MAGIC MIX

ALL GENRES

BACK CATALOGUE - T

Tears For Fears

Head Over Heels (Talamanca System Remix)

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

    As per the previous PR for the Talamanca System Tribal Persuasion mix, part of the true spirit of Balearic/Ibiza has always been slightly left field pop - Prefab Sprout, It’s Immaterial, Talk Talk and of course TFF, so TFF are always held in high regard by the Balearic brigade and this song (Head over Heels) in particular. Whilst a slightly daunting prospect to remix, across the 4 remixes (two by Talamanca and two by Mark Barrott) the aim was to capture the original spirit of Ibiza across it’s different moods, from the dance floor to Sunset via the early poly-rhythms of Underworld, the dramatic majesty of Padilla’s Cafe Del Mar and the dubbed out vibe’s of Larry Heard inspired slo mo house.Whilst these are to be enjoyed by all, in many ways their natural home is on vinyl, as they capture that original spirit and re-frame it in a modern context, taking the atmosphere of the original track and intertwining it with all the aforementioned elements of Ibiza’s musical heritage. Packaging will be black in colour. 

    Television Personalities

    Closer To God

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

      ‘Closer To God’, as with all TVP albums, is mightily personal. Dan Treacy provides the antidote to the opening of the ill-fated Disneyland Paris and the first McDonald’s in China – it’s a white knuckle ride through his innermost hopes and fears with off stage giggling, half heard dialogue and feedback that sounds like an opera is expiring in an adjoining L-shaped room. ‘Closer To God’ is a spiritual rollercoaster that sounds as poignant and pressing as ever. Remastered double LP on limited edition on marbled black and white vinyl. 1500 copies.

      The Waterfront

      Normandy ( On A Beach ) / When The Wind Blows

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

        The Waterfront were a short lived Manchester supergroup from the early 80's. The band consisted of 3 original members of The Stone Roses. Andy Couzens ( Guitar ) Gary Mounfield ( bass ) John Squire ( Guitar ). The drummer was Chris Goodwin ( The High ) and David ' Kaiser' Carty on vocals. Although the band never played a gig they did record 2 tracks in a small studio in 1983. Only a handful of cassette tapes ever existed among friends of the band. Andy Couzens owns the original _ inch reel to reel tape and has kindly offered the recordings for a special release to raise money for The Christie in Manchester. Andy and John later formed The Stone Roses with Mani joining years later. Chris ended up in numerous bands before having success with Andy in The High. Kaiser chose a different path and went to serve for Queen and Country. The Rest is History.

        The Charlatans

        Us And Us Only

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

          Us And Us Only is the sixth album by British alternative rock band The Charlatans. The album was first released in 1999 and hasn’t had a reissue until now! The album includes three top 40 hits ‘Forever’, ‘Impossible’ and ‘My Beautiful Friend’. This Record Store Day exclusive comes on ltd edition transparent vinyl.

          The Clang Group

          We Do Wie Du

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

            The Clang group return with a one off 7” wonder and re-version of 60’s cult legends The Monks’ ‘We Do Wie Du’.

            The Courteeners

            Falcon (RSD19 EDITION)

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

              Following on from the success of St. Jude on red vinyl for Record Store Day in 2018, The Courteeners’ second album ‘Falcon’ will be released on limited edition 180 gram white vinyl for Record Store Day 2019. Originally released in 2010, Falcon was a top-10 album in the UK and features hit single ‘You Overdid It Doll’.

              The Delines

              Colfax (RSD19 EDITION)

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

                Neon orange colour vinyl edition for Record Store Day2019. 1000 pressing worldwide.Long time unavailable debut album from The Delines. Special RSD 2019 edition pressed in neon orange colour vinyl."Evocative country-noir vignettes" 4**** Q "Sublime effort from alt.country supergroup" 4.5/5 Hot Press"Richmond Fontaine's Willy Vlautin is back with a new band, a new female singer and a rich collection of songs... A sublime suite of Americana heartbreak" 9/10 UNCUT Neon orange colour vinyl edition for Record Store Day2019. 1000 pressing worldwide.Long time unavailable debut album from The Delines.

                The Durutti Column

                Obey The Time

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

                  Factory Benelux presents an expanded double vinyl edition of Obey the Time, the eighth studio album by Manchester ensemble The Durutti Column. Originally released by Factory Records in 1990, just 800 copies have been pressed in coloured vinyl (purple and yellow) for Record Store Day on 13 April 2019. (NON-RETURNABLE)Largely self-produced, Obey the Time saw DC mainman Vini Reilly further develop his interest in electronic music, and even embrace house and techno stylings. “The title came screaming off the TV screen in somebody’s version of Othello and captured exactly the feel of the work in progress,” explained Tony Wilson, Durutti manager and Factory founder. “We were in the middle of the Aceeed explosion. If you lived in Manchester, you were absolutely in the middle of it. Vini even explained why house made keyboards sound so fresh. Something to do with a chord being played with 3 or 4 notes into the sampler, but then different chords being triggered by a single key stroke. Creating mathematical harmonic relationships ‘which Schoenberg had searched for but never found.’”Indeed veteran Durutti percussionist Bruce Mitchell features on just one track, Art and Freight. Meanwhile dance exploration Contra-Indications was taped with New Order programmer (and later co-manager) Andy Robinson. Released in December 1990, Obey the Time would be the last Durutti Column album on Factory before the labelled collapsed beneath a mountain of debt.Disc 2 features extracts from a previously unreleased live performance at Manchester University Whitworth Hall on 23 June 1990 (opportunistically billed as ‘The Acid Guitar’), on which Reilly and Mitchell are joined by guests Andy Connell, Liu Sola and Rob Gray.The remastered vinyl set is housed in a striking gatefold sleeve by 8vo printed in pantone colours on white matt board. The bold primary colours are mirrored by the coloured vinyl – purple for Disc 1, and yellow for Disc 2.Disc 1 A1. Vino Della Casa Bianco A2. Hotel of the Lake 1990 A3. Fridays A4. Neon A5. HomeB1. Spanish Reggae B2. Art and Freight B3. The Warmest Rain B4. Contra-IndicationsB5. Vino Della Casa RossoDisc 2 C1. Home (live) C2. What It Means to Me (live) C3. English Landscape Tradition (live)C4. Opera II (live) D1. Finding the Sea (live) D2. Otis (live) D3. Jacqueline (live)

                  The Fall

                  Astoria 1998

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

                    Previously unreleased Live recordings

                    The Fall

                    Frankfurt 1993

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

                      Previously unreleased Live recordings

                      The Fall

                      Kings Lynn 1996

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

                        Previously unreleased Live recordings

                        The Fall

                        Medicine For The Masses - The Rough Trade Singles

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

                          This box set showcases the four classic 7” singles that The Fall released on the Rough Trade label in the early 1980s, all of which characterised their abrasive, repetitive guitar-driven sound, tense bass and drum rhythms and Smith's caustic lyrics. This beautifully packaged box set contains coloured vinyl re-mastered versions of all four Rough Trade 7” singles plus a set of 4 button badges each featuring a key element from the front cover of the four single sleeves.

                          The Fall

                          New Orleans 1981

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

                            Previously unreleased Live recordings

                            The Fall

                            Nijmegan 1999

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

                              Previously unreleased Live recordings

                              The Fall

                              Unutterable - Testa Rossa Monitor Mixes

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

                                Previously unreleased on vinyl

                                The Flaming Lips 

                                King's Mouth

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

                                  180g gold vinyl. Artwork by George Salisbury. King’s Mouth contains twelve new original Flaming Lips compositions as well as album narration by Mick Jones (The Clash).  The record is based on Wayne Coyne’s immersive art installation of the same name - which has seen its psychedelic visuals and soundscapes exhibited in museums all around the U.S. including:  The WOMB (Oklahoma City, OK), Meow Wolf (Santa Fe, NM), the American Visionary Art Museum (Baltimore, MD) and the Pacific Northwest College of Art (Portland, OR).  In addition, the companion book King’s Mouth: Immersive Heap Trip Fantasy Experience tells the story of the King’s Mouth through words and visuals by Coyne. As Coyne writes, “The King’s Mouth immersive/child-like qualities are born from the same spark and womb as Flaming Lips live performances.  The King’s Mouth adventure was made for humans of all sizes, ages, cultures, and religions.”

                                  The Hit Parade

                                  Joey's Girl / I'm Recovering From You

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

                                    One of the UK's most dearly cherished indie bands THE HIT PARADE releases a new single on 7" vinyl for Record Store Day 2019.

                                    The Isley Brothers

                                    Footsteps In The Dark, Pts. 1 & 2 / Between The Sheets

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

                                    Immortalised, slowed down funk from The Isley Brothers. Much loved and often sampled in the hip hop world, with 'Footsteps In The Dark' most famously sampled by Ice Cube and 'Between The Sheets' by Notorious B.I.G

                                    The Leisure Society Featuring Brian Eno

                                    I'll Pay For It Now

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

                                      The Leisure Society release the album track "I'll Pay For It Now" which features Brian Eno on synths, taken from their forthcoming 5th album "Arrivals & Departures" due for release on 12th April 2019 via Ego Drain Records. The track will be released on 7" with an exclusive unreleased track "Pieces", limited to 500 units.

                                      The Lemonheads

                                      Can't Forget / Wild Child

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

                                        LTD pressing of AA 7" single. 1000 pressed. “No strangers to a cover, The Lemonheads perfect the art” NME // Limited edition pressing of AA 7” single, ‘Can’t Forget’ is the lead single, and Yo La Tengo cover, from the new Lemonheads album. AA-side is unreleased cover of Lou Reed’s ‘Wild Child’ this is an exclusive and not on the album. Produced by Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones). It’s nearly ten years since The Lemonheads strummed to a halt on their ninth studio album, a perky well received set of covers that brought together many unlikely bedfellows (Gibby Haynes produced, Kate Moss did a cameo vocal). The band’s follow up repeats the formula with Evan way out upfront, his emotive slow maturing vocal making sense of another wide-beam playlist. He really has become one of the great expressive singers. “Heartfelt songs and a honey voice with which to sing them” GQ // “Boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor” Pitchfork // Track List A – Can’t Forget AA – Wild Child

                                        The Mo-dettes 

                                        The Story So Far

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

                                          SEMINAL 1980 POST PUNK UK TREASURE. LIMITED 180GRM VINYL FROM THE ORIGINAL MASTERS + LYRIC SHEETS ON INNER SLEEVE + DIE-CUT A4 STICKER. INCLUDES PAINT IT BLACK, WHITE MOUSE DISCO & KRAY TWINS - Originally released in 1980 on Deram Records (a division of Decca), this is the first time this seminal UK post-punk album has been reissued on vinyl. The Mo-dettes were an all-female band, formed in 1979 by guitarist Kate Korris (The Slits), Jane Crockford (Bank of Dresden), Ramona Carlier (Kleenex) and June Miles-Kingston. They were in the heart of the late 70s London art, film & punk scene with some of the members assisting Malcolm McLaren on the set of the film, The Great Rock ‘n’ Roll Swindle, as well as living in a community squat with Joe Strummer and Sid Vicious. Their branding was eye catching too, perhaps helping to pull in a wider audience, or it could have been influenced by some of the band members’ art backgrounds too. The album features a version of The Rolling Stones’ Paint It Black, a remake of their debut single White Mice (renamed White Mice Disco), plus a cover of Edith Piaf’s Milord, along with other original penned songs.The band toured for four years and they supported two-tone ska bands such as Madness and The Specials before breaking up finally in 1982. When the members went their separate ways, many continued to work and be associated with artists such as Fun Boy Three, Everything But The Girl, and The Communards, a.o.

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

                                          Expertly utilised in hit series 'Breaking Bad', The Peddlers' 'On A Clear Day You Can See Forever' is a sumptuous smooth jazz journey - full of organ solos and deep vocal tones. 2019 marks 50 years since it's original release.

                                          Teddy Pendergrass

                                          You Can't Hide From Yourself / The More I Get, The More I Want

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

                                          Enhanced remaster & recut due to never officially being on 12" before...2 huge Teddy Pendergrass disco anthems from the Philly International vaults get an official reissue.

                                          The Police

                                          Message In A Bottle

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

                                            Following on from ‘Roxanne’ – RSD 2018, we celebrate the 40th anniversary of the band’s first international no. 1 single, originally released September 1979. Brand new exclusive edition for RSD 2019, packaged in bespoke 2 x 7” special double pack gatefold sleeve. Utilising original green UK sleeve for front and incorporating blue US ‘poster’ sleeve inside the gatefold. Two colour inner bags –A&M ‘company’ bag design. Features the original single and B-side. Disc 2 features Message In A Bottle ‘Classic Rock Mix’, originally exclusive to ‘Every Breath You Take: The Classics’ collection (1995) –now deleted, and the previously unreleased instrumental version of Message In A Bottle. Remastered at Abbey Road Studios, London and pressed on coloured vinyl: Disc 1 – ‘bottle’ green vinyl, Disc 2 – blue vinyl

                                            The Pooh Sticks

                                            The Great White Wonder

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

                                              exclusive coloured ltd. Ed white vinyl in gategold sleeve from indie legends, and founders of the Fierce label.

                                              The Redskins

                                              Bring It Down! (This Insane Thing)

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

                                                The first Redskins release for many years, this is a 4-track celebration of their 1985 Top 40 hit, “Bring It Down! (This Insane Thing!)”. Featuring their distinctive hybrid of rock and soul complete with their signature brass section and their unmistakable ‘call to arms’ socialist sensibility. It kicks off with an exclusive 7” remix which is an alternative EQ’d mix of the original hit single found among the archived master tapes. The release also includes the original extended 12” version of “Bring It Down! (This Insane Thing)” as well as the 12” single’s B-side “You Want It? They’ve Got It!”. The final track is a previously unreleased ‘live edit’ of their track “Let’s Make It Work” recorded at the Polytechnic of Central London in December, 1985 at the height of the band’s critically acclaimed live shows. Packaging : 10" colored red vinyl in gatefold sleeve.

                                                The Rolling Stones

                                                High Tide Green Grass (Big Hits Vol. 1)

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

                                                  Reissue of the long out of print UK vinyl edition of the Rolling Stones’ very first ‘best of’ LP, from 1966–the collection was many people’s first foray into the world of the Stones! A top 3 chart album on both sides of the Atlantic, on release -featuring six number one singles! Includes original 14-track album on heavyweight green vinyl.Features UK edition artwork –gatefold sleeve and colour insert. Ironically, the iconic UK, ‘fish-eye’ cover shot was taken in New York by Jerry Schatzberg. Mono edition cut by Sean Magee at Abbey Road Studios, London. Includes (I Can’t Get No) Satisfaction, Paint It Black, The Last Time, 19th Nervous Breakdown & many other classic hits! “One of the most potent collections of singles that one can find” AMG

                                                  The Rolling Stones

                                                  She's A Rainbow (Live)

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

                                                    The Rolling Stones release a special, limited edition of "She's A Rainbow" (Live) at U ARENA, PARIS 25/10/17.

                                                    The Rolling Stones

                                                    Through The Past, Darkly (Big Hits Vol.2)

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

                                                      Reissue of the long out of print UK edition of the Rolling Stones’ second ‘best of’ LP, reissued for RSD exclusive and the 50th anniversary. Originally released in 1969, it included four top-10 singles and two number ones! Includes original 12-track album on heavyweight orange-coloured vinyl. Features unique octagonal artwork in a stunning gatefold sleeve!_Stereo edition cut by Sean Magee at Abbey Road Studios, London. Includes Jumpin’ Jack Flash, Street Fighting Man, Honky Tonk Women, She’s A Rainbow (recently used in the Dior TV advert) & many other classic hits.

                                                      The Straight Arrows

                                                      Another Day In The City

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

                                                        Brand new song, unreleased b-side. A side is cover of super rare murder punk classic by "BRITISH JETS" . Straight Arrows latest LP came out to much accalim in later 2018, heres their take on the super rare British Jets 7" track.

                                                        The Streets

                                                        Remixes & B Sides Too

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

                                                          Remixes and B Sides from the first four albums, Original Pirate Material, A Grand Don't Come for Free,The Hardest Way to Make an Easy Living  and Everything Is Borrowed

                                                          Teenage Fanclub

                                                          The King

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

                                                            Repress of second album by Fanclub, originally deleted on its day of release in 1991.

                                                            This Is The Kit

                                                            Krulle Bol (RSD19 EDITION)

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

                                                              Limited to 1000 copies worldwide on blue vinyl for Record Store Day. This Is The Kit's first album was recorded in Italy and produced by John Parish. It originally had a limited vinyl release on Microbe Records in 2007. Now available on blue vinyl for RSD 2019. Featuring Kate Stables - vocals, guitar and banjo; John Parish - drums; Julien Barbagalo - drums; Jamie Whitby Coles - drums; Jesse Morningstar - violin, guitar, vocals, percussion. Tracklist>> Side A 1.Our Socks Forever More 2.Creeping Up Our Shins 3.Shared Out 4.Birchwood Beaker 5.With Her Wheels Again 6.Two Wooden Spoons Side B 1.We Need Our Knees 2.Moths 3.Krülle Bol 4.Greasy Goose 5.Tangled Walker 6.She Does

                                                              Tindersticks

                                                              Willow (feat. Robert Pattinson)

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

                                                                Exclusive 7". Song taken from the OST of the new Claire Denis movie High Life (starring Robert Pattinson and Juliette Binoche). Score written by Stuart A. Staples. OST will be released on CD and vinyl in May 2019. Movie is out between March - May all over the world. US release date (movie) 12th April. "Willow" beautifully sung by Robert Pattinson is the credit role song. B-side comes with instrumental version.

                                                                TVAM

                                                                No Silver Bird / Narcissus (Tunng Remix)

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

                                                                  A long-time personal favourite of TVAM and something of a rare psych, curio ‘No Silver Bird’ was originally released by New Mexico underground act The Hooterville Trolley in 1968 , More recently ‘No Silver Bird’ has featured in the TVAM live sets and generated lots of interest and questions on Socials as to what is was and when it was available - the wait is over. The Tunng remix of ‘Narcissus’ came about via a remix-swap between the acts, this version is also previously unreleased /unheard until now. Tunng have stripped back the original elements and have offered a reinterpretation in their inimitable psych-folk styling. All pressed onto transparent yellow vinyl.

                                                                  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.

                                                                    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 Aints!

                                                                        The Church Of Simultaneous Existence

                                                                          “Rock music in the seventies was changed by three bands —the Sex Pistols, the Ramones and The Saints.” - (Bob Geldof)

                                                                          THE AINTS! THE CHURCH OF SIMULTANEOUS EXISTENCE

                                                                          Forty years after the release of one of the great Australian debut albums of all time Ed Kuepper returns with a brand-new band and a brand new contender for the title.

                                                                          When the heavily lauded, heavily influential first incarnation of The Saints split in 1978, Ed Kuepper, the sonic architect and primary songwriter of the original band and their three albums: the proto-punk classic (I’m) Stranded (1977), the r’n'b infused Eternally Yours (1978) and the brass-laden genre-defying Prehistoric Sounds (1978) left behind a plethora of unreleased material, however, rather than attempt to salvage what could have been Kuepper chose to move on forming the legendary Laughing Clowns performing and recording in Australia and the U.K. from 1979 through 1984 before embarking on an ARIA award winning solo career that has kept him touring and recording steadily since 1985.

                                                                          Come 2017 though, and the 40th anniversary of The Saints seminal debut Kuepper was persuaded it was time to revisit and celebrate the music of his youth. Recruiting like-minded souls in Sunnyboys bassist Peter Oxley, drummer Paul Larsen Loughhead (The Celibate Rifles / The New Christs), jazz pianist Alister Spence and trumpeter and brass arranger Eamon Dilworth the band performed as The Aints! Play The Saints (’73 - ’78) covering Kuepper’s tenure with the band and all the classics including This Perfect Day, Know Your Product, Swing For The Crime and (I’m) Stranded to large crowds and a hugely appreciative response. But rather than purely recycle those formative songs Kuepper began to introduce the new-old material to an audience eager to hear what else Kuepper had been sitting on since 1978. A further positive response from the music department of the ABC saw these two iconic Australians join forces and bring to light what is in essence, the long lost fourth album by The (original) Saints. 

                                                                          FORMAT INFORMATION

                                                                          2xCD Info: First pressing of the CD (1000 for UK./EU) version comes with the bonus INSTRUMENTAL VERSIONS (subsequent pressings will be single CD).

                                                                          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.

                                                                          Terry Allen & The Panhandle Mystery Band

                                                                          Pedal Steal + Four Corners

                                                                            Deluxe LP+3CD+book set features 145g virgin vinyl LP; heavy-duty board gatefold jacket; printed inner LP sleeve; custom 3CD portfolio; high-res Bandcamp download code; and an exhaustive 28pp. color booklet boasting the first in-depth essay to explore this singular body of work, dozens of images of Allen’s related visual art, and full scripts and credits for all five pieces (a total of 33k words). 

                                                                            Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and conceptual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Pedal Steal + Four Corners collects, for the first time, Allen’s radio plays and long-form narrative audio works—two and a half hours of cinematic country-concrète songs, stories, and sound collage—in a deluxe gatefold edition, including one LP, three CDs, a DL code, and an exhaustive 28pp. color booklet boasting the first in-depth essay to explore this singular body of work; dozens of images of Allen’s related visual art; and full scripts for all five pieces (a total of 33k words.) Pedal Steal (1985), originally composed as a soundtrack to a dance performance, appears on vinyl for the first time, as well as on CD. Torso Hell (1986), Bleeder (1990), Reunion (return to Juarez) (1992), and Dugout (1993) comprise the Four Corners suite, radio plays broadcast on NPR and never before released, now spanning two CDs. All audio has been meticulously remastered from the original tapes. Fans of Allen’s violent masterpiece Juarez will find much to love in these haunting desert dramas of the chthonic Southwest, which feature Jo Harvey Allen, Lloyd Maines, Butch Hancock, Rolling Stones saxophonist Bobby Keyes, and many others. Roger Corman failed to option the film rights; Jesse Helms failed to ban them; now you can own them! Navajo chants blend into fuzzed-up steel guitar; dirty-realist narratives succumb to skeletal ballads; B-movie dialogue blossoms over a plaintive violin. Pedal Steal represents roots rock’s rarely encountered experimental fringe.





                                                                            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. 

                                                                              Tony Allen & Jeff Mills

                                                                              Tomorrow Comes The Harvest EP

                                                                              Lock yourself into the beat, but don’t become prisoner to it. The techno pioneer Jeff Mills understands that only too well. In his quest to liberate himself from the tyranny of the sequencer, Mills couldn’t wish for a better partner than the father of Afrobeat.

                                                                              Many consider Tony Allen to be one of the greatest drummers alive. In the last thirty years, his signature mix of Nigerian roots, polyglot jazz and no-fuss funkiness has spread like a virus, infecting the work of artists as diverse as Damon Albarn, Charlotte Gainsbourg and Moritz Oswald. Jeff Mills is a titan of the electronic dance scene and a tireless innovator, who helped to give birth to the 1980s Detroit techno scene before going on to compose electro symphonies, soundtracks and sonic odysseys inspired by futurism and space travel, working with visual artists, choreographers, classical orchestras, even astronauts.

                                                                              His collaboration with Tony Allen is another rhythmic conversation in a long and well-established discourse, but a special one too: “It really is a pure collaboration, not just through music, but in our minds and spirit as well.” The same goes for Tony Allen. He has already collaborated with quite a few electro artists during his long career but this is something else. “The difference is that Jeff can play with me, whereas the others cannot play with me. I can only play with them, but they cannot play with me…yunastan?”

                                                                              The pair first shared a stage in December 2016, at the New Morning in Paris. Their live shows have become a rhythm summit without equal, a chance to witness two of the world’s most innovative beat-makers, supplemented by the Moogs and synths of Jean-Philippe Dary, fusing past and future into an intense, seamless present where digital and analogue, jazz and electro, Africa and America, the source and the delta, become one.

                                                                              In some ways Allen and Mills have already fashioned their own sovereign self-designed state, one where improvisation, creativity and instinct reign. It’s rooted in Africa, yes, but like the music of Art Blakey, it goes beyond Africa, beyond America, beyond the force-fields of history and the structures of technology. That’s all the excitement - to get on board with two of the world greatest living masters of rhythm, set the controls for the heart of their spinning world, and boldly go into the unknown.

                                                                              "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.

                                                                              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.

                                                                                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

                                                                                  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.

                                                                                    Features current and ex-members of Chain & The Gang, Pygmy Lush, and The Shirks. Moody lo-fi garage rock.

                                                                                    Coasting into town on fumes, late and not speaking to each other because nobody would stop to ask for directions,The Ar-Kaics take their cues from the first wave of ‘60s punk — American teenagers taking cues from the British Invasion, in turn taking cues from pilfers of the hinterland originators — with the added vantage of several subsequent decades worth of wayward balladeers, no names and psychedelic rock hangovers.

                                                                                    The Ar-Kaics have been delivering their off-brand, spot-on garage rock originals out of Richmond, VA, via a flood of small press singles and a s/t debut album - all of which have since become highly desirable in the collectors market - and several successful DIY tours across the lower 48, with shows in Canada and Europe to boot. Since, they've drifted around some, gotten and lost jobs, opened a record store and label, and started families.

                                                                                    In the summer of 2015 the group hooked up with Wayne Gordon and Mikey Post, of Wick Records to record a couple tracks at the Daptone Records' House of Soul - resulting in 2016's critically acclaimed - Just My Life b/w It's Her Eyes 45.

                                                                                    After the success of their debut single on Wick, plans were hashed to record their sophomore full-length, which took place over three days in the Spring of 2017, at Adrian Olsen's Montrose Studio in Richmond, VA.

                                                                                    Produced by Wayne Gordon (Black Lips, King Gizzard and the Lizard Wizard, Jon Spencer Blues Explosion), and Mikey Post (Reigning Sound, The Jay Vons) the fruits of the heady three day retreat produced the forthcoming Long Player, "In This Time"...a low-brow journey through the Teen-Beat sounds of the 1960's...and beyond! From the opening, crude thud of "Don't Go With Him", the Velvet Underground tinged swagger of "She's Obsessed with Herself", the breezy, late-period psych of "Long Way Down", to the unpretentious, sap-free balladry of "It's Her Eyes" - The Ar-Kaics flex their deft understanding of the subtle intricacies that defines bonafide Garage Rock.

                                                                                    In spite, the band remains, taking its time with In This Time, void of professionalism or self-preservation, just an unquenchable thirst to lap it up and pass it around — the good stuff that is — before it’s all gone.


                                                                                    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.

                                                                                    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.” 


                                                                                    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).

                                                                                    “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

                                                                                    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.

                                                                                    Do you remember what you were doing fifteen years ago? I do. I was a fifteen year old kid from the burbs, spending my summer playing football and recreating WWF classics in the back yard while dressed like a nerdish Eminem (bleach blonde hair and everything). Then a wacky-ass radio track packed with film snippets and horse noises worked its way into my teenage brain and changed things for good. The Avalanches were insane, inspired and in full effect; following the 'horse song' ("Frontier Psychiatrist") with a soulful and swooning summer jam ("Since I Left You") which has played in my head ever since. Family Allowance firmly in hand I took my privilaged ass off to the Market Hall, picked up a CD copy of this album and spent the whole bus journey home feasting my eyes on the liner notes and sleeve artwork. As I hit the play button on my naff home stereo, I was whisked away Dorothy-style and taken on a head spinning journey through 50 years of popular music. Leaving the monochrome mundanity of Bolton behind, I soared through technicolour stage sets of paradise islands, Brooklyn block parties and countryside BBQs, Sci-Fi spectaculars and rewired romances as 3,500 samples were sticky taped together before my very ears. The plunderphonic sound of six men who spent their adolesence rummaging through the bargain bins of Melbourne's record shops, "Since I Left You" applies hip hop's cut'n'paste mentality to the full gamut of weird and wonderful pop, from exotica to erotica, disco and funk to lounge and psych. Unlike anything I'd ever heard before, and better than any imitators I've heard since, The Avalanches are truly in a class of their own.  

                                                                                    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. 


                                                                                    FORMAT INFORMATION

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

                                                                                    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 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.

                                                                                      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 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 Band

                                                                                          "The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking uptempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was The Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor." - All Music.

                                                                                          STAFF COMMENTS

                                                                                          Andy says: Just as good as the first, maybe without the same impact. Includes the world-classic "The Night They Drove Old Whiskey Down".

                                                                                          FORMAT INFORMATION

                                                                                          LP Info: Back to black vinyl edition.

                                                                                          LP includes MP3 Download Code.

                                                                                          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.

                                                                                          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’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.

                                                                                          "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 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 Bayara Citizens

                                                                                            Mafungo

                                                                                              Previously only available in Japan, the Bayara Citizens are Joe Claussell's new project on Spiritual Life sister-label Sacred Rhythm Music. Gathering a tight band, he embarks on some live spiritual house playing with layers of scope. Amongst the extra bits is a version of Mental Remedy's "Obatala" recorded live in Japan before an appreciative crowd. Long out of print, and available now in very limited quantities, this is your chance to own a true spiritual house classic.

                                                                                              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.

                                                                                                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."

                                                                                                  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.

                                                                                                    Double LP gold here, The Beastie Boys finest fifteen tracks throughout their incredible career. This record features some of the best tunes such as ‘Fight For Your Right’ and ‘An Open Letter to NYC’ but is filled to the brim with all the best of beasties. The Beasties consistent 'triple trouble' MC style is the thread that runs through each track here, creating cohesion to this whole LP, which presents us with a great overview of their career so far.

                                                                                                    The Beasts

                                                                                                    Still Here

                                                                                                      After an extremely emotional final performance with the Beasts of Bourbon, Tex Perkins hit upon the idea of getting all of the band's members, past and present into a recording studio with no particular agenda other than to do just that. It was more of a celebratory thing he had in mind than anything. Sadly, bassist Brian Hooper didn't make it along as he passed away a week after the Beasts last show. Assembled in Soundpark Studio a couple of weeks later were Charlie Owen, Boris Sujdovic, Tony Pola, Spencer Jones, Kim Salmon and Tex Perkins. Deeply sad is that Spencer was only around long enough to make it onto one track. Absolutely wonderful is that he did make it onto the recording. And with such a funny and typically Jones style piece of observation as At The Hospital. With respect, this isn't the Beasts of Bourbon. It would need to have Jonesy on every track to be that! But loudly and proudly this is: The Beasts Still Here. 

                                                                                                      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.

                                                                                                      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.

                                                                                                        STAFF COMMENTS

                                                                                                        Barry says: Superb throbbing pseudo-synthery from The Beat Escape, Bella Union's answer to Pye corner Audio mix swooning pads and soaring vocal abstractions around a dynamic core of weighted percussion, flickering arpeggios and spine-tingling euphoric leads.

                                                                                                        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

                                                                                                          A Hard Day's Night - Vinyl Edition

                                                                                                            Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                                            The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                                            Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                                            In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                                            For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                                            There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                                            The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                                            A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                                            The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                                            Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                                            The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                                            An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                                            Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                                                            The Beatles

                                                                                                            A Hard Days Night - Enhanced Edition

                                                                                                              The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.


                                                                                                              1. A Hard Day's Night
                                                                                                              2. I Should Have Known Better
                                                                                                              3. If I Fell
                                                                                                              4. I'm Happy Just To Dance With You
                                                                                                              5. And I Love Her
                                                                                                              6. Tell Me Why
                                                                                                              7. Can't Buy Me Love
                                                                                                              8. Any Time At All
                                                                                                              9. I'll Cry Instead
                                                                                                              10. Things We Said Today
                                                                                                              11. When I Get Home
                                                                                                              12. You Can't Do That
                                                                                                              13. I'll Be Back
                                                                                                              14. A Hard Day's Night Documentary

                                                                                                              The Beatles

                                                                                                              Abbey Road - Vinyl Edition

                                                                                                                Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                                                The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                                                Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                                                In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                                                For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                                                There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                                                The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                                                A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                                                The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                                                Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                                                The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                                                An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                                                Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

                                                                                                                The Beatles

                                                                                                                Beatles For Sale - Enhanced Edition

                                                                                                                  The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.

                                                                                                                  Tracklisting
                                                                                                                  1. No Reply
                                                                                                                  2. I'm A Loser
                                                                                                                  3. Baby's In Black
                                                                                                                  4. Rock And Roll Music
                                                                                                                  5. I'll Follow The Sun
                                                                                                                  6. Mr Moonlight
                                                                                                                  7. Kansas City/Hey-Hey-Hey-Hey
                                                                                                                  8. Eight Days A Week
                                                                                                                  9. Words Of Love
                                                                                                                  10. Honey Don't
                                                                                                                  11. Every Little Thing
                                                                                                                  12. I Don't Want To Spoil The Party
                                                                                                                  13. What You're Doing
                                                                                                                  14. Everybody's Trying To Be My Baby
                                                                                                                  15. Beatles For Sale Documentary

                                                                                                                  The Beatles

                                                                                                                  Beatles For Sale - Vinyl Edition

                                                                                                                    Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

                                                                                                                    The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

                                                                                                                    Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

                                                                                                                    In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

                                                                                                                    For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

                                                                                                                    There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

                                                                                                                    The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

                                                                                                                    A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

                                                                                                                    The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

                                                                                                                    Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

                                                                                                                    The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

                                                                                                                    An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

                                                                                                                    Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.


                                                                                                                    next 100

                                                                                                                    Just In

                                                                                                                    209 NEW ITEMS

                                                                                                                    Latest Pre-Sales

                                                                                                                    179 NEW ITEMS

                                                                                                                    Thanks for posting about it. It’s here until next Friday May 3rd btw. https://t.co/PgaFhSvpPe
                                                                                                                    Wed 24th - 8:58
                                                                                                                    Yes! Thanks @NME for the feature. Come and visit @ianbrown https://t.co/ilKYdZmAtx
                                                                                                                    Tue 23rd - 9:48
                                                                                                                    It’s great isn’t it?! Glad you liked it and hope your wish comes true.🤞🏻 https://t.co/ZPlM8ry6f5
                                                                                                                    Mon 22nd - 5:55
                                                                                                                    Thank you. Come back soon. https://t.co/wahwb4Pvw2
                                                                                                                    Mon 22nd - 3:49
                                                                                                                    E-newsletter —
                                                                                                                    Sign up
                                                                                                                    Back to top