I got a dick for a brain" being among the calmer points. The album truly comes into its own with "When We Two Parted," though, as sad countryish guitars chime over a slow crawling rhythm and Dulli's quiet-then-anguished detailing of an exploding relationship. From there on in, things surge from strength to greater strength, sometimes due to the subtlest of touches -- the string arrangement on "Fountain and Fairfax" or the unexpected, resigned lead vocal from Scrawl's Marcy Mays on "My Curse," for instance. Other times, it's all the much more upfront, as "What Jail Is Like," with its heartbroken-and-fierce combination of piano, feedback, and drive building to an explosive chorus. Dulli's blend of utter abnegation and masculine swagger may be a crutch, but when everything connects, as it does more often than not on Gentlemen, both he and his band are unstoppable." All Music

                STAFF COMMENTS

                Laura says: One of my favourite records of all time! The album is soulful, with a heavy dose of R&B (I mean 50s/60s R&B here not that auto-tuned modern stuff!) mixed in with rock guitar riffs and Greg Dulli's dark lyrics. The title track, "Debonair" and "Fountain And Fairfax" stand out for me, but it's all great!

                Mute are proud to present the 21st anniversary deluxe editions of The Afghan Whigs’ landmark album ‘Gentlemen’.

                ‘Gentlemen At 21’ features the original album newly remastered along with bonus content consisting of rare Bsides, live performances and previously unreleased demos.

                ‘Gentlemen At 21’ presents the original record’s 11 tracks, updated but still retaining the 1993 album’s blistering swagger. The same 11 tracks that have made a visceral connection with fans over the last 21 years - the deeply dark and confessional lyrical content, the no-frills production qualities and Greg Dulli’s soul-baring vocal performances captured on tape. In addition, the album includes all the original demos for the album, which were recorded at John Curley’s Ultrasuede studio space in Cincinnati.

                The bonus material also includes the original ‘Debonair’ single B sides, including ‘Mr Superlove’ and a cover of the southern blue-eyed soul classic ‘Dark End Of The Street’ along with three songs recorded live for KTCL in Denver, previously issued on the ‘What Jail Is Like’ EP. The set comes packaged with a faithful reproduction of the original sleeve art and its striking front cover image, an homage to Nan Goldin’s iconic ‘Nan And Brian In Bed, New York City’.

                The Afghan Whigs

                Up In It - Vinyl Reissue

                  ‘Up In It’ is The Afghan Whigs’ second full length and their Sub Pop debut. The 1990 album, recorded by legendary producer Jack Endino, was critically acclaimed and garnered strong college radio airplay. It has been out of print on vinyl for over 25 years.

                  FORMAT INFORMATION

                  Coloured LP Info: Loser Edition coloured vinyl format only available to independent retailers. 180g vinyl with a digital download card.

                  The Afghan Whigs

                  Uptown Avondale - Vinyl Reissue

                    ‘Uptown Avondale’, released shortly after ‘Congregation’, features The Afghan Whigs paying tribute to their soul music influences by performing covers of Stax and Motown classics. This LP pressing is the first time ‘Uptown Avondale’ has been fully released on vinyl (its only previous vinyl pressing was a short European run in 1992).

                    FORMAT INFORMATION

                    Coloured LP Info: Loser Edition coloured vinyl format only available to independent retailers. 180g vinyl with a digital download card.

                    This legendary 1994 double-pack on Eightball has long been an object of desire for proper house heads and vinyl junkies worldwide. We should count our lucky stars then that 2014 is the year that it gets its first full reissue! Featuring deep house classics "Making A Living" (as heard on Phil Mison's awesome 'Originals' comp), "Young And Free", "All In The Same Family" alongside a host of dancefloor weapons, "The African Dream" embodies the true spirit of classic club music at a time when disco and house collided in the melting pot of NYC. An absolutely essential release from a classic era of New York dance music that captures the deepness, rawness and soulful edge of the people who made it. Timeless house sounds for the true connoisseur made available once again. It's a beautiful thing baby!


                    The Aggrovators were one of Jamaica’s finest session bands put together by the hit make from J amaica Bunny Striker Lee. The group would produce some of the hardest rhythms cut at the legendary Channel 1 studio. These tracks would provide the backbone to songs that were usually voiced over at King Tubby’s own studio.These cuts here represent a selection of some of those fine rhythms selected together for the first time. The Aggrovators were a group of Reggae musicians that usually featured Carlton’Santa’Davis on drums playing alongside Robbie Shakespeare on bass with other musicians addedlike Earl’Chinna’Smith on guitar and Tommy Mc Cook and Vin Gordon and Lennox Brown added for horn arrangements,Keyboards and organ duties normally fell to Ansel Collins and Bernard’Touter’Harvey. We have compiled some great tracks recorded by this fantastic group of musicians and focused on those cut on Channel 1 studios to give you a feel of what those times were like. Hope you enjoy the set…..

                    The Album Leaf

                    Between Waves

                    Nearly twenty years into a career that has seen Jimmy LaValle exercising his creativity across the realms of film scoring, sound collage, and electronic / rock music, via instrumental and vocal-driven compositions alike, LaValle and The Album Leaf are poised to deliver yet another sonic triumph with 2016’s Between Waves.

                    Born out of a thorough reinvention of LaValle's creative process and approach, Between Waves is The Album Leaf's first proper full-length record in over six years and the first to be recorded and produced as a complete band, and was written with greater emphasis on the group dynamic. The album displays multifaceted, meticulous sound design, a keen ear for balancing disparate influences, and the strongest senses of dynamics, rhythm, and composition The Album Leaf has displayed to date. From the moody evolution of "Glimmering Lights" to the wistful trip-hop stylings of "New Soul" and beyond, Between Waves is a gorgeous collection of euphoric melodies and emotionally charged, multi-instrumental driven soundscapes from the longstanding innovators. This is intelligent, beautifully composed music at its most inventive, most confident, and most impressive.

                    STAFF COMMENTS

                    Barry says: Well this is different isn't it? Not like 'It doesn't sound like The Album Leaf' different, it definitely does, but with an urgency previously unheard. I'm a big fan of LaValle's mellow Rhodes-based compositions (the recent reissue of 'In A Safe Place' was one of my record-buying highlights of recent times). The Rhodes is still present here fortunately, but it is backed with thumping drums in places, glitchy snares and giant swells, all topped off with silky vocal refrains. Pristinely produced and exciting from beginning to end. Rich and luxurious. Like a Creme Egg, but better for you.

                    The man who put the beat into afro-beat is back! Comet deliver a reissue of "Black Voices", featuring remastered versions and a new bonus track “Ariya (Psyche Juju Mix)”.
                    Tony Allen completely rewrote the books on what was possible within the AfroBeat genre with his stunning 1999 album, Black Voices. When one considers exactly "what" is going on throughout Black Voices, it is quite mind boggling, as it is almost impossible to associate a minimalist, electronic feel with the massive walls of sound which Allen was known to create. But those walls of sound are still very present, just delivered with an entirely new feel due to the presence of the producer, Doctor L. He takes the mesmerizing rhythms that Allen creates and he spins them into a stunningly modern sound. While Doctor L's production work throughout Black Voices is truly fantastic, it is clear that the genius behind the album lies within the mind of Tony Allen. With the absolutely mesmerizing, funky grooves that Allen creates, it comes as little surprise that the vocal collaborations are handled by members of one of the funkiest bands in history: Parliament-Funkadelic.
                    For almost two decades, "Black Voices" has remained a stunning example of the fantastic results that can occur when seemingly unrelated genres clash. 

                    Tony Allen

                    Moyege - Mark Ernestus (Basic Channel) Remixes

                      Mark Ernestus, one half of the Basic Channel, Maurizio and Rhythm & Sound teams, inaugurates Honest Jon's series of reworkings of tracks from Tony Allen's "Lagos No Shaking" album. His "Mark's Mix" is not a rework, more an extended edit in the classic tradition of Tom Moulton etc (back in the days when Francois Kevorkian was his teaboy, and there was a cupboard in his office stuffed with Studio One master-tapes!). On the flip the "Mark's Disco Dub" brings to "Moyage" the dubwise intelligence of the disco-mix, creating a beautifully crafted, irresistibly grooving, heavy bassline driven rework on a 4/4 tip. ESSENTIAL!!!

                      Terry Allen

                      Lubbock (On Everything)

                        Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely acclaimed as a masterpiece, his deeply moving (and hilarious) satirical second album, a complex memory palace to his West Texas hometown Lubbock, is often cited as the urtext of alt-country. Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition: the first to correct the tape speed inconsistencies evident on all prior versions; the first U.S. vinyl reissue; the first CD to restore the full track listing; and the first to contextualize the record within Allen’s 50-year career. Deluxe 2LP package includes tip-on gatefold jacket with lyrics, printed inner sleeves, download code, and 28 pp. book with related artwork and photos, an oral history by Allen, and essays by David Byrne, Lloyd Maines, and PoB. 2×CD edition features replica jacket, sleeves, and tipped-in 52 pp. book. Just four years separate Terry Allen’s first and second albums and consecutive masterpieces, Juarez (1975) and Lubbock (on everything) (1979), but the two records inhabit completely different systems of worldbuilding, wildly divergent in terms of sonics, scope, and circumstance. Arguably Allen’s most widely beloved and most easily approachable album—it contains his 2 best-known and most covered songs, “Amarillo Highway (for Dave Hickey)” and “New Delhi Freight Train” (famously first recorded by Little Feat)—Lubbock (on everything) is his complex memory palace to his West Texas hometown. Compared to its sparsely produced predecessor, it represents a much more collaborative, even collective, effort with a local Lubbock studio band, complete with rhythm section, pedal steel, fiddle, and horns, and helmed by master guitarist Lloyd Maines, who became Terry’s frequent musical partner, producer, and the de facto bandleader of the Panhandle Mystery Band. Even if Allen’s music is more accurately described as art-country, Lubbock (on everything) sowed the seeds of alt-country’s emergence a decade later. 

                        "The Source" is the Nigerian drummer's first album for Blue Note, one of the most prestigious names in jazz and a label that has opened its sphere of activity considerably wider since its renaissance in the eighties. Perhaps more than any other title in the catalogue, "The Source" represents the label's classic era at the same time as it symbolizes Blue Note's innovative present. The album achieves this by means of a sound-aesthetic that has total integrity, the result of a scrupulous transcribing of the music using a technology that is exclusively analogue, and doing so according to the precepts of the virtuous philosophy inherited from the label's founders, Alfred Lion and Marx Margulis. Piccadilly regulars should be well aware of the talents of Tony Allen by now. Pretty much the most prolific musician of the afro-beat scene still alive today! 77 years old and this guy keeps on ticking - or motoring rather, as his excessive, flamboyant, but totally in-the-pocket drumming demonstrates. Like all true jazz men, his personality comes through in his performance and through the course of "The Source" we find him backed up by a more than accomplished set of musicians - skirting around trad and spiritual jazz with inspired passages and lavish arrangement. Top, top stuff indeed.

                        STAFF COMMENTS

                        Barry says: Afrobeat legend Tony Allen returns for his newest mindblowing outing, at the ripe old age of 77, and still pulling the hits out of the bag. This man is a true legend, and 'The Source' reminds us why.

                        Although "III" might be the third album from San Francisco trio The Alps it marks their first studio-based record and a fresh direction for the psychedelic supergroup. Made up of Tarentel mainman Jefre Cantu-Ledesma, ex-Tussle member Alexis Georgopoulos (better known as ARP) and ex-Troll member Scott Hewicker there is a deft amount of skill on display as the three rip through eight tracks of sizzling spiritual bliss. Comparisons here are easy to bring up - Popol Vuh, Ennio Morricone and Serge Gainsbourg spring to mind for starters as the band toss and tangle through thick drum breaks and reverberating sun-drenched guitar lines. "III" feels like a lost soundtrack to some crumbling Italian surrealist classic with its pounding basslines and swirling synthesizers. This is visual music, inspired by the likes of Werner Herzog, Alejandro Jordorowsky and Michaelangelo Antonioni, but what results is far more than a pastiche. Rather the trio have concocted a record which while being aware of its sprawling influences is far more than the sum of its parts. The finest excesses of progressive rock and the leanest intricacies of the psychedelic folk scene have been splashed together with a distinct dusty funk overlook to produce something which is totally out of time. Free from some half baked scene or other this is the result of three musicians doing exactly what they want. "III" has taken a plethora of sounds and crumbled them into something altogether beguiling. From the distant supernaturalism of "Trem Fantasma" to the Terry Riley influenced bliss of "Pink Light", The Alps show us that there's more to pyschedelia than meets the eye.

                        Still comprised of the core threesome of Jefre Cantu-Ledesma (Tarentel), Alexis Georgopoulos (ARP) and Scott Hewicker (Troll), The Alps return to Type in full force for their fourth sprawling long player. Buoyed by the praise lavished upon its predecessor "III", the band were adamant that "Le Voyage" would be bigger, brighter and better than anything in their catalogue to date, and we can report that they have been successful in their quest.

                        With propulsive, break heavy rhythms sure to appeal to any diggers out there and a blissful, sunny outlook to wipe the frown from the faces of all you dour experimental types, "Le Voyage" is a crack of light in a dark room. A mysterious record, it is punctuated by the same energy that gave us space rock and psychedelia, and while the band are quick to demonstrate their wide-ranging musical knowledge, there is something incredibly unique about their sound. This is not a lazy soundtrack to a film which might never be made, rather "Le Voyage" is a journey for the listener and one you will want to take over and over again.

                        The sun-bleached movie soundtrack sentiment that underpinned their previous records is still here in full force, but it comes rolled up in something defiantly more psychedelic, and in turn more unpredictable. Sewn together by vignettes which bring to mind everything from Popol Vuh to Delia Derbyshire's Radiophonic hiccups or Luc Ferrari's tape collage, the band have put together an album which genuinely takes you on a journey. Surely it can't be a mistake calling the album "Le Voyage" then, a title which simultaneously brings to mind the work of Serge Gainsbourg and Alejandro Jordorowsky - something deep visual but effortlessly beautiful.

                        STAFF COMMENTS

                        Andy says: This sounds like an indie Pink Floyd. Hey, come back! That's a recommendation. Mellow, languid, beautiful simple music, but with a twist.

                        The Amazing

                        In Transit

                          The Amazing stay just out of focus. On their fifth album, In Transit, they once again perform the unlikely trick of making music that is both dreamlike, drifting across the consciousness, as well as perfectly constructed. While In Transit shares the sense of mood of many of singer and founder Christoffer Gunrup’s favourite bands – the Cure, My Bloody Valentine, Flaming Lips – it never drifts away into self-indulgence. At the heart of it all, beneath the washes of guitar, the woozy reveries, are sturdy, intensely melodic songs. You hear that from the very start of the album, when Pull slides into view, slide guitar casting shapes and shadows across the arpeggios beneath, while lightly jazzy drums propel the song forward and Gunrup mournfully whispers his barely audible lyrics, before the song ascends into a refrain that sounds like every emotion combined.

                          That combination of melody and mood comes from the way the songs are made, and the interaction between Gunrup and his fellow members, Reine Fiske (also of Dungen, guitar), Moussa Fadera (drums), Alexis Benson (bass), and Frederik Swahn (keyboards and guitars). Gunrup writes alone, in what he calls “a very disgusting process. It’s just me in my underwear on my couch.” He emerges with a complete song – “the intros, the outros, the melodies, all the chords” – which he takes to the band, imagining they will play it just as he imagined. Except they never do. “They can feel rather than hear what needs to be done,” Gunrup says. “They do pretty much what they please.”

                          Yet In Transit does not sound self-indulgent. Gunrup’s songs are the very heart of In Transit, and the musicians’ playing always serves them, rather than overwhelming them. On For No One, you can hear the subtlety of their interaction, which is not what one might expect to say of a song in which whistling feedback provides the core of its climax – it’s only at the end you realise how cleverly it has transformed from what begins as fingerpicked near-folk into something very different.

                          As one might expect, Fiske’s guitars are at the heart of The Amazing: gorgeous tones and textures, sometimes fed through layers of distortion, sometimes kept clear and clean, to convey melody in the most direct way. “He has a sound and a way of playing that not many guitarists do – he’s all about emotion, which is great,” Gunrup says. Benson se Convirtio Completamente Furiosa, just short of 10 minutes long, Fiske displays the full range of his talents. It’s an extraordinary song, beginning with Gunrup’s voice, a lazy sigh, telling of “being caught up in a deadly boring place”, over a gorgeous, circular guitar pattern for two-and-a-half minutes, before hypnotic, swirling instrumental section built on a melancholy arpeggio takes up another two-and-a-half minutes. Gunrup’s voice returns, a little more urgent. Then the song apparently stops – only to return with Fiske playing a furious, squalling solo, a shriek of rage and despair. For the other side, listen to Rewind, a song so simple and gorgeous it sounds as though it has existed forever, in which the playing is resolutely unshowy, yet devastatingly emotive, with one simple hook – a single high note repeated in each phrase – that proves the power of well-deployed restraint.

                          It doesn’t come as any surprise to learn that Fiske is obsessional about his equipment. A few years back, The Amazing’s practice space was robbed, and their equipment stolen, all bar Fiske’s Stratocaster. “Afterwards we went for a beer,” Gunrup says. “We sat there in silence and felt blue. But the person who was most upset was Reine. He was so much more upset than us, he said, because what would have happened if they had taken my guitar? He couldn’t even comprehend what would have happened to him.”

                          But there’s so much more to The Amazing than guitar histrionics. “The drummer comes from a jazz background, so he doesn’t do what is expected, which I love.” A mention of Black Sabbath’s Bill Ward having the same background, and adding the same swing sets Gunrup off excitedly talking about a film of an early Sabbath live show. He identifies the common thread between Ward and Fadera: “Someone else would do something you had heard a thousand times before, but he won’t.”

                          Maybe that freewheeling element is what causes Gunrup to name “playful” as the adjective he most associates with the music of The Amazing, rather than the more obvious “melancholy”. “That’s something I feel, but maybe it doesn’t come across in the records at all. But playful – and, I don’t know, I guess it could sound a bit blue occasionally, when the vocals are there. That to me is what makes it fun to play.”

                          On In Transit, Gunrup’s voice is mixed a little higher than before. Snatches of lyrics gain clarity, drifting across the music like clouds. Yet you wouldn’t say he had been placed front and centre, and that suits him. “Lyrics are important to me,” he says. “But I am extremely uninterested in coming across lyrically. That is nobody’s business. If people enjoy the way the vocals interact with the music, that’s good. If not, I don’t care.” Much of his favourite music shares the quality of the vocal being a texture rather than conveying a message, he says. “If you listen to Loveless by My Bloody Valentine, I can make out maybe 11 words in one song, but I love that album more than any album ever made.

                          “If there are words I don’t hear, I can decide for myself what they’re saying and I like that. With 99.9% of all music made in this world the lyrics are, oh, so fucking dumb and boring and stupid. There’s no point in me adding to that stupidity. They are important to me, but you can decide for yourself.”

                          Work on In Transit began as soon as The Amazing’s last album, Ambulance, was finished. That’s when Gunrup began writing the 11 songs – stretching over 71 minutes – that make up the new record. He wrote quickly, then took them to the band, who recorded them piecemeal in (Fredrik) Swahn’s studio in Stockholm. “We started pretty soon after the last album was released, and did bits and pieces here and there,” Gunrup says. “It’s been forever.”

                          While The Amazing aren’t the kind of band who insist every album has to sound radically different from the one before. They change incrementally, adjusting and refining their sound rather than revolutionising it. Changes Gunrup had thought were dramatic – like the greater use of chorus pedals and organ on their third album, Picture You – turned out to be minor. This time, the development from Ambulance is a slightly fuller sound. “The last album was just basic tracks and vocals and that was pretty much it.” He ponders for a moment. “I was convinced the last album was better because the songs were better. But now it’s the other way round. This has got more stuff on it: more vocals, more overdubs.”

                          For all Gunrup’s self-deprecation, for all his unwillingness to reveal secrets and his desire to talk down his desire to deflect attention from himself, The Amazing is something he needs to do: it’s his purpose. He laughs and says that without music, “I maybe would not have killed myself, but I would have been even more boring than I am” – but he is compelled to make music, incredible music, which is why he never stops writing songs. And then he connects with the other four members to create something extraordinary. It’s about that combination, those people, playing those instruments.

                          “That is the essence of it, so when we all connect in a song it’s pretty nice to be in that room. That’s therapy. I pretty much see everything we do – being on my couch, the recording process – as this therapeutic thing. I don’t necessarily think we go into the studio to do this, this and this, I just want to be with those four guys and play.”

                          FORMAT INFORMATION

                          2xLP includes MP3 Download Code.

                          ‘Ambulance’ sees The Amazing continue their journey to a place where music is free of restrictions. Despite reflecting Chris Gunrup’s often bleak worldview, the music is expansive and beautiful, marked by playing that’s as much free jazz as rock - pure music without any showiness.

                          The songs unfold slowly, without a traditional verse / chorus structure, spinning gauzy webs of shimmering mystery with their own inimitable dynamic of sinuous, swirling guitars; rich, ambient basslines; crisp percussion and restrained, church-like, keyboard textures. The stately tempos suggest a room full of shadows desperately reaching out for intimacy but never quite making the connection. The songs brim over with tension and more implied release than actual relief.

                          Gunrup is known for his reluctance to talk about his process and prefers to let the music speak for itself and if 2015’s ‘Picture You’ was brighter, exploding outward to explore the limits of experience, ‘Ambulance’ is much more intimate. The mix denser and darker, the instruments pressing closer, crowding each other, imploding inward to reconnoitre the uncharted distances that exist between us, even in life’s most intimate moments.

                          Sharing members with Sweden’s psych forefathers Dungen, the album delves into the hidden recesses of the heart, finding inner space to be just as expansive as the midnight sky. It was recorded in just a few days in one tiny room at Stockhom’s Buller & Bäng studio.

                          The Amazing’s drummer, Moussa, is one of Sweden’s top jazz drummers and has also played with Rodriguez and Jose Gonzalez.

                          The video for lead track ‘Ambulance’ features Ross Marquand (AMC’s ‘The Walking Dead’).

                          Previously the band have performed on The Late Show with David Letterman and toured with Tame Impala.

                          “The Amazing specialize in a beauty that isn’t airbrushed or slick or antiseptic, it’s elemental rock - earthy, molten, aquatic, but using each of their qualities to soothe rather than destroy or intimidate.” - Pitchfork

                          STAFF COMMENTS

                          Barry says: Indie roots and melodic intonations with a tantalising mix of Jazz structures and surf-rock tinged slide guitar. Mournful moments mix seamlessly with more upbeat offerings, showing the breadth of talents on display. Sweet vocal refrains and layered otherworldly harmonies float around the fluid instrumental backdrop. Gorgeous heartwarming masterpieces.

                          FORMAT INFORMATION

                          LP includes MP3 Download Code.

                          The Amorphous Androgynous

                          The Cartel & Remixes

                            THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                            Collectors Limited Edition Double Vinyl for Record Store Day 2014 * Hand Numbered 750 Units

                            A special collector's double vinyl of 'The Cartel' by the Amorphous Androgynous exploring psychsploitation (where psychedelia meets blaxploitation) on their 'MONSTROUS BUBBLE' soundtrack series.

                            Features original tracks from The Cartel Vols 1&2 written by the Amorphous Androgynous plus remixes by Youth, DJ Food, Black Light Cinema, Cranium Pie, Lost In Edit and by the Amorphous Androgynous themselves. Also includes 'WHERE DOES THE EVIL GO ?' featuring Alisha Sufit (Magic Carpet) on vocals and BANKSTERS which features Noel Gallagher on bass and guitar.

                            Tori Amos

                            Native Invader

                              Celebrated singer-songwriter Tori Amosunveils her hotly-anticipated new album Native Invader– to be releasedon Decca Records on 8th September.Native Invader is Tori’s 15th studio album, following on from 2014’s Unrepentant Geraldines – her 8th Billboard Top 10 album. This will be her first release on Decca Records – moving from sister label Mercury Classics.

                              Speaking of the new album, Tori Amos says:

                              “The songs on ‘Native Invader’ are being pushed by the Muses to find different ways of facing unforeseen challenges and in some cases dangerous conflicts. The record looks to Nature and how, through resilience, she heals herself.The songs also wrestle with the question: what is our part in the destruction of our land, as well as ourselves, and in our relationships with each other?

                              In life there can be the shock of unexpected fires, floods, earthquakes, or any cataclysmic ravager – both on the inside and outside of our minds. Sonically and visually, I wanted to look at how Nature creates with her opposing forces, becoming the ultimate regenerator through her cycles of death and re-birth. Time and time again she is able to renew, can we find this renewal for ourselves?”


                              Tori’s confessional style of writing sees her continue to push boundaries with her music. Her messages of empowerment, tenderness, acerbic assertiveness and her utterly peerless sound speaks to audiences across the globe. In this new album, Tori delves even deeper into her personal experiences, and the standard is there to be seen.

                              A pioneer across multiple platforms, Tori was the first major label artist to offer a single for download. Nominated for multiple Grammy Awards, she has had her songs turned into graphic novels and has produced ground-breaking videos throughout her career. In late 2016 she released the title song ‘Flicker’ to the acclaimed Netflix documentary ‘Audrie and Daisy’, addressing issues of high school rape. A noted humanitarian, Tori is co-founder of RAINN (Rape, Abuse, and Incest National Network), which is the United States’ largest anti-sexual assault organization.


                              The Animals

                              We Gotta Get Out Of This Place ( The Animals Radio & TV Sessions 1965)

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

                                The Alan Price Rhythm & Blues Combo, later the Animals, were the premier attraction on the Newcastle-on Tyne live circuit in 1962. They had a real edge combining a tough vocal sound, charismatic stage presence and a rich organ sound. They moved to London two years later, becoming popular on the mod scene and scoring record deals with EMI in the UK and MGM in America. They were the only British Invasion group whose every single released in the UK and in the US was a hit record at the time.This album comprises 14 recordings never previously released, taken from radio and TV broadcasts from the peak year of the Animals’ success of 1965. 


                                The Animals

                                Five Animals Dont Stop No Show

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

                                  By Summer 1966, the Animals were ready to call it a day. John Steele had bailed out back in February and Nashville Teens drummer Barry Jenkins was drafted in as his replacement. The band had decided to break up in May, but they were contracted to do a lengthy American tour along with teen stars Herman’s Hermits, so the reluctant five-piece dragged themselves over to the States to fulfil the commitment. But it turned out to be a pretty eventful tour, culminating in a trip to San Francisco where Eric Burdon saw the light. There, R&B was out but Psychedelia was very definitely in. The group cut a couple of tracks in Los Angeles with Frank Zappa, one of which, The Other Side of This Life, came out as a US 45 in November after the break up. Over on the East Coast, they played a gig at New York’s Wollman Rink Central Park on August 3rd and later on that evening, Chas Chandler had a Damascene moment after seeing an obscure, unsigned guitarist by the name of Jimi Hendrix. Chandler’s days of playing bass were over. The group’s last gig was on September 5th at the Steel Pier Resort in Atlantic City and that was it for the Animals – at least, until Eric Burdon and The New Animals made their appearance. 

                                  The Animals

                                  We’re Gonna Howl Tonight - Mono Edition

                                    THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                    180gm LP limited to 2000 copies worldwide. Unlike most of the London-based, middle class art school types adopting the blues, the Animals came from a tough working class area of Newcastle. Despite their somewhat scruffy appearance and what appeared to be homemade haircuts, their pure gutsy performances went down a storm around the UK. This album taken from live sessions broadcast in 1964 finds the group in fine fettle and features recordings from that first successful year when they sounded so fresh and exciting. Here they are playing blues standards by the likes of Jimmy Reed, John Lee Hooker and Chuck Berry, just like they did when they cut their debut self-titled LP that same year. They’re gonna howl tonight! All tracks in Mono.

                                    The Anniversary - Superdrag

                                    Split CD

                                    The coming together of these two emo-pop bands signifies the first release in a Split EP series from Vagrant Records. Three strong songs from each band makes this an easy-to-assimilate treat. Superdrag showcases a handful of songs and The Anniversary contribute three new creations too.

                                    The Annuals

                                    Sweet Sister

                                    North Carolina’s The Annuals have had a whirlwind ride. They released their first album, "Be He Me", in 2006 while each of their six members were only around nineteen years old. Bloggers, critics, and fans alike fell in love with the album. Two years later, they released their second album "Such Fun". The Annuals are currently embarking on their most dynamic and creative project yet, a 2010 EP release "Sweet Sister", which has been written, recorded and produced entirely by its founder, Adam Baker, in the band’s own hometown recording studio. "Sweet Sister" encompasses the pure energy that Annuals are known for: the quirky experimentalism, the intrinsic pop sensibility, the impeccable production, and the boundless independent spirit. It is electrifyingly alive, and promises to be yet another highlight in this young band’s successful and blossoming career.

                                    Recorded throughout the spring of 2010 by frontman and first time producer Martin Colclough, "Lifeline" is the album that everybody believed The Answering Machine could make. A departure and a knowing deviation from the sound that established the band on 2009’s angular debut "Another City, Another Sorry", "Lifeline" is a unique, intelligent and diverse LP. Stylistically extensive, the album clicks between moments of post rock magnificence to glitch-driven programming; at once inhaling a varied catalogue of influences and exhaling a body of work that will top End of Year polls.

                                    After working with producers from London and New York, writing songs in Tokyo, demoing in sky scrapers and honing ideas in Brooklyn, it became obvious that ‘home’ was the perfect place to pull "Lifeline" together. The cliché goes that record producers are the so-called ‘fifth member’ of the band but Manchester’s The Answering Machine decided to keep things simple and opted for an actual member of the band to produce their second album. After several successful remix projects, frontman Martin Colclough decided to step up to the role. What followed was not an expensive studio, engineers or remote location; instead the band opted for their underground practice room in the city centre. From six feet under they emerged with their lifeline.

                                    While journalists stalked the streets murmuring buzz words and hailing the new ‘Manchester scene’ The Answering Machine were hard to find. They were in fact below the city campaigning for change, creating a record that is far removed from people’s expectations of them, peeling all the layers of what journalists and fans had deemed them to be and avoiding being caught up in any industry onslaught on their city. They stand alone and by doing so have rediscovered themselves, their identity and uncovered a new sound. Central to this regeneration has been the acquisition of a number of vintage synths passed down from the Factory Records band Repetition. These, along with pump organs and acoustic guitars, opened up a new and more collaborative way of writing for the band.

                                    There are no gimmicks, stories or press angles for The Answering Machine on their second album campaign. This is because what the band have created and achieved is truly remarkable and therefore the ONLY thing worth writing about. Musically eclectic, textural and complex, lyrically sophisticated, honest and striking "Lifeline" is a very special record; the first great record of 2011. It documents a band reborn, a band who have taken the model of Radiohead and The Beatles before them, determined to make a record that sounds nothing like their last. They have succeeded with a grace and elegance all of their own.

                                    STAFF COMMENTS

                                    Laura says: Sadly, The Answering Machine have decided to call it a day, but they bow out in style with the release of the Limited Edition vinyl version of this album.

                                    FORMAT INFORMATION

                                    LP Info: Was £13.99.

                                    "Per/son/alien" is the The Antikaroshi's way of telling stories by using only fragments or short lyrics. Having grown up in the East German Punk & Hardcore underground and raised by direct in-your-face lyrics, with subtleties not to stir up governmental attention, The Antikaroshi try to figure out where they stand now – over 20 years later. Approaching this culture and their music with the knowledge of these circumstances, The Antikaroshi admit that whatever is created will be just a trace - the bit within the byte. So the three-piece delivers an album full of struggles, inner conflict and uncompromising emotion. The sound is deeply rooted in post-rock back and the DC Punk/ Hardcore explosion in the 90s.

                                    The Apartments

                                    No Song No Spell No Madrigal

                                      Eighteen years after they released their last studio album, the return of The Apartments with No Song, No Spell No Madrigal means more than just a new record to add to their perfect mythical discography. What we fnally have is an album that could have never existed, flled with every single doubt of the tortured and brilliant Peter Milton Walsh. This album carries these numerous years of absence, a deep artistic and personal history. It is a striking comeback into the world of music, eminently intimate, dreadfully universal.

                                      "If you care about quality songwriting, from one of the most singular talents to emerge from Brisbane in Peter Milton Walsh, you really should explore those albums." The Daily Telegraph.

                                      "Played with quiet grace, the eight chamber-pop songs here are alternately harrowing and redemptive, anchored by loss." – UNCUT.


                                      The Apartments

                                      The Evening Visits And Stays For Years (Expanded Edition)

                                      Born of the small but vibrant Brisbane punk/new wave scene of the late Seventies, Peter Milton Walsh began to cultivate the mysterious, moody myth that would follow him through out his career that has taken him around the world. But before setting out abroad, Walsh certainly made his mark on the Brisbaine scene. His band, The Apartments, formed in 1978 and spent the next year playing ample amounts of shows around Brisbaine. With a reputation that preceded him, Walsh was sought out by Robert Forster and Grant McLennan, members of one of Brisbaine's most noteworthy bands, The Go-Betweens. Having been offered an 8 album deal by Beserkly Records, Forster and McLennon asked Walsh to join The Go-Betweens as their fourth member in late 1978. The union was, however, short lived. There were personality differences, which led McLennon to famously say "Walsh is night, we are day. We're sun, he's rain."

                                      After the deal with Beserkly fell through, Walsh returned to The Apartments, leaving The Go-Betweens as a three piece. They went on to affectionately write a song for Walsh, entitled "Don't Let Him Come Back", which included the line "Here he comes, with his twelve o'clock junk...who's that dressed in black? Who's that in his apartment?". Things weren't sour between the two bands and The Apartments recorded their first EP, "Return of the Hypnotist" on The Go-Between's Able Label. But before the EP was even released, The Apartments broke up and Walsh left for New York City. During his time in NYC, Walsh played mustic with a number of bands and recorded many songs that would serve as demos for future releases for the still defunct Apartments.

                                      Returning to Australia in 1984, Walsh got the band back together and recorded a few singles, including "All You Wanted". All the while the band were also recording demos, which led to a record deal with London's legendary Rough Trade Records, prompting Walsh to move to London. It was there that he recorded his first proper LP, "The Evening Visits... And Stays for Years". The album received strong praise and drew comparisons to a wide range of acts such as Cocteau Twins, Nick Drake and Bob Dylan. The NME said of the record "after whetting our appetites with last year's classic import single 'All You Wanted' The Apartments have stunned us to a reverential silence. This album is a pure heart-wrencher, and should only be listened to after dark.".

                                      Although The Apartments and Walsh continued to tour and record with a variety of line ups, it is these early works that provide a definitive look at their sound. Available all together for the first time, Captured Tracks are pleased to present "The Evening Visits... And Stays for Years" along with "The Return of the Hypnotist", the "All You Wanted" single and a collection of demos from "The Evening Visits...". Complete with liner notes by Robert Forster and Walsh himself, this incredible collection of Walsh's first seven years of recordings is not to be missed.

                                      FORMAT INFORMATION

                                      2xLP includes MP3 Download Code.

                                      The Apples In Stereo

                                      Tone Soul Evolution

                                        For the first time ever, the band’s second album,Tone Soul Evolution is presented with Robert Schneider and Jonathan Wyner’s original intended master.

                                        Offering up “plenty of fi ne pop music, delivered in such a way that is plenty enjoyable” (A.V Club), this is the master Schneider intended for the world to hear and has finally been unearthed for this pressing. This edition comes as a super deluxe gatefold release featuring the artwork of longtime collaborator Steve Keene.

                                        The Apples In Stereo

                                        Velocity Of Sound

                                          For their fifth album, Velocity of Sound, the Apples in stereo cranked up the guitars and made what Robert Schneider proclaimed is their ode to The Ramones. This set of short tunes, most of which clock in at under three minutes, had Pitchfork saying, “if you’ve got a sweet tooth, Velocity of Sound does provide a few irresistible vending machine snatcks.”

                                          FORMAT INFORMATION

                                          LP includes MP3 Download Code.

                                          Odion Livingstone present another essential reissue from the Nigerian archives, the first ever international release of The Apples’ essential Afro-funk LP rarity ‘Mind Twister’. As part of the St Gregory’s student band scene in Lagos during the late ‘70s alongside Ofege, Grotto and more, Apples were picked up and produced by legendary EMI Nigeria producer Odion Iruoje who added overdubs to the album at Abbey Road in London with Curved Air keyboardist Francis Monkman.

                                          The band met and formed in Lagos. Bandleader Frank Ikpefuran teamed up with Georges Vieira from the American School and brothers Clifford and Gerard Nagi who were studying at “St Greg’s” in Lagos, and remembers, “I must have been 19 years old when I met Clifford. We used to hangout on Victoria Island, watching bands play and jamming with them. That’s how we met Georges. We all listened to Jimi Hendrix, Santana, Idris Muhammad and the Beatles.”

                                          “We started jamming with Clifford on the guitar, his brother Gerard on the bass and Georges on the guitar. We chipped in with song ideas, with the group contributing arrangements and refining things until we were satisfied. The band had a natural sound, which stemmed from the chemistry we had. It was a strange chemistry, we were an odd combination from different backgrounds but when we played, something happened…”

                                          After landing a residency at Tee Mac’s club in Surulere, Apples auditioned for Odion Iruoje who arranged recording dates and cut the record. For a young band, Iruoje was surprised by the quality of the band, adding in extra keyboard parts from Lemmy Udofia and Francis Monkman, founder of Curved Air and session man for Kate Bush, Sky and music libraries like BBC Music, Bruton and KPM. Iruoje remembers, “their playing added a layer of sophistication and sheen without encumbering proceedings.”

                                          This definitive edition of Apples’ ‘Mind Twister’ features new interviews with bandleader Frank Ikpefuran and producer Odion Iruoje and has been fully remastered by The Carvery.

                                          STAFF COMMENTS

                                          Patrick says: Supercharged Afro-funk excellence here on this tasty reissue from the marvellous folks at Odion Livingstone. A staple of the Lagos live music scene in the late 70s, the Apples were famed for their powerhouse sets and frazzled grooves!

                                          The Aquarium is a duo featuring Jason Hutto on keyboards and vocals and Laura Harris on drums. Jason's layering of overdriven electric piano and keyboards creates surprising depth and ample texture for Laura's rollicking back-beats.

                                          The Aquarium only plays a handful of shows each year yet have attracted a dedicated following with their hypnotizing instrumentals and frantic vocal compositions. In addition to performing with The Aquarium Laura also plays drums with Benjy Ferree (Domino Records).

                                          Jason has toured with Edie Sedgwick, and played guitar in Motor Cycle Wars. In 2006 Dischord released the band's self-titled debut full-length. The Aquarium’s newest release is a two-song seven inch, mixed by Brendan Canty (Fugazi) and produced by Benjy Ferree.

                                          The Arcs

                                          Outta My Mind / My Mind

                                            The Arcs are Dan Auerbach, Leon Michels, Richard Swift, Homer Steinweiss, Nick Movshon, Kenny Vaughan, and Mariachi Flor de Toloache. In advance of their debut album, Yours, Dreamily, which will be released on September 4 on Nonesuch Records, they release a limited edition 7-inch single, available only at independent retail outlets. The single includes the songs ‘Outta My Mind’ and non-album track ‘My Mind’. This is The Arcs’ second 7-inch single, following the earlier release of ‘Stay in My Corner’ and non-album track ‘Tomato Can’, two boxing tales inspired by the Floyd Mayweather vs. Manny Pacquiao match in May 2015.

                                            The Arcs collaboratively wrote and recorded 13 tracks for the forthcoming album Yours, Dreamily, with the musicians playing a large array of roles both vocally and instrumentally. Co-produced by Auerbach and Michels, the album was recorded in roughly two weeks through spontaneous, informal sessions across the country at the Sound Factory in Los Angeles, the Diamond Mine in Queens, Auerbach’s Easy Eye Sound in Nashville, and in a lounge room at Electric Lady in Manhattan. Tchad Blake mixed the album on his horse farm in Wales.

                                            Yours, Dreamily, is the debut album by The Arcs, who are Dan Auerbach, Leon Michels, Richard Swift, Homer Steinweiss, and Nick Movshon. Also featured on the album are Kenny Vaughan, and Mariachi Flor de Toloache. Yours, Dreamily, includes the singles ‘Stay In My Corner’ – about which NPR Music wrote, ‘It's got a slinky, timeless feel, propelled with alluring ease by Auerbach's falsetto and a lush instrumental backdrop befitting The Arcs' roster’ – and ‘Outta My Mind’, ‘A great of slab of loose, catchy, psych-rock blues,’ in the words of the NME. 

                                            The Arcs collaboratively wrote and recorded 13 tracks for Yours, Dreamily, with the musicians playing a large array of roles both vocally and instrumentally. Co-produced by Auerbach and Michels, the album was recorded in roughly two weeks through spontaneous, informal sessions across the country at the Sound Factory in Los Angeles, the Diamond Mine in Queens, Auerbach’s Easy Eye Sound in Nashville, and in a lounge room at Electric Lady in Manhattan. Tchad Blake mixed the album on his horse farm in Wales.

                                            The Aristrocats

                                            Let's Get Together Now / Loving You Is Mellow

                                            The Aristocrats were originally from Bridgeport, Connecticut, but came to Philadelphia in 1973 where they recorded five tracks with Bobbi Eli at Sigma Sound Studios. Only one single was released, the Philly classic “Let’s Get Together now” on Warner Brothers Records. Original pressings can fetch up to £150. The Expansion pressing here is extra special as the B-side “Loving You Is Mellow” has never previously been released on 7” or vinyl. It is in fact the original version of a song later made famous by Major Harris but in it’s own right an exceptional piece of Philly magic.

                                            Original pressing valued at £150.00. First issue on 7" vinyl of "Loving You Is Mellow". Another essential addition!

                                            The Arlenes / The Corb Lund Band

                                            Stuck On Love / Five Dollar Bill

                                              Third release in the Loose Recordings Vinyl Junkie series. Numbered 7", limited to 500 copies. One side features The Arlenes "Stuck On Love" from the wonderful debut album of the same name. The flip has a track from the forthcoming Corb Lund Band album.

                                              Tom Armstrong

                                              The Sky Is An Empty Eye

                                              Tompkins Square's recent double-LP, Imaginational Anthem vol 8 : The Private Press shed light on forgotten, impossibly rare guitar recordings spanning several decades. Tom Armstrong's The Sky Is An Empty Eye is the first of several reissues planned by Tompkins Square of full albums by artists featured on IA8. Armstrong's self-released LP from 1987 sports blissed out acoustic numbers like the one featured on IA8, along with some electric workouts and even a deep pysch vocal tune. Tom's main mode of distribution for the album was handing the LP to drunken patrons at a bar in Pinos Altos, NM. Now Tompkins Square makes it a bit easier to acquire.

                                              In his own words, today : I was born in Elmhurst IL, lived there 29 years. Had a brief career playing open mikes and bars for tips, drinks and nominal cash payments, even gave some guitar lessons. In 1984 I was offered a half partnership in an engineering firm in Dallas, so I moved to Texas. Made a big pile of money. My wife bought me a Tascam 4 track recorder for my birthday, I went crazy with it. Recorded a bunch of melodies that had been rattling around my brain since I was 8 years old. Liked what I heard, decided to make an LP. It wasn't too hard to track down a studio to master my 4 tracks. By this time I was an old hand at graphic design for promotional material, so I designed the cover myself. Handed the albums out to business associates, as promotional material for other business interests, at a drunken open mike at a bar in Pinos Altos, NM. I continued to record for about another 10 years, blues rock, pop. Really refined my recording skills. Still play once in while, but I'm an old fart now, with all the baggage that entails.


                                              The Arm

                                              He Builds Bombs

                                              West Midlands math-rock trio The Arm return with this four track EP hot on the heels of their acclaimed debut on Speedowax. On "He Builds Bombs", The Arm have stepped up the intensity with a relentless assault of frenzied rhythms, razor-edged guitars and acid-damaged electronica.

                                              Cult new wave band The Art Museums tell sordid tales of artists, lovers, and poseurs. Bay Area psych burnouts Josh Alper and Glenn Donaldson converged in San Francisco in the summer of '09 to record Anglophile jams on a Tascam 388 tape machine (state of the art home-recording circa '85). Rough Frame is their debut LP for the Woodsist label. They would make a hi-fi studio record if they had the money, but reviewers would probably still say it was lo-fi.

                                              The Art Museums are into: art, poetry, Whaam! Records, and films about Mods. The Art Museums are not into: flared trousers, drip coffee, or dirty sneakers.

                                              STAFF COMMENTS

                                              Darryl says: Cool and intelligent lo-fi indie-pop, kinda like a Beat Happening for the new decade. Another biggie from the Woodsist stable.

                                              An intensely quiet trip inspired by Tarkovsky movies, Feldman’s long works and essentialist jazz. It sees Arthurs expand his long-time duo with pianist Richard Fairhurst to a trio with the inclusion of Finnish percussionist Markku Ounaskari. Fragile and deep, mysterious and nocturnal, romantic and entrancing. There was a striking, yet entirely coincidental proximity between these new tunes and the folk pieces Ounaskari had earlier recorded with his Kuára-trio on ECM.

                                              For ‘One Year’ Arthurs kept reshaping the scores, from changing comparatively minor details to turning entire arrangements upside down. Since the bulk of the original material comprised of fragments, he was able to shift sections from one piece to the next in search of their ideal position. The inspiration had come from film: “I was deeply impressed by how Tarkovsky edited his masterpiece ‘Mirror’. He had no story, no plan, no storyboard. He just shot a lot of material and then, for two years, he had these clothes lines in his house and was putting together the scene into different forms until he had the movie.” 


                                              FORMAT INFORMATION

                                              Ltd LP Info: Limited edition 180 gram audiophile vinyl, gatefold sleeve, pure analogue sound, high end vinyl mastering. Download code, which includes a bonus track.

                                              Tatsuhiko Asano

                                              Genny Haniver

                                                Alec Empire set up the Geist label specifically to release Asano's work... and five years later, lo and behold, it's here! Guitar and electronic fiddling, includes a MS-20 patch diagram on the back, so you can recreate the music at home!

                                                The Assassinations

                                                Future Blasts From The Past

                                                'All you need to make an album is a girl and a gun.' Jean Luc Godard. Sex, death, rock-n-roll. The Assassinations is a band, an album and an idea. Is there any more appropriate name for a rock'n'roll band during a decade in which suicide bombs, ethnic cleansing, and kidnapping have become like muzak on the TV news. The Assassinations is rock-n-roll that revels in the signs of the times. The band also has two asses in its name. The Assassinations is latest incarnation in the career of Berlin music legend and agent provocateur Ghazi Barakat. A mainstay of the city's underground music scene since the early 90s, Barakat was the founder and singer of garage noise outfit the Golden Showers. He also performed as part of 'Give Up', a Digital Hardcore-affiliated band with Shizuo's David Hammer and Cobra Killer's Annika Trost. The nine tracks on "Future Blasts From The Past", which is the first release on Barakat's new label Hashishin Records, were recorded between 2006 and 2007 with engineer and producer Tico Zamora at his Polytrash studios in Berlin. Barakat roped in a selection of able friends and conspirators: Tim Gane of Stereolab, Fred Bigot (aka French art-techno one man band Electronicat), Taylor Savvy, Nicole Morier from Electrocute and, most extravagantly a brass ensemble from the Himalayas (Hindulam Ensemble).

                                                The Associates

                                                Fourth Drawer Down - Expanded Edition

                                                Formed in in 1976 by Billy McKenzie and Alan Rankine, The Associates made lavish, genrebending cabaret pop.

                                                The original release of ‘Fourth Drawer Down’ gathered The Associates’ inventive, genre-defying singles released by Situation 2 on one album.

                                                The group’s story is filled with wonderful anecdotes (chocolate guitars on Top Of The Pops, whippets with their own hotel room) but it’s their wildly-inventive music capped by Billy’s stunning vocals, that ensures their place in pop music history.

                                                This new CD edition expands the original single album to a 2CD collection with a 28 page booklet featuring lyrics, new liner notes, previously unpublished photos and rare memorabilia.

                                                The Associates

                                                The Affectionate Punch - Expanded Edition

                                                Formed in in 1976 by Billy McKenzie and Alan Rankine, The Associates made lavish, genrebending cabaret pop.

                                                Their debut album, ‘The Affectionate Punch’, further cemented their growing reputation as sometimes startling, often enthralling innovators.

                                                The group’s story is filled with wonderful anecdotes (chocolate guitars on Top Of The Pops, whippets with their own hotel room) but it’s their wildly-inventive music capped by Billy’s stunning vocals, that ensures their place in pop music history.

                                                The original album on CD1 is newly re-mastered from ¼” tape. CD2 features rare and unreleased tracks.

                                                28 page booklet features lyrics, new liner notes, previously unpublished photos and rare memorabilia.

                                                The Astro-sound Of Magnificence

                                                Astro Sounds From Beyond The Year 2000

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

                                                  Swirling guitars and proto-ambient electronica sounds from many light years away!

                                                  The Astro-Sound of Magnificence, from Beyond the Year 2000...a unique capsule of a funky, psychedelic rhythm section jamming, with snarling, stabbing and swooshing cranked-up-to-infinity electric guitar voyages piloted by Wrecking Crew veteran Jerry Cole, polished and primed for takeoff with a string section playing eerie, beckoning melodies in unison. These are the sounds of epiphanies concerning the future, space and sounds on the horizon, circa 1969.

                                                  The tracks for this album were recorded by Cole and other players during sessions for a separate longplayer and were deemed to be outtakes; the details as to how they became Astro Sounds From Beyond the Year 2000 are dark and distant, but the 10 tracks here were first issued sans strings in 1967 as The Animated Egg, with alternate song titles. Two years later the recordings were overdubbed with the swirling, piercing phase-shifted strings mix you hear here, creating a spectacular fusion of psych-rock, R&B, easy listening and fuzz guitar, with hints of the coming worlds of ambient and electronica.

                                                  These truly are the far out sounds of tomorrow’s unchartered trip, as the original album jacket proclaims—come aboard, launch and listen.

                                                  “My only regret is I didn't know just how good this stuff was at the time. Sure, I knew we were on to something. But really, 'After Murder Park’ ...fucking Woah!” Luke Haines, 2014

                                                  After Murder Park is the third album from The Auteurs, originally released in March 1996.

                                                  Recorded in under two weeks at Abbey Road Studios, it marked a new direction and needed a new sound provided by the production of Steve Albini. Luke Haines considers the recording sessions the high point of The Auteurs career.

                                                  The expanded edition, compiled by Haines, features a wealth of bonus material including key B-sides, a John Peel session plus the entire unreleased recording of their Black Session recorded for Inter France radio station in March 1996.

                                                  The Auteurs

                                                  How I Learned To Love The Bootboys - Expanded Edition

                                                  The Auteurs fourth and ultimately final album, How I Learned To Love The Bootboys was released in July 1999, a 3-year gap since their previous release, After Murder Park, a period during which Luke Haines released albums as part of Black Box Recorder and under the guise of Baader Meinhof.

                                                  This expanded edition, compiled by Luke Haines, features 40 tracks including key b-sides and rarities plus 5 previously unreleased tracks. The second disc features the band’s final gig recorded at London School Of Economics in November 1999. This is the first time it’s been on CD, having been briefly available as a download previously.

                                                  “On listening to '...Bootboys' again, I'm actually surprised how focussed it sounds. There's a straightforward 'pop side' and an unstraightforward 'experimental' side. My only regret is not putting more on the album – really stretching it out and making it a sprawling double, songs like 'Breaking Up' and 'Get Wrecked At Home' were far too good for B-sides.” Luke Haines 2014

                                                  Fronted by Luke Haines, The Auteurs arrived on the cusp of shifting musical scenes. Madchester was dead, Britpop was about to be born.

                                                  Originally released in February 1993 on Hut Records, New Wave was the debut album by The Auteurs. Produced by Phil Vinall and Haines, the album featured the singles Showgirl and How I Could Be Wrong. The album was well received on release, perceived as being part of a nascent Brit-Pop scene, and was nominated in the second Mercury Music Prize in 1993 (won by Suede) and was in Q magazine’s Top 10 Albums of 1993

                                                  The 2CD set comes in lavish packaging and includes brand new sleevenotes by Luke Haines.

                                                  Originally released in May 1994, Now I’m A Cowboy was The Auteurs second album. Produced by Phil Vinall and Luke Haines, it was a more than worthy successor to the Mercury Music Prize nominated New Wave and is home to probably their best known song, Lenny Valentino.

                                                  The 2CD expanded edition, compiled by Luke Haines, features a wealth of bonus material including key b-sides, 2 complete BBC radio sessions of the time plus an unreleased live recording of the band performing at Leeds Town And Country Club in December 93 where they supported The The.

                                                  By day John Stirratt and Patrick Sansone sell thousands of albums and tour the world as members of indie juggernaut Wilco, while lending their writing, playing and producing abilities to dozens of high-profile recordings. But by night these renowned pros are able to sit down, relax and create something special that comes straight from the heart of why they pursued music as a career - and that's the Autumn Defense.

                                                  After releasing 2007's The Autumn Defense on their own Broadmoor label, Stirratt and Sansone have teamed up with North Carolina's Yep Roc Records to release their latest full-length effort, "Once Around".

                                                  For the past nine years, this pair of Southerners-turned-Chicagoans has quietly been nurturing the reverent, classic pop of the Autumn Defense. Though the outset of the band saw Stirratt handling the bulk of the songwriting while Sansone lent his talents to production, the duo has steadily evolved into a partnership in both respects. From 2000's debut effort "The Green Hour" to the critically lauded, salt-of-theearth folk rock of 2003's "Circles", the Autumn Defense developed its late afternoon kickback sound like a fine wine develops and deepens - with time.

                                                  "Once Around" is a formidable tapestry of thoughtful, intricate sunshine wrapped around a core of timeless, experienced songwriting. It's the kind of record that needed to be made, for the audience but also for the artists. The result is a distinctly Autumn Defense record, full of lush melodic textures, invitingly delicate pop arrangements and frequents nods to the AM gold, soul and radio rock that dominated the group's formative years.


                                                  Broken Horse present the self titled and 3rd album by Wilco offshoot The Autumn Defense (John Stirratt and Pat Sansone of Wilco). After the release of their second album in 2003, The Autumn Defense, multi-instrumentalists John Stirratt and Pat Sansone, realized that there was indeed an audience for their Simon & Garfunkel/Bread influenced soft-rock that they hadn't truly appreciated, and like most things took some time to develop. "The Autumn Defense" is the culmination and continuation of what the band has reached for in the last two records, from the Philly-soul of "Feel You Now", to the baroque "Estate Remains", the bossa "City Bells" to the classic Southern-California sound of "We Would Never Die." Playing this album next to Wilco's Sky Blue Sky which followed "The Autumn Defense" a few months later, it becomes clear how integral both Stirratt and Sansone are to the current Wilco sound in what is looking likely to be it's most successful and enduring line up.

                                                  In a collage of fuzz guitars, tuning radios, pitched up soul samples, pitched down exotica records, and a whole lot of background chatter, The Avalanches return after an unprecedented 16 year wait. Created by the band’s core duo - Robbie Chater and Tony Di Blasi – "Wildflower" is nothing less than The Beach Boys’ "Smile" reimagined in the Daisy Age - a mind-bending cartoon road movie that’s best viewed with closed eyes and an open mind. Unmistakeably the work of Australia's sample kings, "Wildflower" is a Technicolor kaleidoscope of everything great and groovy about music, blessed with the warm and dreamlike aesthetic we first fell in love with on the sublime "Since I Left You". A throwback to those halcyon days when artists made albums, as opposed to a couple of radio singles and eight tracks of filler, The Avalanches sophomore LP drifts from one track to the next, taking us on a tripped out tour of downtown Melbourne in the summer time.

                                                  Lead single "Frankie Sinatra" divided the critics on its initial release, making a marmite statement with its oddball calypso samples, oompah brass and unhinged lyrics from Danny Brown and MF DOOM. Here, nestled comfortably between the gorgeous summertime soul of "Because I'm Me" and the sampledelic disco of "Subways", the track makes perfect nonsense. The inner city synth pop of "If I Was A Folkstar" strolls through the sunshine like a laid back relative of Cut Copy's "Bright Like Neon Love", while the spectral "Colours", featuring some heavily treated vocals from Mercury Rev's Jonathan Donahue, is as dreamy and doped up as pop music gets. Elsewhere Ariel Pink, Father John Misty, Warren Ellis (Nick Cave & the Bad Seeds)  and Toro Y Moi’s Chaz Bundick make cameos, as does Biz Markie on the light-hearted, full stomached old school hip hop of "Noisy Eater". The dusty sixties soul of "Harmony" leaps out the grooves in the middle of a succession of dreamy sketches (in a day-glo Dilla style) before the triple threat of "The Wozard Of Iz", "Over The Turnstyles" and "Sunshine" form the apex of an outstanding LP. "Kaleidoscopic Lovers" and "Stepkids" serve up a pair of pastoral love songs before the driving haze-gaze of "Saturday Night Inside Out" leads us off into the sunset with the widest smile of our lives. Against all odds and expectations, The Avalanches have done the impossible, following up an instant classic with a second album which is even better than the first. If we have to wait another sixteen years for the next one, at least we'll be waiting in the company of two flawless records. 


                                                  STAFF COMMENTS

                                                  Patrick says: In the words of hapless Sky Sports pundit Chris Kamara - 'unbelievable Jeff'. Somehow, The Avalanches pulled off the unprecedented achievement of following up a classic debut album with something even better! The fact that it took them sixteen years surely only makes it more remarkable. As it leads us from the crowded streets of the big city to the pastoral calm of the countryside, 'Wildflower' emerges as a dreamy collage of all the warmest bits of pop music, with the day-glo silliness of ‘Since I Left You’ still alive and well. Where their debut was defined by an unprecedented quantity of samples, ‘Wildflower’ sees Robbie Chater and Tony Diblasi enlist a close knit group of collaborators and vocalists to lend their sampledelic symphony a greater sense of togetherness and community, revealing the heart and soul beneath the psychedelic haze. It’s a wonderful thing, in the truest sense of the word.

                                                  Andy says: You might be thinking: Hey, this isn't Dad Rock! And you'd be right. But you'd also be wrong, as this reminds me of a dazzling trip in the sixties LA sunshine, with all those groovy psychedelic pop songs drifting through the air, where peace, love and melody were king, and people still believed in the power of music to TRANSFORM!

                                                  FORMAT INFORMATION

                                                  2xDeluxe LP Info: Deluxe quadruple gatefold sleeve, double 180g vinyl, poster.

                                                  Vinyl comes with CD version of the album enclosed.

                                                  Vinyl comes with CD version of the album enclosed.

                                                  Teo Azevedo

                                                  Grito Selvagem

                                                    Released in 1974, Téo Azevedo’s first album Grito Selvagem (“Wild Shout”) is an irresistible blend of soul and rock with an unmistakable Brazilian character. As many other lost gems of time past, the album found little commercial success, and still during the 70s Téo turned forever to the true Brazilian popular music – the forró, the roots of sertanejo and the rhythms and traditions of Brazil’s often forgotten countryside – becoming, from then on, a genuine cultural reference in Brazil not only as musician and composer, but also as a poet and researcher of popular folklore, being awarded the Grammy Latino prize in 2013. This career turn also contributed to push “Grito Selvagem” onto the dusty and forgetful shelves of time, until its rediscovery in recent years by DJs and record collectors. With lyrics reminiscent of the life in the city and the countryside, the album is one of Brazil’s forgotten treasures, with arrangements and production by Téo in partnership with maestro Daniel Salinas – producer / arranger very active in the Jovem Guarda movement, and known to collectors for his 1973 album Atlantis-, ten tracks which deliver the unmistakable groove you’ll only find in Brazilian records from the 70s. If you like Luiz Gonzaga, Tim Maia, Jackson do Pandeiro or Gilberto Gil, get ready to hear Téo Azevedo and his Grito Selvagem!

                                                    The B-Girls

                                                    Bad Not Evil

                                                      Limited Ed. Pink vinyl w.insert and liner notes by B-Girl, Cynthia Ross. Includes the band’s only single on Bomp!, Fun at the Beach, plus studio recordings from 1977 thru1981, and two live tracks. THE B GIRLS ARE BACK ON BOMP! ... WHERE THEY BELONG!!! BAD not EVIL is The B Girls first full-length vinyl release. It includes the band's only single on Bomp!, plus studio recordings from 1977 up to 1981, and two live tracks. The songs are produced by Debbie Harry of Blondie, Mick Jones of The Clash, Craig Leon (The Ramones, Blondie, Richard Hell, Suicide, The Zeros), Liam Sternberg (Rachel Sweet, Kirsty McColl, The Bangles), Bob Segarini (The Wackers) and The 'B' Girls, with engineer Robin Brouwers (Teenage Head). Peter J. Moore restored and digitally re-mastered all tracks.

                                                      The release is a LIMITED EDITION ON PINK VINYL and includes an insert with LINER NOTES BY CYNTHIA ROSS, and photos by Rodney Bowes, Theresa Kereakes and Bob Gruen. Active 1977 thru 1981 - Toronto based first wave punk band – relocated to NY and part of the scene there, Debbie Harry and Mick Jones produced demos for them. They sang back up on Blondie’s Auto American as well as Stiv Bators solo effort, Cynthia was engaged to Stiv for a time. They never put out a full length and are rumored to have been an influence to The Go-Go’s. There was a 1997 release via Other Peoples Music (Redeye) that has scanned 285 units across CD/digital formats.

                                                      FORMAT INFORMATION

                                                      LP Info: Limited edition pink vinyl with insert and linear notes by B-Girl.

                                                      The Babies

                                                      The Wilds

                                                      LebensStrasse Records are very proud to present the EP "The Wilds" 7”, from the much loved and wildly band The Babies. In a limited and hand numbered edition of 500 copies.

                                                      The Babies are a New York adventure, comprising the Vivian Girls frontwoman Cassie Ramone, the bassist from Woods Kevin Morby, the Bossy’s drummer, Justin Sullivan and Nathanael Stark. With releases out already on Keep It Yours Records and Shrimper (their 2011 debut long player), there has been much excitement about this ultra-limited EP.

                                                      LebensStrasse say; 'Their songs portray, in a beautiful and intense way, the experience of those who, consciously or unconsciously, are facing the contradictions of a city, wanting to live there like in a house full of friends on the beach front. If they were a drawing, they would be a tattoo illustrating a trip, which departed, then with the skin covered by the dust of a desert road, sometimes with the hair covered by the wave’s foam in an endless and empty beach.'


                                                      The Babys

                                                      On The Edge

                                                      Often described as a 'turntable band' (played a lot but few sales) The Babys really were on their last legs by the time they recorded this 1980 album. There is so much quality in both songwriting and performance on thaes reissues it's hard to say what went wrong--most of it has to be down to bad timing, if you like hard tight rock licks this is the stuff for you.

                                                      Considering they’ve collaborated ever since they were kids living under the same roof, The Baird Sisters arguably could have made an album like Until You Find Your Green years ago. They’ve released two live recordings (the first recorded by their dad) and made plenty of demos, but this marks the first time Laura and Meg Baird decided to write and record a full-length on their own terms. The songs, recorded in Laura’s house, have a familial intimacy joined by skillful depth, the ideal blend for a folk record, an equal mix of comfort and talent.

                                                      Growing up surrounded by music, the sisters have traveled separate paths while remaining close. Laura studied piano and trombone in school and has collaborated with Glenn Jones on his recent releases. Meg has played in Espers, Watery Love, and currently drums/sings in Heron Oblivion. She’s also released a few solo albums on Drag City. Laura’s first solo record will be released by Ba Da Bing early next year.

                                                      These recordings capture the complexity of seventies progressive folk rock, emphasizing acoustic instrumentation with a lack of self-consciousness that can only come from a private domestic environment. Meg plays guitar, Laura banjo, singing in harmony, and ornamenting their songs with flute, cello, fiddle, mandolin, upright bass, percussion and a cricket chorus. Until You Find Your Green’s songs seem traditional, but that’s deceptive, and they unfold in greater depths the deeper attention paid to them.

                                                      The Bakelite Age

                                                      Silverback

                                                      First in a new limited edition series of 7" only releases from hot new Melbourne label In-Fidelity (they release the Datsuns and Dirtbombs in Australia), and kicking it off is new Melbourne three piece the Bakelite Age. Clever, raw and melodic - like the Ramones meets the Lemonheads. Only 200 of each of this series being pressed to start with.

                                                      What do The Blackbyrds, Gil Scot Heron, Sly & The Family Stone and even The Steve Miller Band have in common? On "Avid Sounds" the brand new Baker Brothers album, these legendary acts get lots of love as Dan and Rich Baker and Chris Pedley lovingly revisit their favourite soul and jazz funk anthems and update them with the Baker Brothers twist and recruit a famous name or two to assist! The album opens with Vanessa Freemans' faultless vocals taking the spotlight on "Family Tree", then we are fired into orbit as the band stamp their own identity on the wonderful disco-jazz delight that is Manzel's "Space Funk". Hamish Stuart from legendary Scottish soul-funksters The Average White Band sings on The Baker Brothers version of Sly Stone's "If You Want Me To Stay". Steve Miller's soulful psyche-rock anthem "Fly Like An Eagle" is next up for a punchy Baker Brothers reworking, synthesizer and organ throb gleefully together as hornsman Matt McNaughton rests his brass and gives his tonsils a workout. with other covers including Gil's "John Coltrane And Lady Day" and Babe Ruth's b-boy favourite "The Mexican", this CD looks set for big things.

                                                      I Blame Society is the third album from New York trio The Ballet and their first for new label Fortuna POP! Unashamedly “sissy” and explicitly queer, The Ballet marry the DIY queer ethos of the Hidden Cameras with the wry poeticism of The Magnetic Fields to create literate, infectious pop gems.

                                                      I Blame Society is a continuation of the lyrical themes and songwriting style found in the band’s two previous self-released albums (Mattachine! [2006] and Bear Life! [2009]), though with slightly pared down arrangements and a nuanced production, which highlights songwriter Greg Goldberg’s strengths. Inspired by Stephin Merritt’s body of work, Goldberg draws from an array of pop artists and periods, from 60’s bubblegum to 80’s synthpop and 90’s indiepop, fusing these in sophisticated and novel ways which rewards repeat listening.

                                                      Avoiding autobiographical or confessional modes, Goldberg nonetheless mines his own psychological constitution and intellectual interests to craft songs whose overt musical prettiness is often contrasted by a dark and complex subtext. I Blame Society addresses a number of queer themes, offering a nuanced and refreshing perspective on contemporary queer issues, subtly balancing queer melancholy with self-deprecating humour and stubborn utopianism. While some queer musicians shy away from articulating a connection between their sexuality and musicianship, The Ballet have often contended the opposite: that they are “a bunch of queers who just happen to be in a band.”

                                                      Formed in 2005 by Greg Goldberg and Craig Willse (who are both professors and met whilst at graduate school) with Marina Miranda (who they met at a party), The Ballet are still going strong after eight years of pop magic, retaining their original line-up. That’s not to say they haven’t gone through some line-up changes over the years. Acquired bandmates Ginger Brooks Takahashi and Michael O'Neill left in 2007 to join JD Sampson in MEN. Indiepop luminaries such as Linton from The Aislers Set and Ramesh from Voxtrot have also made guest appearances on previous albums, as have Kaki King and Scott Matthew.

                                                      The Bamboos hail from Australia and picked up a huge amount of fans on the back of their first limited edition self funded 45. From this they released a single on Kenny Dope and Deb Darge's Kay Dee label which helped cement their reputation amongst the world's funk community. The album collects together the first single, as well as new versions of the Kay Dee releases, alongside new tracks. These include two cuts with Alice Russell, the funk bomb "Step It Up" and the cover version of Afronaught's broken beat classic "Transcend Me". Having toured as the backing band for the Quantic Soul Orchestra and Alice Russell in Australia, as well as in their own right, the one thing you can be guaranteed about The Bamboos is that musically they are supertight!

                                                      The Band In Heaven

                                                      The Boys Of Summer Of Sam

                                                        Summer is gone, friends, and with the cold bleak months that lie ahead of us in the Midwest, we're excited to unleash another unsettling dose of the band in heaven, churning forth two more direct hits of skull-softening Middle-Eastern tinged space rock destined to drain the fluids from your ears, while seductively stealing your valuable organs for the black market. Since our last release with this West Palm Beach, Florida unit, they've kept true to their style, creating a sinister apparitional vibe out of an inanimate round grooved object, and devolving into a pit of repetition, begging the question, is it heaven or hell? Mastered by Spacemen 3's Sonic Boom, you can't help but feel the soiled sordid psychedelic residue sticking to the dark corners of both tracks here, pulling together even more blackness from this Florida sunshine than ever previously imagined, and settling the tone for the worst case scenario.

                                                        From the fringes of it's echoing, searing riffs to the cold and unusually cruel rhythms eclipsed only by the penetrating repetition, the band in heaven is the answer to a question you still don't understand, and another reason to look past your outdated boundaries and dive head-first into the undulating abyss. Just as with their debut 7" EP, this new single traps you in a vertigo-inducing vortex of modern psychedelic reverberation, washing you over with waves of petrochemical pleasure, as it takes root deep in the farthest recesses of your mind. - VictimofTime.com

                                                        Recommended for fans of A Place To Bury Strangers, Soft Moon, Jesus & Mary Chain, Black Tambourine, Warlocks, Teepee, The Kills, Slowdive, Black Angels, Brian Jonestown Massacre

                                                        400 copies Black vinyl.

                                                        The Band

                                                        The Last Waltz (40th Anniversary Edition)

                                                        On Thanksgiving Day 1976, The Band took the stage for the very last time at the Winterland Theatre in San Francisco. The concert, aptly billed as The Last Waltz, has become one of the most revered performances of all time. For the show, Rick Danko, Levon Helm, Garth Hudson, Richard Manuel, and Robbie Robertson were joined by an all-star group of music pioneers, including Eric Clapton, Neil Diamond, Bob Dylan, Ronnie Hawkins, Dr. John, Joni Mitchell, Van Morrison, Muddy Waters, and Neil Young, among others. The evening was captured on film by director Martin Scorsese. Released theatrically in April 1978 to critical acclaim, The Last Waltz is still considered by many to be the greatest concert film ever made.

                                                        Robertson will be busy during The Last Waltz 40th anniversary. On November 15, he will release Testimony (Crown Archetype), a new memoir in which he finally tells his own spellbinding story of the band that changed music history, his extraordinary personal journey, and his creative friendships with some of the greatest artists of the last half-century. 


                                                        FORMAT INFORMATION

                                                        2xCD Info: This 40th Anniversary Edition 2CD set houses the original soundtrack with newly remastered audio from the original master tapes.

                                                        6xLP Box Set Info: This 40th Anniversary Edition 6LP set is packaged in a lift-top box with jackets in black poly sleeves and features a 12-page booklet, with newly-penned liner notes written by revered music journalists David Fricke. This is the first time the full Last Waltz music offering has been available on vinyl and features all 54 tracks, including the entire concert, as well as rehearsals and outtakes.

                                                        FREE SHIPPING This item has FREE UK shipping!

                                                        On The Baptist Generals’ sophomore album, the word ‘heart’ repeats eight times. The Denton, TX band, known for their haunting, claustrophobic take on drunken folk, needed ten full years to bare their hearts - one of which is in the album title, ‘Jackleg Devotional To The Heart’, a name that songwriter Chris Flemmons conjured shortly after he recorded, and then trashed, the album’s first attempt in 2005.

                                                        Flemmons goes so far as to call this his ‘love album’, and it’s an apt description - though love through The Baptist Generals’ eyes is plenty complicated.

                                                        The band’s vibraphones, guitarrons and ambient feedback combine like a mess of ventricles, aortas and veins - not to mention, from the sound of it, all of the blood spilled while ‘Jackleg…’ lurched for years toward an eventual finish line.

                                                        Call it a love record, then. It’s the kind of love Flemmons had to figure out in the ten years since The Baptist Generals’ critically-acclaimed 2003 full-length debut ‘No Silver / No Gold’, a period in which he admits he’s fallen in love with a wild spectrum of music - the ‘Éthiopiques’ series, saxophonist Archie Shepp, film scorer Meredith Willson, and plenty more. That wide spectrum only befits ‘Jackleg…’s repeated need to buck genre; in fact, the 2005 version of the album hit the trash heap because “it sounded like any other indie rock-type band,” Flemmons admits.

                                                        Co-produced by Stuart Sikes (Loretta Lynn, Cat Power, The Walkmen, Modest Mouse, The White Stripes) and the band’s Jason Reimer, ‘Jackleg Devotional To The Heart’ sounds like exactly no one else.

                                                        Tomas Barfod Feat. Gruff Rhys

                                                        True To You / Happy

                                                          THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                          A brand new exclusive track - ‘True To You’, featuring Gruff Rhys, recorded during the sessions for Tomas Barfod’s upcoming album on Secretly Canadian.

                                                          This track is exclusive to this 7” and will not be available for download.

                                                          The B-side features the track ‘Happy’, featuring Eddie Chacon of Charles & Eddie fame and is the only version available physically.

                                                          Limited to 200 copies for the UK and Ireland.

                                                          Tomas Barfod’s first album, ‘Salton Sea’, was one of the most lauded electronic debuts, with Pitchfork, Dazed and GvsB giving it accolades. Now he releases his second album, ‘Love Me’, his debut for Secretly Canadian.

                                                          Featuring guest vocals from Luke Temple, Sleep Party People, Night Beds and a stunning collaboration on a number of songs with Swedish singer Nina K, the album is gaining plaudits internationally.

                                                          ‘Love Me’ straddles the divide between songwriting, electronic dance and out and out pop music perfectly. The soundtrack to your Summer.

                                                          The Bark Haze is primarily a guitar duo of GOWN (nom de plume of one Andrew Macgregor) and Thurston Moore (Sonic Youth etfuckingcetera). Auxiliary members have been know to include Pete Nolan (Magik Markers, Virgin Eye Blood Brothers, Cops et al). Their name came from a mis-hearing of the radical early 70s R+B group the Bar-Kays and from that moment the concept of mis-hearing and allegiance to presenting the mis-hearing as some open-ended musical course became The Bark Haze's identity. So far all concerts have taken place in Western Massachusetts and once in the confines of Cambridge, MA's Twisted Village record emporium. They anxiously await their debut gig in the UK at the Nightmare Before Christmas event curated by Moore.

                                                          The Barking Dogs

                                                          SWB / Liquid Strategies

                                                          Limited hand stamped 10" from The Barking Dogs. Must have for fans of Optimo, ESP Institute, Crooked Man etc. Leftfield freakzoid nu-cosmic-disco is rolled out with aplomb on side A as the squelchy synths and chirping leads are joined by strung out guitar line and plodding slo-mo drums for the uncharacterizable stomp of "SWB". On the flip we get more frisky at a bubbly house tempo. Padded out with twangy bass, tribal chants and a rubbery, highly kinetic groove, "Liquid Strategies" is that fiery number for deep into the dance when you need to encapsulate the floor in a single tune. Top drawer stuff here from the Barking Dogs.

                                                          "Portal Nou" is the much-anticipated third album by renowned British musician Ted Barnes and the debut release on Ted's own label Mornington Records. Written and recorded between his home on the Kent coast and time spent on the Regents Canal in London, and inspired by the recent birth of his son, the record marks a new phase in Barnes' personal and musical life. Although it still displays some of the melancholia of his previous work, "Portal Nou", which is Spanish for 'new gateway', is lighter and appropriately buoyant. Coming after the widely critically acclaimed and characteristically dark second album, "Underbelly", the new record offers a more optimistic outlook and brings with it elements of humour and a playfulness. Somewhat of a departure for Barnes, the album is also the first to include songs for which he has written lyrics ("All That's Real", "Dreams & Hopes"), alongside a body of instrumental tracks. It also features an impressive array of guest lyricists and vocalists, many with whom he is a long-term collaborator, including Beth Orton, Gavin Clark (Sunhouse / Clayhill / Unkle), Francoiz Breut (Calexico / Yan Tierson), Dan Michaelson (Absentee) and Kathryn Williams. Restrained yet incredibly powerful, Barnes treats the voice as another instrument rather than the overriding force of a song, and manages to create a hypnotic and absorbing continuity throughout the album.

                                                          The Barr Brothers

                                                          Queens Of The Breakers

                                                            “Queens of the Breakers” is The Barr Brothers’ finest work yet, a collection of 11 hypnotically fluid songs that speak to the raw, elemental power of reflection, forgiveness, loss, and growing up. The record finds the band, featuring brothers Brad (guitar) and Andrew Barr (drums), and Sarah Pagé (harp), further on their thrilling path of exploring the outer limits of folk, blues, rock and Americana made north of the American border.

                                                            STAFF COMMENTS

                                                            Andy says: Stunning, dreamy, groovy Americana with some brilliant song-writing.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Translucent Light Blue Single Vinyl hosted in dust sleeves. Limited Edition including 12"x24" Exclusive Folded Poster. MP3 download included.

                                                            The Basement

                                                            I Just Caught A Face

                                                            They've been a bit quiet for a couple of years, but now, The Basement return with the first taster from their long overdue debut album, "Illicit Hugs And Playground Thugs". "I Just Caught A Face" is a great Byrds-ish jangler, with hooks a plenty. A great return.

                                                            FORMAT INFORMATION

                                                            CDS Info: The CD single includes "Close The Door", "Say Goodbye Tonight" and the video for "I Just Caught A Face".

                                                            The Bats (US)

                                                            Popgun / Tell Me Why

                                                              “That THE BATS came from that era and didn’t suck is an amazing fact du jour. And, for the record, these Bats came and went long before the like-named New Zealand group even formed (and then fluttered into their own cave of obscurity). The Bats from New Haven, CT comprised three songwriters and this near perfect single that melded New Wave, Ventures noodling, well-meaning but misplaced prog and, best of all, catchy, beautiful pop. What's on the vinyl is well-crafted, if youthful power pop. This group is only a trio, and from their looks quite young but manages to project a full, powerful sound. Though on a small label the sound is crisp and professional. To those who wake up every morning to well worn copies of the Raspberries' "Go All the Way," this one's for you.”—Billboard October 2, 1982.

                                                              The Beach Boys

                                                              Beach Boys Party! / Stack-O-Tracks

                                                              In between all the dated crap are some amazing songs and seeing as there are 30 tracks on this you can't fail to find some brilliant moments (including 3 covers of Beatles tracks--funny that the Beatles never covered any of their songs).

                                                              The Beach Boys

                                                              Pet Sounds - 50th Anniversary Deluxe Edition

                                                                The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."

                                                                FORMAT INFORMATION

                                                                CD Box Set Info: This 4 CD/Blu-ray Audio collectors edition presented in a hardbound book, features the remastered original album in stereo and mono, plus hi res stereo, mono, instrumental and 5.1 surround mixes, session outtakes, alternate mixes and previously unreleased live recordings.

                                                                FREE SHIPPING This item has FREE UK shipping!

                                                                The Beach Boys

                                                                Pet Sounds - 50th Anniversary Mono Edition

                                                                  The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."

                                                                  STAFF COMMENTS

                                                                  Andy says: The best album ever made? It's always near the top of those lists isn't it? Heartache and melody. Perfection.

                                                                  FORMAT INFORMATION

                                                                  LP Info: Remastered 180-gram LP edition of the album in mono with faithfully replicated original artwork.

                                                                  The Beach Boys

                                                                  Pet Sounds - 50th Anniversary Stereo Edition

                                                                    The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."

                                                                    FORMAT INFORMATION

                                                                    LP Info: Remastered 180-gram LP edition of the album in stereo with faithfully replicated original artwork.

                                                                    The Beach Boys

                                                                    Smiley Smile / Wild Honey

                                                                    This is probably the best Beach Boys title to put alongside "Surf's Up" and "Pet Sounds" in your collection. Great remastered sound and all time classic tracks like "Good Vibrations" and "Darlin'".

                                                                    The Beach Boys

                                                                    Hits Of The Beach Boys

                                                                    Ten hits for £5.99 from the surf-bums best mates the Beach Boys. Songs of sun, surf, Californian girls and fun, fun, fun.

                                                                    The Beat Broker

                                                                    Extended Away

                                                                    The Beat Broker has been a crucial character of the Sentrall story since its inception. As one of the most consistent producers on the label, his voice in Sentrall’s sound is unmistakable: flittering stacks of echoing synths and that undeniable low-and-slow chug. The Beat Broker returns with a pair of super slow burners that conjure up images of endless summer rooftop parties in the haze of the sweltering heat. The 85bpm title track is an archetypal pacifica slow-burner - the soundtrack to your life in slow motion, when everything is right with the world, the smiles are eternal and you feel like you’re in a movie montage. On the flip, get lifted with the balmy 101bpm head-nodder "New Aged". The warmth of the melody envelops you as you bounce along with the kick, Pacific waves lapping against our ankles as we play joyfully in the ocean.

                                                                    Universal Cave stick with their expanded 12" format for the time being, inviting San Franciscan scholar Ryan Bishop AKA The Beat Broker to lay down four floaty dubs and re-rubs for all the dancing fools. Many heads probably know Ryan as the brains behind Dream Chimney, one of the longest-running and most consistently interesting online hangouts for like-minded music freaks. This 12" busts loose with "Satin Kimono," a funky floor-filler with the most perfect AOR song title in existence. Moving and grooving through low slung bass, squelching guitar and echo drenched soft rock vocals before finally blasting off into Steely Dan styled jazz-funk orbit via a star gazing synth solo. "Make It Happen" cools the A-side down with a mellow yet uplifting yacht rock groove, perfect for lazy afternoons and hazy evenings as those dubby voices beckon the listener to break free and never look back. "Honey It's You" is a pumped up edit of an old 'Chimney classic and was crafted specifically as a wedding gift for fellow Dream Chimney member Hatchback - now available for the first time in a physical format! "Larceny Dub" soars to new heights of AOR bliss, featuring an extensive re-working of a record that was passed along to Ryan by an ex-Deadhead neighbor. Dreamy chimes (almost an anagram of Dream Chimney) samba piano and dexterous solos make this bad mamma jamma pop til you drop. 

                                                                    The Beat Escape

                                                                    Life Is Short The Answer's Long

                                                                      Long before they were a band, Montreal duo The Beat Escape took a small first step towards a longer journey at a university video class. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” say Beat Escapists Addy Weitzman and Patrick A Boivin of their founding collaboration. Many other projects and outside collaborations later, the duo have crafted a debut album their younger selves would be proud of: Released through Bella Union, the sublimely immersive ‘Life Is Short The Answer’s Long’ plays like a waking dream of near-psychedelic electronic pop, moving to its own beat in the push-pull of forward motion and submerged reflection.

                                                                      That sense of propulsion ushers opener ‘Sign Of Age’ into rising view, its sparse drums, hypnotic sequence and melancholic chords resembling house music as reimagined by Angelo Badalamenti. The enveloping mood holds as ‘Moon In Aquarius’ unfurls like a nighttime road ahead, ghosted by narcotic harmonies. ‘Limestone Alps’ lingers meditatively, hymnal vocals reverberating. ‘Where Water Ends’ and ‘More Dreams’, meanwhile, navigate the porous boundary lines between Krautrock, Factory Records and obscure minimal wave records of the 80s.

                                                                      FORMAT INFORMATION

                                                                      LP includes MP3 Download Code.

                                                                      The Beat Escape

                                                                      The Beat Escape

                                                                        The Beat Escape are Adam and Patrick, an electronic duo from Montreal.

                                                                        The Beat Escape walk into the studio and immediately begin to work. They turn on a drum machine and compose a beat - it’s familiar yet entirely original. A chord progression fills the room, one that’s been on their minds for nearly six months. It happens to sit nicely on the beat and for this they are thankful. Walking through old memories, dreams, sequences and altered states of perception, a melody is caught and harmonies are sung. By them. All around the world, the day continues. The song evolves. The dream is alive. For everyone.




                                                                        FORMAT INFORMATION

                                                                        12" Info: Clear vinyl 12” with digital download code.

                                                                        The Beatles

                                                                        1962-1966

                                                                          The Beatles 'Red Album' is a compilation of songs from 1962-1966, including all the A-sides of the singles from that period. Re-mastered at Abbey Road and pressed on 180g heavyweight vinyl.

                                                                          The Beatles

                                                                          1967-1970

                                                                            The Beatles 'Blue Album' is a compilation of songs from 1967-1970, including all the A-sides of the singles from that period. Re-mastered at Abbey Road and pressed on 180g heavyweight vinyl.


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