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Wipers

Alien Boy EP

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

    1st ever reissue, from the original master tapes. 2000 total worldwide. Exclusive 4 track EP released in 1980. First time reissued, from the original master tapes. Black vinyl 7”. Tracks : Alien Boy, Image Of Man, Telepathic Love, Voices In The Rain

    Wilma Archer

    A Western Circular

      Within A Western Circular lies an exciting and varied crew of guest artists including MF DOOM, Samuel T. Herring (Future Islands), Sudan Archives, and Laura Groves, all contributing vocals to his rich, dexterous compositions. These collaborations are the by-product of several years of writing and producing. Recently, he’s appeared extensively on the debut albums by Sudan Archives (writing the lead single, 'Confessions', no less) and Nilüfer Yanya (contributing seven songs), alongside work with Celeste, and another writer and production credit on Jessie Ware’s Devotion.

      An album that’s been in the works for the past half-decade, A Western Circular is a bold, reflective piece that directly relates to Archer’s personal experiences of life and death, centered on one particular week where they breathed with equal intensity. The record’s themes of greed, love and loyalty all relate back to that specific time. Inspired by author John Fante, A Western Circular is a spiritual voyage through life’s pushing and pulling: finding beauty in the rough, sadness in the bright. Ostensibly, it’s a poignant reflection on the duality of the human condition.

      On the record, Archer has uncovered new depths and forged an invigorating singular sound - supple and multi-layered, honouring his acoustic heritage and influence, while building a sonic universe that commands contemporary references to everything from Frank Zappa to Yasuaki Shimuzu, Robert Wyatt to Arthur Russell.

      FORMAT INFORMATION

      Deluxe LP Info: Album on clear vinyl, comes with white label 12” of Last Sniff featuring MF Doom on black vinyl.

      Wally Badarou

      Echoes - 180g Vinyl Edition

      Badarou was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah “Sticky” Thompson), the in-house recording team of Compass Point Studios responsible for a long series of albums of the 1980s recorded by Grace Jones, Tom Tom Club, Joe Cocker, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. His keyboard playing can also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, Talking Heads, Foreigner, Melissa Etheridge, Manu Dibango and Miriam Makeba.

      Limited 180g vinyl reissue of synth maestro Wally Badarou’s classic futuristic instrumental album ‘Echoes’ from 1983. Superb from start to finish, this electronic tour de force spawned several monster tracks including the wonderful Joe Claussell and Larry Levan favourite ‘Chief Inspector’, a bumping bouncing Korg and Moog-laden bomb which made its mark in the charts as well as on the dancefloor, showcasing the strong jazz-funk sensibility you’d expect from long-term Level 42 collaborator Badarou. Also features the hauntingly beautiful ‘Mambo’, a mesmerizing slo-mo epic instantly recognisable for its enormous contribution to Massive Attack’s hit ‘Daydreaming’ as well as hitting big for DJs such as Kevorkian at the time. Other gems on this amazing instrumental-only album include the sophisticated funk of big Baldelli play ‘Endless Race’, quirky afro-funky delight ‘Hi-Life’ and the cool and elegantly mellow ‘Waltz’ amongst others. Not to be missed!

      William Basinski

      On Time Out Of Time

        The new studio album from one of the world’s most celebrated sound artists. Vinyl format features exclusive mixes that differ from the CD and Digital formats. “At its best, William Basinski’s music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.” 

        On Time Out of Time is a suite of works originally commissioned for the 2017 installations ‘ER=EPR’ and 'Orbihedron' by artists Evelina Domnitch and Dmitry Gelfand (in collaboration with Jean-Marc Chomaz and LIGO) for the exhibition, ‘Limits of Knowing’ at Martin-Gropius-Bau, Berlin by curator, Isabel de Sena. These works utilize, among other things, exclusive source recordings from the interferometers of LIGO (Laser Interferometer Gravitational-Wave Observatory) capturing the sounds of the merging of two distant massive black holes, 1.3 billion years ago. The CD and Digital formats feature two tracks: The 40-minute title track, “On Time Out of Time,” as well as “4(E+D)4(ER+EPR)”, a live track recorded during the aforementioned installation. 

        FORMAT INFORMATION

        LP Info: Vinyl LP format features two exclusive mixes of the title track: “On Time Out of Time” on the a-side; and “On Time Out of Time (The Lovers)” on the b-side, made especially for the vinyl format.

        Will Beeley

        Gallivantin'

          Tompkins Square reissue the self-released mega-rare (only 200 copies) private press LP Gallivantin' from 1971. Recorded in San Antonio, Gallivantin' shows Beeley's heartfelt, folky side - a wistful set of original tunes, plus a cover of Bob Dylan's "You Ain't Goin' Nowhere" and a spaced-out, 10 minute+ Eastern-influenced psych take on Buffy Sainte-Marie's "Little Wheel Spin & Spin / Co'Dine".

          Now a truck driver living in New Mexico, Will Beeley recently recorded his first new album since 1979's Passing Dream. Produced by Jerry David DeCicca of The Black Swans (who also produced Larry Jon Wilson's final album), the new one features Michael Guerra (The Mavericks), and is mixed by Stuart Sikes (Loretta Lynn's Van Lear Rose, Cat Power's The Greatest). The album is slated for release on Tompkins Square sometime in 2018.

          Will Beeley

          Highways & Heart Attacks

            HIGHWAYS & HEART ATTACKS is a remarkable return from a singer-songwriter whose work might well have been lost to dusty record crates and the secret annals of Americana musical history. But with Tompkins Square’s 2017 reissues of Beeley’s two stunning albums, 1971’s GALLIVANTIN’ and 1979’s PASSING DREAM, the Texas-based troubadour finally earned the applause his distinctive songcraft long deserved, with Noisey praising his “deeply felt, little heard, folk music” and PASTE noting, “With the re-release of these fine LPs, we can spend some time more fully appreciating them before (Beeley’s) very welcome return to the music world.” Recorded at San Antonio’s Blue Cat Studios with producer Jerry David DeCicca (Chris Gantry, Ed Askew, Larry Jon Wilson), Grammy® Award-winning engineer Joe Trevino (Flaco Jimenez, Los Lobos, Los Texmaniacs), and Grammy® Award-winning mix engineer Stuart Sikes (Loretta Lynn, Cat Power, Phosphorescent),

            HIGHWAYS & HEART ATTACKS sees Beeley backed by a combo of Americana all-stars that includes accordionist Michael Guerra (The Mavericks), guitarist Don Cento (Sarah Jaffee), bassist Canaan Faulkner (The Black Swans, Ed Askew), drummer Armando Aussenac (Neon Indian), organist Richard Martin, and Grammy® Award-winning violinist Bobby Flores (Freddy Fender, Doug Sahm, Willie Nelson). Songs like “Been A Drifter” and “Don’t Rain On My Parade” are both wistful and warm-hearted, Beeley’s rough-hewn vocals the ideal vehicle for his one-of-a-kind tales of a road well traveled and a surprise ending hard earned

            William Bendix / Lewis J Force

            William Bendix Vs Lewis J Force EP - Inc. Lucky Koi / Parasols Remix

            Vivod welcomes slither-screen stars Lewis J. Force and William Bendix to the fold with additional work put in from Parasols and Lucky Koi. Bendix kicks off with the Detroit style disco-tek of "Dallas". Squelchy, chopped loops that somehow buzz with a disco flavour, think Sound Stream mixed with James Cotton and you're halfway there. "Centurion" is an unusual beast, with a big hook twisted into mayhem inducing riffage, supplemented with mechanical beat and juicy bass part. Lucky Koi sets to work on "Dallas" before the close of play on side A. Keeping that twisted flavour intact but somehow imparting his or her personality onto the master stems. Futuristic as Charlie Brooker trolling Philip K Dick on Snapchat (that's not actually that futuristic - ed). Flip and it's the turn for Lewis J Force who goes on a mad Poindextor rampage with "Folkestone Nightclub" - apparently a scathing tribute to the (lack of) nightlife around the Folkestone Riveira. That's a shame as I'd love to hear this banging out as the sun rises over the ocean at the end of yet another session down Kent way.... Anyway, Parasols also gets jilted and shuffled by the crazed shuffle setting on the track, turning up the aggression settings as we go spiraling into the nearest speaker stacks after one too many gary's and possibly a bump of K. Not that I was ever advocate such antics out in the field.

            STAFF COMMENTS

            Matt says: More totally twisted machine music on Vivod, this time from the dirty minds of William Bendix & Lewis J Force. Highly recommended!

            Will Burns & Hannah Peel

            Chalk Hill Blue - Deluxe Edition

              ‘Chalk Hill Blue’ is the first album by poet Will Burns and musician and composer Hannah Peel: a record of electronic ruralism channelling lives threaded through the chalk landscapes of Southern England.

              Existing and reacting off each word and sounds in the studio together; with the words of poet Will Burns, the analogue electronic compositions of Hannah Peel and the overarching eye of producer Erland Cooper, all tracks were produced and recorded in their entirety within 12 hours.

              The spoken words and sound worlds often seem to emerge from subliminal processes of call and answer; a fertile blurring of collective inspiration and intention circling this abstracted chalk landscape.

              This deluxe edition of ‘Chalk Hill Blue’ also includes a 7” single featuring a pair of new pieces from Hannah Peel and Will Burns, combining the same evocative, powerful sonic palette and plainspoken poetry as their acclaimed album.

              A commission to create a new collaborative work for the BBC resulted in ‘Moth Book’, an elegiac mediation on loss which flowers into a driving, hypnotic synth workout, perfectly offset by the haunting flipside track, ‘Wendover, Bucks’.

              Will Carruthers

              Playing The Bass With Three Left Hands

                I can confirm that should you ever find yourself on stage playing the bass guitar with three left hands, it is usually the one in the middle that is the real one. The other two are probably phantoms.

                Playing the Bass with Three Left Hands tells the story of one of the most influential, revered and ultimately demented British bands of the 1980s, Spacemen 3. In classic rock 'n' roll style they split up on the brink of their major breakthrough.

                As the decade turned sour and acid house hit the news, Rugby's finest imploded spectacularly, with Jason Pierce (aka Jason Spaceman) and Pete Kember (aka Sonic Boom) going their separate ways. Here, Will Carruthers tells the whole sorry story and the segue into Spirtualized in one of the funniest and most memorable memoirs committed to the page.

                Wild Billy Childish & The Chatham Singers

                Kings Of The Medway Delta

                  The first Damaged Goods release of 2020 is a brand new album featuring Wild Billy and his regular cohorts Nurse Julie and Wolf Howard. It's the third album they've released as The Chatham Singers and features twelve tracks of gritty Chess Studio style blues with Billy on great vocal and lyrical form throughout. We asked Billy a few questions about the record... This album follows CTMF’s Last Punk Standing LP and is something of a left turn. What prompted the decision to make a blues album? I've been making blues recordings since the early 1980s. We've made a few Chatham Singers LPs over the years and I've been meaning to record another and just got round to it.

                  I'm still making regular CTMF recordings at the same sessions it's just the fun of working with different sounds. I was listening to Slim Harpo ('Got Love If You Want It') in a cafe, Jim form Ranscombe Studios was having a coffee and I said “this is a great song, we should try to get that echo chamber going.” Next day he said he'd been messing with it and I said “right, let's record!” How does this differ from the previous two Chatham Singers albums? Less country, no poetry, more developed sound, otherwise the same. It features fantastic blues harp playing by guest player Jim Riley, tell us a bit about him. Jim plays with us on the other LPs as well, I just wanted to highlight that a bit on this LP. I've known Jim since '77 when he was in the local R&B group, Wipeout, and I was in the local punk outfit The Pop Rivets.

                  We played together a few times and became pals back then. Jim now runs the local studio where we record with my drum kit from Thee Mighty Caesars. You’ve really captured that authentic gritty urban blues sound. Gearheads will want to know what guitars and amps you used? My same old Selmer Truevoice guitar 15 amp I've used since the Milkshakes, a 15 Selmer bass combo (15 quid from Rochester flea market. A '59 Jazzmaster guitar and an old Hagstrom bass that Thee Headcoats got on the cheap in Seattle. As the album is titled Kings of the Medway Delta, what do you think those other Kent-born musicians, Keith Richards and Mick Jagger would make of the album and how does it compare to their work? We got the sound of that Chess Studios echo chamber, so I guess they'd be pretty envious. I love the Rolling Stones when they were R&B fans, not so much after the rock set in. Your recent live shows have been very well-received. Any plans to play some specifically blues-based shows in 2020? Not at the moment, let's see. 

                  Wild Billy Childish & The Chatham Singers

                  All My Feelings Denied

                    New 7” single! Features exclusive B-side! A brand new 7” single from Billy & The Chatham Singers. The A-side is a reworking of a Childish classic, done in a Chicago blues style. It's taken from the band's new LP Kings Of The Medway Delta (DAMGOOD528CD/LP). The B-side is exclusive to this release, a cover of Willie Dixon's 'I'm Ready'. 

                    Wild Billy Childish & CTMF

                    Marc Riley Session 2019

                      In April CTMF recorded a session for Marc Riley's BBC 6Music show. We're releasing the recordings on a new 7” EP. TRACKLISTING 1 – When You Stop Loving Me 2 – Hurt Me 3 – My Love Was Felled4 – Pretend “'When you Stop Loving Me' was a 45 for Thee Headcoats on Sub Pop Records in the '90s.In my view it's a top tune that hasn't been played live for going on 20 years so we took this opportunity to re-introduce it. 'My Love Was Felled' - this track nearly made it onto the new LP but didn't fit the running order I wanted. 'Hurt Me' is a great track by Thee Headcoatees. For some reason I never sang a version. I decided to travel back in time and give it a shot. In my view I do a great job! 'Pretend' is another track of Thee Headcoatees that I thought we could have a shot at. Despite being brought up on Sgt. Pepper and the Jimi Hendrix Experience we don't record much psychedelic stuff but here's our splendid rendition of another hit tune.” Billy Childish 

                      Wild Billy Childish & CTMF

                      You're The One I Idolise C/w Everything Intensifies

                        New limited edition 7” from CTMF! 600 copies on black vinyl! Featuring exclusive B-side 'You’re the One I Idolise' This is a love song, along the lines of some of the ballads we used to do in the Milkshakes - inspired by Arthur Alexander. There also seems to be some Richard Hell in there (the Voidoids have been a big inspiration over the years (I saw them supporting the Clash at Hastings Pier Pavilion in '77. Billy Childish – May 2019

                        William Doyle

                        Your Wilderness Revisited

                          William Doyle (previously Mercury nominated with his East India Youth project) releases his first new album for four years ‘Your Wilderness Revisited’. The album is an extraordinarily imagined exploration on the theme of the British suburban environment, inspired by William’s personal experience of having grown up in this setting and how he eventually saw beyond its ordinary stereotypes, towards something that was both illuminating and inspirational. It features guest appearances from writer and film maker Jonathan Meades (whose programme ‘Magnetic North’ was an influence on the album), saxophonist Laura Misch and legendary musician Brian Eno.

                          As William himself puts it, “This album has been rattling inside of me for over 10 years now. When I left the suburb I spent my entire teenage life in, I started to think back to it and notice the influence it had on me, on my art, and on my development as a person. The architecture and the planning of the modern British suburb influenced this album as much as the experiences and emotions I superimposed upon that landscape at a formative age. I started creating in these places, I started to expand myself in these places, I grappled with grief and loss in these places. I realised that I wouldn’t be alone in having these experiences here, and so I thought there should be a way of redefining or reimagining these places that painted a different picture of them in our collective consciousness. These weren’t just places to escape to the nearest city from – perhaps they held as much truth and beauty in them as anywhere else. This album is, in part, an interrogation and excavation of that truth and beauty.”

                          FORMAT INFORMATION

                          Coloured LP Info: Indies exclusive green vinyl with alternative cover.

                          William D Drake

                          Yew's Paw

                          William D Drake is a composer, songwriter and performer in his own right as well as being a contributing member of the critically acclaimed North Sea Radio Orchestra. The work of a highly original and eccentric figure, Drake's music is flavoured with tastes developed from early childhood. The sense of dark antiquity in 78 rpm records of Debussy, Paderewski and Rachmaninov, silent film and the first Disney shorts infiltrated an imagination already seduced by Edward Lear and Spike Milligan's use of the surreal and the absurd. His is a many-layered and enticing vision where sweetness jostles with the macabre, absurdity with gravity. "Yew's Paw", a cycle of 13 solo piano pieces, is a powerful expression of these colliding themes. Stylistically, its roots can be traced equally to Drake's classical training and his influential membership of Cardiacs.

                          Warren Ellis

                          This Train I Ride: Original Soundtrack

                            Invada Records release Warren Ellis’ score to ‘This Train I Ride’.

                            The Australian musician (Dirty Three, Bad Seeds, Grinderman) has scored a number of high-profile films (‘The Assassination of Jesse James by the Coward Robert Ford’, ‘Hell or High Water’, ‘The Road’) and his latest score is for ‘This Train I Ride’, a documentary film directed by Arno Bitschy.

                            The score is pressed on black vinyl and comes in a deluxe gatefold sleeve with the record itself housed in a double sided printed inner sleeve featuring liner notes by Warren Ellis and Brian Eno. Digital download card included.

                            “My idea was to record, collate and produce the music on trains, in the spirit of the women in this documentary. Brian was so encouraging with this approach and told me about a train journey he had taken in the 80’s with no fixed destination. Over the next month I sat with my computer, loops, iPhone, Reface DX synthesiser and forgotten ideas and composed the music on the Metro and Eurostar and in various hotels while working on Ghosteen. I would send the pieces to Arno from the train, or wherever I was located, and he edited them into the film.” - Warren Ellis

                            The film tells the story of women hopping freight trains around America. The film follows the life-journeys of these women living on the fringe in a rapidly changing country, in their quest for identity, freedom and finding their place in the world.

                            Wayne Fontana & The Mindbenders

                            It's Wayne Fontana & The Mindbenders/ Wayne Fontana & The Mindbenders

                            Formed in Manchester in 1963 Wayne Fontana & The Mindbenders followed the Merseybeat boom to London and had their first hit in 1964 with a cover of Major Lance's "Um, Um, Um". They were a classy 'British Beat' band comparable to the Searchers, Billy J Kramer and the Dakotas or Gerry and the Pacemakers. Always playing catch up with the Beatles they were to have huge hits with "Game Of Love" and later with "A Groovy Kind Of Love" a hit featuring Eric Stewart and Graham Gouldmand later of 10 CC. These 1964 and 1965 recordings capture the band at their youthful and energetic best.

                            Wesley Gonzalez

                            Appalling Human

                              Wesley Gonzalez, DIY indie punk's enfant terrible turned pop sophisticate, returns with new single Change - the first look at what is to come from his upcoming second album "Appalling Human". Ironically a more accomplished record than his 2017 debut “Excellent Musician", here Gonzalez makes full use of a lithe band armed with an orgy of high-end synthesizers, all mixed for the dancefloor by James Greenwood (Ghost Culture, Daniel Avery, Kelly Lee Owens). Both its sound and emotional clout are huge. "The point of this record," Gonzalez explains, "Was that it was 'post-therapy'. 'Excellent Musician' was the 'pre-therapy' album and I wanted to get started on the next one straight away, so we recorded it and then other personal stuff got in the way." It is the sound of a twenty-nine-year-old getting a handle on his life and learning to cope, even as a long-running love affair buckles, becoming psychic collateral in a family bust-up.

                              An arch and confessional lyricist, Gonzalez continues, "This song [Changes] had the most transformation from beginning to end. It started life as an experiment after listening to a lot of Ghanaian house music, I wanted to write something upbeat. At the time I wrote it I found myself at pivotal moment of change and saw that in others around me, one of my best friends had gone through an intervention and it had made me question aspects of my life. I thought about how scared I would be if I gave all my crutches up. I wanted to be reassuring to someone when I also felt in need of reassurance, so this was my song for him."

                              Along with therapy, taking better care of himself and a switch from guitars to learning and writing on piano, it was the choice of people to work with that helped him into this new creative phase.The new line up around Wesley was completed by the bassist Joe Chilton, singer Rose Dougal, drummer Bobby Voltaire and Callum Duffy on synths. They'd sit back and accommodate his demanding notion of how things should sound. As the new way of working unblocked Gonzalez' creativity on the first record, so too did new listening lead to stepping up his ambition for the scope and sound of its follow-up. He was going in for work each day at a Soho record shop, wanting to throw himself into traffic, then patching himself up with music.

                              "I was listening to loads of house music, hip hop, soul and funk. The more dance music you listen to, the more you go like 'Oh, it's OK not to be dreary the entire time.'" Despite all the electronic prostheses that grace his solo project, at the heart of his music there is a depth to the song writing and a singular character to it. There's an eccentricity somewhat akin to Harry Nilsson, or Andy Partridge of XTC, and a kind of melancholy (lost)innocence. His sensitive feel for characters and situations is simply unparalleled in his peer group. It's a depth that becomes more and more apparent with each release.


                              FORMAT INFORMATION

                              Coloured LP Info: Pink vinyl.

                              Willie Graff & Darren Eboli

                              The Tribeca Tapes - Part Two

                              Following on from 2018’s “Tribeca Tapes Part One” release, Willie Graf & his musical partner Darren Eboli deliver another fantastic 4 tracker on Copenhagen’s Music For Dreams Label.

                              Willie Graff splits his year between DJ residencies in New York and Ibiza (Pacha). In this second outing with studio partner Darren Eboli, the influence is a merger of African rhythms & NY house styles, with a shot of Mediteranean sunshine thrown in for good measure. 

                              “All Is Bliss” opens up the record, a fun loving but nonetheless emotional waltzer of coastal influences skillfully morphed into a feel good house roller perfect for the daytime. 

                              “Ahimsa” follows suit with poised, elastic bass notes keeping us suspended across its tight breakbeat and vintage cosmic sample for an interstellar house trip of epic proportions. 

                              Side B's “La Sirena” finds Willie in relaxed, mid-tempo mood. An Adriatic flavoured, mid tempo chugger that, with those subtle marimba melodies and coastal washed vox, is more that suited for extended beach party play. 

                               If you are a Cafe Del Mar connoisseur and longing for that sunset moment “Bellatrix” does the trick featuring bits of Spanish guitar, flute, oboe and floating warm pads creating a dreamy Balearic mood that shows off Graff & Eboli's rich musical prowess and ends the EP on a blissfully dreamy note. 

                              An original ‘clash single’ featuring two Alan Toussaint teammates going head-to-head on one northern soul classic including Willie Harper’s superior version on 7” vinyl for the first time inspired by the new 16-track all-nighter LP. The All-Nighter has been an integral part of “the scene” since the phrase Northern Soul first came into popular use following the now legendary Blues & Soul article entitled “The Up-North Soul Groove” in June 1970 by journalist Dave Godin (issue no.36). During the heyday of the Northern Soul scene the All-Nighter was the preferred format for the travelling soul fan. It separated the scene’s top venues from the hundreds of regional soul nights in pubs, clubs and community halls across the land. The All-Nighter was the ultimate experience and the only place to hear the best, the rarest and the breaking sounds spun by the leading DJ’s.

                              Willie Harper’s originally unreleased recording of the Toussaint dance classic “Here Comes the Hurt Again”, a feature track on the All-Nighter compilation, is put into direct competition with its B-side recording from Lee Dorsey of the same track on this new 7” on Club Soul. Both recordings have recently been remastered for a sound that will take Soul revellers back to the heat of ‘60s dancefloors as though it were yesterday. Presented on dinked vinyl in single sleeve packaging.

                              Wendell Harrison & Phillip Ranelin

                              A Message From The Tribe

                              Genius work from the Detroit underground of the 70s – one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session's headed by tenor player Wendell Harrison – and it's got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse – a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall – stepping proud in the new freedoms of the 70s, yet still swinging and very groovy. (Dusty Groove, Inc.)



                              Wendell Harrison

                              An Evening With The Devil

                                "The Tribe is an extension of the tribes in the villages of Africa, our mother country. In Africa everyone had a talent to display. There were no superstars; just people and collectively all the people of the village played a vital role in shaping that culture. We see all the black communities within this country as villages and the tribes are the people residing within them. The Tribe is composed of creative artists from the Metropolitan Detroit area who have travelled extensively with many well known musicians and have returned with the intention of sharing these experiences with our people in order to broaden the cultural base in this city. They are some of the most original and creative artists in the area. We hope to bring out points, situations, and events that are happening in our communities by way of music, poetry, and dance and rapping to the people. You see pure music must reflect the environment that we live in if it is to be educational and beneficial to our culture. It must portray our way of life. At this point in our history, harmony for the most part, is not reflected in our communities. There’s a lot of rebellious tension and discord, even though we have some groovy or harmonious moments along the way. There are many people within this society, black and white, who don't understand what is happening in regards to the direction the black musicians are moving toward. Our music is reflecting more so than ever before the stress, tension, and discord that is taking place within our communities along with the positive and harmonious things happening. This is evident when one listens to the music of composers like the late the late John Coltrane, Archie Shepp, Ornette Coleman, and the late Albert Ayler. These guys understand the relationship between art and culture and they took the total vibrations, positive and negative of the whole culture and served as amplifiers or speaker systems through the arts. You cannot divorce art from its root culture and expect it to be relevant for both the artist and his culture.

                                The compositions we play are reflective of the music of our times whereby we play Jazz, Rock, and African music with its poly or many rhythms. I wrote all the tunes on this particular L.P. and it is written as a suite in 5 movements which means that the music can be performed along with poetry and dancers. On our last L.P. called “Message From The Tribe” we featured the compositions of our very talented composer, arranger, and trombonist Phil Ranelin. On one side he wrote all the compositions and on the flip side I wrote all the tunes. This album was produced by us on the Tribe record label. As far as the music on “Evening With The Devil” is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theatre group in Detroit called The Black Messengers.”

                                Extract from the sleeve notes of this album by Wendell Harrison.

                                Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

                                William Hooker

                                ...is Eternal Life

                                Drummer, composer and poet William Hooker has been a tireless force in free improvised music for over 40 years. He emerged from New York’s loft jazz scene in the mid-’70s, part of a generation of artists fueled by the social, political and cultural frustrations of their era. This second wave of American free jazz would push relentlessly into new territories, collaborating in a variety of non-traditional settings, establishing their own labels, venues, etc.; all in an effort at creative self-determination. While William Hooker’s output extends past 70 albums as leader, it all began with the double LP "... Is Eternal Life". Recorded in 1975-1976 and released privately on the artist’s own Reality Unit Concepts imprint, "... Is Eternal Life" is nothing short of visionary. Filled with tension, intricacy and raw fury, these extended compositions feature the playing of David Murray, Mark Miller, David S. Ware, Hasaan Dawkins and Les Goodson. 

                                First time reissued on vinyl!

                                Willie Hutch

                                Easy Does It / Kelly Green

                                  Willie Hutch wrote huge soul hits in the 60s and 70s (co-writing “I’ll Be There” for The Jackson 5) and released sixteen Motown, Whitfield and independent label solo releases between 1969 and 2002. From his period with Norman Whifield’s label through Warner Brother in 1978/79 he is best known for “Easy Does it”. Arranged by Gene Page, it was previously issued only on 7” as a B-side to “Come On And Dance With Me”, original copies now exchanging hands for large sums.

                                  Two in demand soul tracks from an iconic soul artist

                                  After two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to RCA for Cosmic Vortex (Justice Divine), exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates. This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk.



                                  The sublime Time Capsule remains Weldon Irvine's most fully realized and influential recording. A supremely talented multi-instrumentalist and composer, Irvine had a musical vision that was unerringly soulful, spiritual, and funky. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop. A profoundly righteous spirituality winds through all eight of Time Capsule's performances, assaying both the affection ("Soul Sisters") and anger ("Watergate") vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. For fans of funk, soul and jazz, it doesn’t get much better than this 1973 classic.

                                  Waylon Jennings / Sanford Clark

                                  Zia Records Presents : Audio Recorders Archive Vol.1

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

                                    Zia Records, a fixture for music fans in Arizona since 1980, is proud to present the first installment of the Audio Recorders Archive, a series of split 45s that explore the history of famed Phoenix studio Audio Archive.
                                    The first installment in the series features country king Waylon Jennings and rockabilly legend Sanford Clark, recordings that have not been available on vinyl since their original release on Ramco Records in 1967. In the 1950s and ‘60s, Audio Recorders was one of the premier studios in the southwest. With roots in owner Floyd Ramsey’s Ramsey’s Radio Repair on 7th and Weldon, the studio became the hub of the nascent Phoenix music scene, and the studio welcomed a who’s who of the Southwestern country, pop, roots, and rock & roll performers: Duane Eddy, Lee Hazlewood, Waylon Jennings, Al Casey, Wayne Netwon, Sanford Clark, and more.
                                    With his own Ramco Records imprint, Ramsey issued records that would go on to regional and national success. Future Audio Recorders releases from Zia Records will explore soul, R&B, and garage rock, but the first volume focuses on Jennings’ dust-caked ode to a tough woman, and Clark’s gun shot-boasting murder ballad. Both make good use of the vaunted Audio Recorders reverb silo.

                                    FORMAT INFORMATION

                                    Ltd 7" Info: * First time on vinyl since original pressings in 1967
                                    * Color artwork
                                    * Limited to 500 copies on “GOLD” wax worldwide for Record Store Day

                                    Wilko Johnson

                                    Blow Your Mind

                                      "There are moments when you could be forgiven for thinking you're listening to excerpts from a great lost Dr Feelgood album from their mid-70s peak. The tales of good love, bad love, uppers and downers are all there, yet there's an energy to them which surely comes from the man and his band being back from the brink, enjoying what they do best."

                                      Wilko's first album of new material in over 30 years. Recorded at Rockfield Studios, where famously Wilko and the Feelgoods parted company back in '77. Guests are Mick Talbot on keyboards and Steve Weston on harmonica, both of whom featured on the last record with Roger Daltrey. Produced by Dave Eringa who also produced Going Back Home (Manic Street Preachers, The Who). Photography by Lawrence Watson (Liam Gallagher, Grace Jones).


                                      FORMAT INFORMATION

                                      CD Info: Digi-pack sleeve.

                                      Willie King With The Ike Turner Band

                                      Peg Leg Woman / Mistreating Me

                                      As you'd expect from Ike Turner's band, the playing is top notch on this killer blues rocker featuring vox from Willie King, who's happy with a one legged woman on side A and less happy with the mistreating woman on the soulful blues B-side cut featuring much Tremelo vibrato on the guitar.


                                      FORMAT INFORMATION

                                      7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                                      As much as is said of our current times being new lows, where things have changed for the worse and we're unsure of the future, it's worth returning to study the past to understand how steadily low we remain. "Nothing's changed," says a younger Barack Obama in a sample for the opening track for the second album from Tokyo-based, American musician, writer, and photographer Will Long. The album is released as three separate 12” singles, and CD. Since 2005, Long has produced ambient music under the name Celer, and is a member of the pop music band Oh, Yoko with Miko. He curates and manages the label Two Acorns, and is also involved with the Normal Cookie and Bun Tapes labels.

                                      Second 12" in this album series, split across three discs, we get more Obama tit-bits segued into a flawless skeletal deep house groove. Introspective and political, but with a delicate, sparsely populated sonic environment... 


                                      As much as is said of our current times being new lows, where things have changed for the worse and we're unsure of the future, it's worth returning to study the past to understand how steadily low we remain. "Nothing's changed," says a younger Barack Obama in a sample for the opening track for the second album from Tokyo-based, American musician, writer, and photographer Will Long. The album is released as three separate 12” singles, and CD. Since 2005, Long has produced ambient music under the name Celer, and is a member of the pop music band Oh, Yoko with Miko. He curates and manages the label Two Acorns, and is also involved with the Normal Cookie and Bun Tapes labels.

                                      Third and final twelve in the tryptich. You know what to expect by now - a simple housey beat with atmospheric pad present weaving and winding through some hard hitting Barak Obama soundbites. 


                                      Walter Martino's "What Love Can Do", a dreamy piece of Italian disco, was originally found on Martino's 1980 album, "Nervi A Pezzi". Virtually impossible to acquire via discogs, I reckon this is previously the domain of secretive trips to the Italian countryside, pretending to the missus that you're taking her on a dream holiday when really you're off to mine the chazzers of Sardinia. Anyway, not only have Miss You sourced the best track of the whole album, they've given it a whole side of fresh 12" wax to entertain with, and backed with a tasty AF remix from Castro Helicopter which transforms it into an avant-disco percussive tool laced with acid blasts and a full percussionist really going to town. Essential stuff for the glitter ball dancefloors and certain to fly outta the door. Get those orders in quick folks! 

                                      Wall Matthews

                                      Spine River:The Guitar Music Of… 1967-1981

                                        Guitarist Wall Matthews is surviving member of experimental 70's collective, Entourage. Sampled by Four Tet, their name whispered in reverence through the decades, Entourage forged bold musical ideas on their two rare ’70s Folkways LPs. Tompkins Square released 'Ceremony of Dreams : Studio Sessions and Outtakes, 1972-1977', in 2017 to wide acclaim. 'Spine River : The Guitar Music of Wall Matthews, 1967-1981' is a collection of unreleased or obscure music by the master guitarist. This volume will be released as a limited edition LP, along with four other digital volumes of Wall's music, chronologically mapping his career. Praise for Entourage : "A three-hour stream of instrumental riches, whether you’re looking to find samples or get lost in a trance....

                                        These 30 tracks alternately conjure the ecstatic minimalism of John Cale and La Monte Young, the billowing clouds of Arvo Part, the aleatory intrigue of Derek Bailey, and the strange guitar beauty of Sandy Bull" – Pitchfork "As seriously as they clearly took their playing, the music never lost its sense of playfulness and joy" - PASTE (8.7/10) "This is essential and irresistible vintage American weirdness." - All Music Guide (4.5) "...it's transporting stuff." - Rolling Stone "Erring between Alice Coltrane-esque spiritual jazz, Steve Reich’s minimalism and stunning instrumental folk, Ceremony of Dreams highlights 30 tracks from a fiercely creative period between 1972 and 1977 that did not appear on the two Folkways albums released at the time." - Vinyl Factory "New age gongs, drones, sax, pastoral guitar, scraped violas … Think Third Ear Band's druid rock meets early Popol Vuh with the obvious chops of a less slick Weather Report" - Record Collector (4 stars)

                                        Wymond Miles was raised in the working-class small towns of the American West. On Call by Night, the singer’s latest widescreen opus, Miles masterfully evokes that lost landscape, all while grappling with issues of fatherhood, privacy, PTSD, violence, and dissipated romance. The album adds a critical new chapter to the Fresh & Onlys guitarist’s story as an artist, and reasserts him as a major voice in contemporary songwriting. Call by Night sees Miles building a noticeably bigger sound than on his previous solo records, while simultaneously standing as his most intimate work.

                                        It’s a record explicitly written for the fidelity of the vinyl format, with louder songs beginning each album side and quieter songs at the interior. His attention to sequencing paid off; the album flows like a piece of classic cinema, and sounds like it’s splashed across a drive-in screen in 70mm. Recorded using vintage gear by Phil Manley (The Fucking Champs, Trans Am) at El Studio in San Francisco and Miles’ Garden Chamber home studio, the record is a treasure of tube-amp warmth, and a landmark in the songwriter’s catalog. Miles wrote most of Call by Night on piano, and while the wall-of-sound guitar and cinematic synth playing that helped define his earlier efforts is still present, the beating heart of the songs is left more open thanks to his new method.

                                        Where previous full-lengths were cloaked in distinct aesthetic choices, this record exists outside of any stylistic restraints. “Divided in Two,” the lead single, considers dignity, class, honor, and father-son relationships through the devastating lens of PTSD, all set to a sardonic flag-waving waltz, with martial percussive bomb blasts. The title track explores the enduring aesthetic of British psych-folk. Other songs dip into the traditions of gospel music, sea shanties, and even big-box power ballads, using antique instruments and Miles’ unique perspective on the modern world to forge a new collection of entries for the American songbook. Miles has said the songs on Call by Night mark his “more definitive commitment to seek, listen, and give voice to an enduring muse.” If that’s true, then the muse has obviously been singing to him loud and clear.

                                        New solo record by the guitarist of The Fresh & Onlys


                                        Wymond Miles

                                        Earth Has Doors EP

                                          Four years ago Wymond Miles, guitar player and songwriter in San Francisco’s The Fresh & Onlys, began writing solo material thematically based on the concepts of eschatology, anthroposophy, and Gnostic and Hermetic symbolism. Drawing from a vast musical pool of inspiration, including Scott Walker, Robert Wyatt, Arvo Part, and Nikki Sudden amongst others, Earth Has Doors is Miles’ first solo release.

                                          Since beginning Miles had basically shelved these songs to attend school, focus on fatherhood, and commit to the demanding schedule of the F&O’s. He earned a degree in humanities with an emphasis on the philosophical implications of the ecological/economic crisis of our times, and that subject matter can be traced throughout his first !". These songs concisely yet
                                          esoterically document the existential crisis of our current epoch — moving from the nothingness of modern materialism, fragmented reductionist thought, and drug escapism to a world imbued with subjectivity and meaning through a new relationship with the Earth and cosmos as alive and full of inherent intelligence.

                                          Wymond describes his early writing process: “For the first time I had a sense of place, and a reverence of humility for my surroundings. I was full of wonder, but I felt very small, and went inward to begin the work of writing.” He elaborates, “Sonically the mood had to reflect the somberness of moving between the existential chaos of my twenties into this new perspective of living … The mysterious hues of the soundscape reflect a sense of curiosity and possibility in the canyons of sound.” Working in his home studio and using 8 track tape (the infamous Tascam 388), Miles performs almost everything on this record — guitars, synths, bass, drums, manipulated tape delay, and vocals. A few friends played with him, guesting on drums (“Hidden Things” and “Earth Has Doors”) and viola (“As the Orchard”), while his wife Sarah sings some harmonies on side A.

                                          On the heels of last years critically acclaimed debut LP “Under the Pale Moon,” and “Earth Has Doors” EP comes the sophomore full length from Wymond Miles, guitarist of San Francisco garage-pop titans The Fresh & Onlys. “Cut Yourself Free” assembles another convergence of moon-lit romantic swagger and post-punk massacred urgency. Again self recorded and produced to tape, Miles’ song-craft has emerged more refined and poignant, benefitting from the avalanche of his frenzied live shows, but also adhering to a more minimalistic fashion with crooning mid-era Nick Cave or Bowie/Roxy Music strains of pop-modernism. But what stands at the forefront is Miles’ command of his textural guitar and vintage-synth sprawl that on his choosing can open dream-like vistas, or pierce with an engine’s snarl. Turning to the narrative, Miles weaves each song with its own vignette of story line, often with a vaguely obscured protagonist/antagonist dialog. Relationships in Miles’ sketches are always tangled, if not licentious affairs, but are presented more as lustrous gateways to mend and revitalize rather than squalor in.

                                          Wymond’s previous EP, Earth Has Doors was about intangible and esoteric concepts; the music drifted beautifully in somewhat of an oceanic, boundless state. For the LP it was very important for him to make the songs be felt somatically. In his own words, “I wanted it to hit the body, I wanted it carnal.” Whereas the EP had been a drawn out labor of love he worked on and then shelved for several years, most songs on Under the Pale Moon developed quickly last winter.

                                          He describes them as being effortless to write, short songs with stripped down arrangements; recorded straight away as soon as they came to him. Feeling very raw and alive, he wrote the basic structure for most of the record within a few weeks. He had the chords and melody for album standout “Singing The Ending” when last year began to take a cathartic turn. In a short span of time his closest friend was killed and he lost some family members. Without much time to deal with grief, he immediately had to tour Europe with the Fresh & Onlys for two months while still basically in shock. He became filled with an ardor for life and seeing the record through. The loss had emerged as a purifying fire and manifested not as a morose lament on tragedy but as a feverish grindstone of passion, dissent, desire, and an apolitical rebellion cry against the bondage of established order.

                                          While never overtly attempting to address his influences, the listener can hear a bit of Go-Betweens, Echo & the Bunnymen, Nick Cave, Nikki Sudden and The Cure present in his work. Miles creates a big romantic pop record reminiscent of Roxy Music at the height of their power. Under the Pale Moon is a gorgeously dramatic and romantic debut; a focused departure from his work in the Fresh & Onlys, he emerges as innovative songwriter with limitless pop potential.

                                          The songs of Will Oldham have been written most often for the aliases of Palace or Bonny. Their identities, kept necessarily separate from Will's, the songs were written to create a singular encounter, to be shared among those who choose to listen. Songs of Love and Horror is a rare entry in this ouvre: a Will Oldham album, with the writer taking a turn as singer. As befits the nature of this project, the songs are sung and played by Will alone, in a setting enjoyed by fans of his music - that of one voice and one guitar, the better to savor the spare changes and starkly-cut lyrics, operating in quiet tension and ultimate collaboration. Will brings to the songs all that he has learned from his stage-crafting fellows over the years, singing new versions that quiver like fresh young things in the air of today.

                                          Autumn 2018 sees the release of a celebrated lyrics archive that has been growing for over 25 years in the form of a book- the words to the songs sung by Bonnie 'Prince' Billy and Palace Music, written by Will Oldham. The book, to be released by W.W. Norton, is titled Songs of Love and Horror, the same as this album and can be seen as a companion piece. Both celebrate not one legacy, but rather a confluence of them, flowing in the stream towards an unknown and often unknowing future, with the hope that these notes in a bottle ever pass on through.

                                          William Onyeabor

                                          9 CD Boxset

                                            This 9xCD box set features all nine albums elusive Nigerian synth-funk pioneer William Onyeabor self-released between 1977 and 1985 - remastered and officially available for the first time. His music represents the epitome of the golden era of Nigerian funk, before he gave up a life in music to become a devout Christian. Luaka Bop released the critically acclaimed compilation Who is William Onyeabor’s in October of 2013, and has since seen the release of the documentary Fantastic Man, which was fabricated around the myth of the musician, attempts to unearth the man behind the music, which is also now a full blown live show touring the world, paying tribute to the music of William Onyeabor featuring a supergroup of Damon Albarn, David Byrne, Kele Okereke from Bloc Party, Alexis Taylor from Hot Chip, the Lijadu Sisters, Money Mark, Pat Mahoney and Sinkane. To this day, William Onyeabor has not spoken about his music in one single interview.


                                            CONTENTS 9 CD BOX
                                            • Good Name
                                            • Crashes In Love (Original Version)
                                            • Crashes In Love (2nd Version)
                                            • Atomic Bomb
                                            • Tomorrow
                                            • Body & Soul
                                            • Great Lover
                                            • Hypertension
                                            • Anything You Sow
                                            • 48 page booklet w/ Michael Rubin & Chris Abani


                                            William Onyeabor

                                            Tomorrow

                                            William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

                                            Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And, though he is still alive, he refuses to speak about anything regarding the past.

                                            According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.


                                            William Onyeabor

                                            World Psychedelic Classics 5: Who Is William Onyeabor?

                                            THE PICCADILLY RECORDS REISSUE/COLLECTION OF THE YEAR 2013.

                                            Through its World Psychedelic Classics series, Luaka Bop has succeeded at introducing long-forgotten artists including Os Mutantes, Shuggie Otis and Tim Maia to the world at large. William Onyeabor is as obscure as these other artists were before their Luaka Bop releases, although his recordings from the 70s and 80s are beloved by die-hard record collectors and artists such as Damon Albarn, Devendra Banhart, Four Tet and Caribou, to name a few. The music ranges from synth-heavy electronic dance music to Afrosoul with saxophones and female backup singers, to psychedelic funk with wah-wah guitar and fuzzy keyboards - and often combines all of these elements.

                                            'Who Is William Onyeabor?' may be the most complicated, if also one of the richest, undertakings in Luaka Bop's (rarely straightforward) 25-year history. Following the eight albums Onyeabor self-released between 1978 and 1985, he became a Born-Again Christian, refusing ever to speak about himself or his music again. Various biographies can be found online. Some say he studied cinematography in the Soviet Union and returned to Nigeria in the mid-70s to start his own film company, Wilfilms. Some say he was a lawyer with a degree from a university in Great Britain. Others portray him as a businessman who for years worked on government contracts in Enugu, Nigeria.

                                            By attempting to speak with Onyeabor himself, and by talking to people who seem to have firsthand knowledge, Luaka Bop has been trying to construct an accurate biography of him for the past 18 months...without success.

                                            One thing that's undisputable is that Onyeabor's music is utterly unique and ahead of its time.

                                            The vinyl release comprises 13 tracks spanning Onyeabor's body of work and will include artwork by John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita and Xaviera Simmons. The CD and release includes nine tracks.

                                            "The world might just be better off not hearing [Onyeabor's "Atomic Bomb"], which will burrow and propagate its seed exponentially by the second, into the hearts and souls of all humanity. It's the catchiest song I've ever heard; when it gets in my brain, I can't sleep...He's a mythical character from Nigeria." - Devendra Banhart in Uncut

                                            "Anyone out there who is making music at the moment...will be quite excited by this..." - Damon Albarn on BBC Radio One

                                            "LCD Soundsystem sounds like an American William Onyeabor." - Peaking Lights

                                            "Talked to Luaka Bop about details of the William Onyeabor comp they are working on... Gonna blow minds!!!!!!!!!!!!!!!" - Four Tet

                                            "People are really going to freak out!" - Caribou

                                            STAFF COMMENTS

                                            Philippa says: Never the most prolific series, Luaka Bop’s ‘World Psychedelic Classics’ album compilations, collections and reissues have always been greeted with excitement by Piccadilly Records staff and customers alike. Shining a light on differing musical scenes or lesser known artists within the psychedelic ummah, they have so far rediscovered the wonderful music of Os Mutantes, Shuggie Otis and Tim Maia. With volume five they return to the ‘The Funky Fuzzy Sounds of West Africa’ with a long overdue overview of the work of William Onyeabor. Nigerian by birth, the lack of knowledge about Onyeabor’s life seems to have encouraged the build up of a mythical back story taking in Soviet cinematography and studying at university in the UK (both of which might actually be true). What we do know is that his eight albums, self-released between 1978 and 1985, contain some of the most joyous, uplifting and ahead of its time music from the era. As with musicians all over the World at the time, Onyeabor was experimenting with new electronic instruments. He used them within a funk band set up, with amazing results. The combination of Onyeabor’s enunciated African-English vocals, a female backing chorus, synth-heavy grooves, fuzzy wah-wah guitars, tight rhythms and sax solos makes for an irresistible sound. With his original albums harder to come by than rocking horse shit, even occasional bootlegs have been snapped up with glee (needs must when the devil drives and all that), so this fully licensed collection from Luaka Bop is one of those essential purchases for anyone interested in African music. The set includes the hip-grinding electro-funk anthem “Body & Soul”, Mini Moog au go-go disco-funk monster “Good Name” and bump and hustle groover “Let’s Fall In Love” along with another six gems (more if you get the vinyl version).

                                            Accompanied by glowing endorsements from the likes of Devendra Banhart, Peaking Lights, Four Tet, Damon Albarn and Caribou, this is an album not to be missed.

                                            Wayne Robbins & The Hellsayers

                                            All You Need To Sleep

                                            It is now three years since Dell’Orso heard rough mixes of these album tracks when Wayne Robbins & The Hellsayers visited the U.K to tour with their friends, Band Of Horses. At that point The Hellsayers were over from their home town Asheville, North Carolina to promote their debut album "The Lonesome Sea", a country-cosmic rock jewel Dell’Orso discovered via a Beachwood Sparks fan site.

                                            Picking up from where their debut left off, Wayne describes "All You Need" as 'the night album, about the wee small hours'. Far heavier than its predecessor, the album has already been described as 'an atmospheric blend of Buffalo Springfield harmonies and Sonic Youth guitar blasts', lap steel guitar jostling with piles of Yo La Tengo distortion.

                                            Like "The Lonesome Sea" this album was recorded in a school bus repair shop (though bizarrely not the same one) with no heating in the dead of winter. The albums gestation was hampered by the familiar tale of lack of resources, but also a terrier determination to mix such a dense record littered with dozens of vocal tracks and guitar overdubs perfectly.

                                            Eventually the band mixed the album with Mitch Easter particularly known for his work on early REM records, with the exception of the crestfallen "Rowboat Of Stone" which Cian Ciaran from Super Furry Animals has put his magic to (Cian having recently mixed albums by Sibrydion and El Goodo for Dell’Orso).

                                            Appropriately since this album was finished The Hellsayers have recently recorded an EP with Brent Rademaker from Beachwood Sparks which will appear later in the year.

                                            'Genuinely inspired merging of pre-electric and post psychedelic Americana. Neil Young and Giant Sand provide pointers, but Wayne & co chart a spry, original course' - Uncut Magazine.

                                            STAFF COMMENTS

                                            Darryl says: Sweet and summery indie-Americana infused with occasional Sonic Youth-esque distortion blasts. Recommended.

                                            The debut album from the eccentric and unique singer, songwriter and producer (he self produced this album), an international star in the making, born in New Zealand, but plied his musical trades in Britain and the States (he released a single on Jack White’s print Third Man Records and supported Jack at his UK shows).

                                            Will Samson

                                            Paralanguage

                                              Will Samson still remembers his first - and only - experiments with psilocybin. For some time, following the death of his father in 2012, the British musician had suffered from mild PTSD, unable to process the grief provoked by the sudden nature of his passing. It took him several years, however, before he felt confident enough to explore the possibilities this popular compound was said to offer. Finally, he and his girlfriend retreated to the countryside for a day. Samson’s fifth album, ‘Paralanguage’ - his first for Wichita Recordings - was in many ways inspired by his subsequent experiences and seeks to emulate them too. Indeed, vocals for two tracks, ‘Ochre Alps’ and ‘Flowerbed’, which he’d been struggling to finish for a number of months, were written and recorded over two subsequent afternoons spent micro-dosing.

                                              Perhaps not surprisingly, ‘Paralanguage’ - the title chosen because the album’s central themes address the way “our bodies, not just our minds, hold memories and emotions” - is Samson’s most cohesive album to date. There’s a conspicuously tender thread running through its eight songs, from ‘Calescent’, its eloquently poignant opener, to ‘Lacuna’’s fuzzy nostalgia, from ‘Beyond The Dust’’s sweet serenity to ‘The Smallest Sliver’’s redemptive fragility. Samson’s voice, too, has never sounded more moving, committed or confident, his yearning falsetto as touching as his gentle tenor - comparisons to Sufjan Stevens and Patrick Watson are not inappropriate - while his arrangements are intricate yet never ostentatious, with precisely detailed programming inseparable from the warmth of his analogue instrumentation. “Perhaps,” Samson observes, “it's a reflection of feeling more centred and grounded.”

                                              Recorded largely in his home studio in Brussels - the first time he’s had a space exclusively devoted to his music - ‘Paralanguage’ finds Samson reunited with regular collaborator Beatrijs De Klerck, a violinist who also plays with A Winged Victory For The Sullen and Christina Vantzou. Ben Lester, who’s worked with S. Carey and Sufjan Stevens, added pedal steel to ‘Beyond The Dust’ and Jeremy Boettcher (who also performs with S. Carey) added double bass to ‘The Human Mosaic’, while Canadian songwriter Michael Feuerstack added backing vocals to ‘The Smallest Sliver’.

                                              Otherwise, the album is all Samson’s own work, a testament to his desire to seek peace not just on record but in his life. A tribute to his inquisitive nature, ‘Paralanguage’ is also, ultimately, a memorial to his father, whose life shaped Samson’s own and whose tragic passing has now inadvertently yielded a source of magical consolation for us all. As the 30-year-old sings on ‘The Smallest Sliver’, “Sometimes my love feels too big for my body / So I have to let it go.” In doing so, Will Samson has allowed us all to share it.

                                              FORMAT INFORMATION

                                              LP Info: Limited edition clear vinyl.

                                              LP includes MP3 Download Code.

                                              What if music had no beginning, no end? Can music exist 'for itself' or 'of itself', without structure constraining it, defining it? Can music be non-linear, non-narrative, simply experiential, existential? The second full-length album on Mysteries of the Deep, "Musica Enterrada" from Portland's William Selman, neither answers these questions nor supposes them. But in listening, one can't help but wonder: What if I disappeared into this record forever?

                                              In another time and place, William Selman was known as Warmdesk, an alias through which he issued a series of sharply precise minimal techno records. In recent past, Selman shifted gears, shedding the dynamics of tension and release that characterized his previous alias' output. Under his own name, Selman began releasing process-oriented, freeform experimental music on cassette-focused outlets like Digitalis and Hausu Mountain. Now comes "Musica Enterrada", a diaphanous, weightless musical vision not unlike the theoretical square root of GRM and Popol Vuh's early electronic forays.

                                              Split into six tracks across two sides of vinyl, "Musica Enterrada" bubbles, churns, drifts, and dozes. Dulcet tones pile up gently like waves on shore. Patterns repeat and reconfigure, as if heard from different angles. Rhythms appear, shift the frame, then disappear, into the ether whence they came. Play "Musica Enterrada" on repeat. And if you disappear into it, fret not - you have drifted into solace. 


                                              Bella Union release Will Stratton’s album ‘Rosewood Almanac’, the American’s debut for the label.

                                              ‘Rosewood Almanac’ is a work of fragile magic, a hypnotic combination of beautifully breathy voice and exquisite lyrical imagery, gorgeous melodies and similarly soft-spun instrumentation, centred on Will Stratton’s thrumming acoustic guitar and the verdant presence of velvet strings.

                                              Born in California, mostly raised in New Jersey and currently an upstate New Yorker, this great-grandson of a travelling preacher started songwriting and recording while at high school, before going on to study philosophy and music composition. He has released work by himself and via a couple of tiny indies (one being Talitres in France) but extended medical treatment put everything on hold. After his successful recovery, Stratton decided to leave New York City for the Hudson Valley. Teaching (music, art, video) at a local boarding school while living on campus as a dorm ‘parent’ left little time for musical ambition, though he had never stopped making music. However, having left teaching, everything has come together for the finest record of his life. Bella Union’s timing was impeccable.

                                              Modern Country is the fourth full-length album by guitarist and composer William Tyler and his first recorded outside of his hometown of Nashville, Tennessee. It features an ensemble backing group consisting of multi-instrumentalist Phil Cook (Hiss Golden Messenger, Blind Boys of Alabama), bassist Darin Gray (Tweedy, Jim O’Rourke), and percussionist Glenn Kotche (Wilco). The album was tracked at April Base Studios in Eau Claire, Wisconsin, and finished in Nashville, recorded and mixed by Jon Ashley, and produced by Tyler and Brad Cook. While there is never a comfort zone in instrumental music, Tyler attempts to leave any perceived one behind with Modern Country.

                                              His first album for Merge, 2013’s Impossible Truth, found Tyler exploring the boundaries of composition for solo guitar in a manner that paid homage to everyone from Leo Kottke to Brian Wilson. It was an epic song cycle that veered from cathedral-like psychedelic hymns to pastoral folk melodies. In contrast, Modern Country finds Tyler exploring more focused melodic themes rather than ethereal wanderings. These aren’t pop songs, per se, but they are closer in spirit to Neu!, Penguin Cafe Orchestra, and Bill Frisell. Primarily written while Tyler was on sabbatical in Oxford, Mississippi, where he stayed at the cabin of a family friend within a stone’s throw of William Faulkner’s house, Modern Country is a collection of songs about the vanishing America that still exists on back roads, in small towns, on AM radio stations. In an election year when so many certainties and assurances have vanished, Tyler doesn’t offer optimism or pessimism but rather a calm and measured commentary in our age of anxiety.

                                              STAFF COMMENTS

                                              David says: Bit of a slow burner this one, it's worked it's magic on staff and customers alike and now barely a day goes by without it being on the shop cd player. Tyler, who also plays with Siver Jews and Lambchop is a guitarist who loops his tracks to create a multi textured sound that takes you on a gentle stroll through the Tennessee hills.

                                              Theater De Kreet was a short lived theatre collective that existed between 1979 and 1981. In that period the troupe presented just one performance, a musical called 'Adeline' which had a run of six shows during 1981.

                                              The members of Theater De Kreet were originally part of a bigger group called Grasgroen, which was founded by art history students from the Leuven University. The collective mainly focused on so called ‘animations’ in the public space. After a while, Grasgroen split into two different groups (theatre and performance), and Theater De Kreet came into existence. Its core members were Walter Verdin, Guy Dermul, Hilde Wils, Gaby Geysens and Nicole Boffin. Mainly using improvisatory methods, the collective started working on 'Adeline' in 1979. The premiere took place in October 1981 and was met with very mixed critical reviews. Walter Verdin was in charge of the music for 'Adeline'. Originally an art history and visual art student, Verdin was introduced to the Belgian music scene through his record sleeve and poster designs. Prior to the music for 'Adeline', he released a solo album and a 7” white man reggae project with Grasgroen ('Storingen' by Specimen & The Rizikoos). Later in his career, he had his biggest commercial success with Pas de deux, the band that represented Belgium at the Eurovision Song Contest in Munich (1983). After the Pas de deux adventure, Verdin gave up on popular music and had a blooming career in video art, working on video concerts and installations and later on with renowned theatre and dance companies from all over the world.

                                              To write the soundtrack for 'Adeline', Verdin took to the studio of the Audiovisual Services of the KU Leuven, which was his audio and video laboratorium for around 20 years, and subsequently to the ICP Recording Studios in Brussels for post-production. Verdin & co. didn't compose behind a writing desk or a piano. Music for them meant playing - with an instrument, but also with non-traditional instruments. The spring of a desk lamp for instance, could be used to produce music too. 

                                              STAFF COMMENTS

                                              Patrick says: Stroom just don't slip up! The Belgian label keep us coming back with a wonderful collection of improvisational electronic grooves from Pas De Deux man Walter Verdin. Combining all your favourite bits of minimal wave, Balearic, synth funk and cosmic pop, the eight tracks on "Voor Adeline" are the kind of wonderful oddities that litter all the best mixtapes.

                                              Willy Vlautin

                                              Northline

                                                Richmond Fontaine and Deline's singer/songwriter, Willy Vlautin will release his fifth novel, 'Don't Skip Out On Me' on Feb 1 2018 . Decor Records have released a vinyl version of the soundtrack, along with this, the soundtrack to his previous novel "Northline" - previously only available as a CD supplied with the book. 

                                                Waaju

                                                Grown

                                                  Fusing dexterous hand-percussion, hypnotic guitar riffs & soaring melodies, Waaju rise from London’s rich cultural palette with their latest album ‘Grown’, proving UK Jazz doesn’t have to sound the way we expect it to. Led by drummer and percussionist Ben Brown (Alfa Mist, Dizraeli, Ashley Henry), the band comprises percussionist Ernesto Marichales (Jordan Rakei, Sigala), guitarist Tal Janes (Nubiyan Twist, Bahla), Sam Rapley (Fabled, Maria Chiara Argiro) and Joe Downard (China Moses, Judi Jackson), each with their own strong presence on the UK’s extensive music scene. Waaju’s refined and divergent sound connects the dots between the likes of Ali Farka Touré, Alain Peters, Los Muñequitos de Matanzas, Oscar D’Leon and Beth Carvalho. Waaju formed as a means of exploring music’s hidden connections, from trance-inducing Moroccan Gnawa to Caribbean carnival music, and embracing them to reflect different shades of London’s own musical culture.


                                                  It was the band’s love for Mali’s folk music – and Ali Farka Touré’s stylistic prowess in particular – that first set the project in motion. London’s Jazz Cafe invited Waaju to reinterpret classic tracks from Farka Touré’s catalogue to sold-out audiences in 2018 and 2019. According to Brown: “Ali’s one of the best. He has such a unique sound. His playing is so gnarly. His spirit and attitude are things I always think of when making music.” Waaju (meaning ‘to urge, inspire or influence to take action’ in Malian language Bambara) blends pulsing Latin polyrhythms, psychedelic Malian blues licks and cinematic textures. Following the group’s 2018 self-titled debut record, Grown presents a group more unified and distinctive-sounding than ever with six fresh, bold compositions.


                                                  The record begins with Moleman, a potent reminder of the intricacy and energy Waaju’s become known for. Gritty, clattering metal defines the landscape for sizzling builds, hinting at rave culture styles like Bashment and Jungle. Listening Glasses follows and it’s clear why this is the album’s lead single – its Afrobeat-like energy and joyful interplay between guitar and tenor sax lies somewhere between Tony Allen’s grooves, Chimurenga guitar and Headhunters’ funk. On late night jam Rollando, Joe Downard’s skulking bass frequencies rule and wonkiness reaches new heights as heavy dub grooves almost tear themselves apart. Time’s Got a Hold was co-written by Waaju and Jordan Rakei for a show together in November 2018. Kicking off side B, this version features special guest vocalist Will Heard over bouncing triplets evocative of 1970’s Sega from La Reunion.


                                                  A kind of looseness found only at night, the quiet drive of Wassoulou is sparse yet purposeful. Pulling back the tempo and dimming the lights, cavernous percussion fills each corner of the room, springing back as spectral reverbs. The title and final track shows the many dynamic sides of the outfit’s far-reaching sound, with its expansive harmonies and explosive psychedelia, spanning Yoruba Andabo to Hendrix, signing off an exciting and energetic second LP from Waaju at their most scintillating.

                                                  Wack Cat

                                                  That's What My Girlfriend Says

                                                    Vinyl only album from this girl group from Leeds (previously Coping Saw). Very limited quantities available only as heavy vinyl U.S import! For fans of Sleater-Kinney etc.

                                                    This CD is the first-ever release of an extraordinary 1987 New York City performance. Recorded at the Great Hall of the New York Hall of Science, this majestic recording captures the 60-minute opening performance of Yoshi Wada's interactive sound installation "The Appointed Cloud", which consisted of a self-made 80-piece pipe organ, a pipe gong, sirens and a massive suspended metal sheet, all triggered by a computer program designed by David Rayna, who assisted La Monte Young in his electronic work and performances in 1980s. The CD also features Wada, Bob Drombowski and Wayne Hankin on bagpipes, plus Michael Pugliese, who ever worked with David Tudor for Merce Cunningham's dance company, on percussion. Dramatically structured, shifting and intense, "The Appointed Cloud" features massive low frequencies and regal percussion vying with the ululations of bagpipes, all resounding in the huge reverberant space of the Great Hall with its 24-meter ceiling.

                                                    Tashi Wada is a San Francisco-based composer and performer whose recent work focuses on sound perception as a basis for direct modes of listening. His work has been performed throughout the United States and Europe, and for several years now he has performed alongside his father, Yoshi Wada. Gradient is two sustained tones, a fourth apart, positioned along a wall, one at each end. The string player produces a very slow glissando from one pitch to the other while physically moving from one pitch to the other - in other words, the string player moves so that pitch distance coincides with spatial distance. The two possible directions form a sculpture-like presence shifting through all of the blue notes. Harry Partch often worked with this type of harmony, so Tashi and Marc Sabat used one of his adapted violas for the recording.

                                                    Abi Wade

                                                    Beautifully Astray

                                                      Using cello, vocals, orchestral arrangements, choral ensembles, location samples, synths and piano Abi Wade explores human nature through real and abstracted personas on her debut album ‘Beautifully Astray’

                                                      Abi wrote most of the tracks on the album on cello initially in various locations of her old hometown of Brighton, from the living room of her seafront apartment to the dark belly of Sticky Mike’s Frog Bar. “The cello is so versatile, and I love to explore those many characteristics using various techniques both traditional and unique, it’s such an emotive instrument and has a very human tone.”

                                                      From this starting point, Abi set out on a sonic exploration, getting field recordings in locations as diverse as a printworks, a tap dancing club and following a chance meeting there, a fishing boat: “After the tap dancing class I was explaining to the gentlemen who ran it how I was trying to get onto a boat to record some sounds and by pure coincidence it turned out he was a fisherman, I did not expect a tap dancing fisherman! It was truly an amazing experience to go out first thing on to the water and share a moment of time with such an interesting character.”

                                                      Following a move to Camden, London, the tracks were fleshed out with orchestral arrangements and were recorded in Jay Malhotra and Sam Duckworth’s Amazing Grace studio in Hoxton. These sessions included brass, wind and choral ensembles.

                                                      Abi then worked with ‘the patron saints of print’ Eley Kishimoto to create the visuals for the album matching the story of each print and pattern to the story of each song. Their patterns are featured on both the album and single artwork and has been a source of inspiration throughout the making of the album.

                                                      ‘Beautifully Astray’ was recorded with support from Help Musician’s Emerging Excellence award, and the release with support from PRS for Music Foundation’s Women Make Music

                                                      Kurt Wagner & Gregor Schwellenbach

                                                      Flotus Movements

                                                        In 2016 Week-End Festival invited Lambchop’s Kurt Wagner to perform songs from his album FLOTUS in new version with musicians from Cologne. Here are two songs he did with Gregor Schwellenbach recorded live at Stadthalle Köln-Mülheim Maybe that is something unique to Cologne, a good balance between the human and the machine. (…) This was an idea to find people particulary from Cologne, I think that there is a scene here. Just parachuting me in and seeing what will happen, you know. It's all about finding people who think alike.“

                                                        Adrian Wagner

                                                        Realm Of The Ring Lords

                                                        Adrian Wagner's new album of symphonic sythesised progressive music combines the mysteries of the quest for the Holy Grail with the Tolkein ring cycle myth. It is Wagner's most complete and satisfying work to date and uses spoken passages by J.R.R. Tolkein and Sir Laurence Gardner to highlight aspects of the music.

                                                        A bit about the artist: Wahono, real name Harsya Wahono is an artist from Indonesia. He graduated from Berklee School of Music studying Jazz Performance. He had a brief stint in NYC working with the good people at Other Records before they unfortunately closed shop in 2016. He is now back in Indonesia where he runs the label Divisi62. This is his first release and we look forward to many more.

                                                        Avant, cavernous future beats vacuum packed for freshness. Brick wall compression working on a wealth of drum hits, organic artifacts and found sounds. Taking cues from Beatrice Dillon, Eugene Ward and most of what's hot in the UK underground right now (from Modern Love to Apron and Rawmance), Wahono has created a challenging but infectious sound all of his own, interesting and extravagant enough for our ADHD challenged, consume-everything generation. 


                                                        Bunny Wailer

                                                        Blackheart Man

                                                        Bargain price reissue of this classic mid 70s reggae LP from the third Wailer. He's backed on these strong roots tracks by an all-star cast of players - Aston and Carlton Barrett, Earl 'Chinna' Smith, Peter Tosh, Tommy McCook etc. All the tracks have been digitally remastered.

                                                        The Wailers cover Marley songs, recorded with the guitarist Lloyd « Guitsy » Willis at the Harry J Studio in Kingston, Jamaica in 1976. A really strong and surprisingly overlooked set, with some expressive dub fx supplementing the incredibly strong riddims. The material is high grade, with some of the best songs from Bob's repertoire given completely new leases of life through these spacious and experimental dubs. Check!

                                                        The Wailing Souls

                                                        Trouble Maker / Run My People

                                                          Two fantastic tracks from one of Jamaica's finest ever vocal groups.

                                                          These heavy hitting anthems were recorded for the legendary Studio One label in the early 70s.

                                                          Surprisingly, both tracks have never been released as singles, previously only appearing on two different rare and long deleted Jamaican LPs.

                                                          Cut super loud on 12” single and housed in a heavyweight card Studio One sleeve, these won't be around for long.

                                                          Rufus Wainwright

                                                          Poses

                                                            Rufus Wainwright, son of Loudon and Kate MacGarrigle with his second album on Dreamworks and a real step forward from his debut. More confidence and assurity (not least in his declared homosexuality) it's a eclectic set and has already recived tremendous reviews in the U.S.

                                                            Available on vinyl for the first time comes one of Rufus Wainwright’s most popular albums. 'Poses' is Wainwright’s second studio album release. The album was produced, recorded, and mixed by Pierre Marchand, with select tracks produced by Propellerheads' Alex Gifford ("Shadows"), Ethan Johns ("California"), Damian LeGassick ("The Tower of Learning"), and Greg Wells ("Across the Universe").

                                                            Rufus Wainwright

                                                            Release The Stars

                                                            "Release The Stars" is a 12-track masterclass in songwriting and production - this is his first new material since 2005's remarkable "Want Two". The album is written and produced by Rufus himself, with Neil Tennant as executive producer. Long time collaborator, Marius de Vries, has also sprinkled magic dust over the tracks in the mix.

                                                            Loudon Wainwright III

                                                            Album III

                                                            Wainwright is an enigma. He's well known, his fans adore him but his album sales have been less than they should have been. 'Album III' is a case in point; after his first two acoustic albums he released his first electric album on Columbia, got a huge hit single(Dead Skunk) and promptly dropped off the wagon big stylee, all the pain and pathos is in evidence here.

                                                            Loudon Wainwright III

                                                            Last Man On Earth

                                                            If one artist has maintained a rich quality and autobiographical commitment in his songwriting throughout his career then it has to be Loudon Wainwright. As angst ridden and relevant as ever he sings of despair, loss and depression but with a wit and humanity that has never paled over the years. While some singer songwriters have lost their eloquence or ability to touch their listeners on a personal level, Loudon Wainwright merely adds more broken relationships, more personal losses (his Mum died recently which naturally sent him into a tailspin) into his lyrical brew. "Last Man On Earth" stands as one of the finest works from this brilliant songwriter.

                                                            Tom Waits

                                                            Bastards

                                                              For the first time, Tom Waits will make available as individual records his 2006 classic 56 song release Orphans: Brawlers, Bawlers and Bastards. 

                                                              The collection of 56 songs went far beyond a simple career retrospective. It dipped back as far as 1984 with the bulk of it’s songs hailing from the mid-nineties onward. Over 2/3 of the material had never been heard when originally released in 2006 and had 30 newly recorded songs. Orphans also featured a number of songs finding a home on a Waits’ album for the first time. They included Waits’ unique interpretations of songs by such diverse talents as The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht and Leadbelly. These outtakes, rarities and the previously unreleased material were separately grouped into themes and named, Brawlers, Bawlers, and Bastards. And now these titles will be released individually.

                                                              Bastards is a collection of experimental music and strange tales.

                                                              Tom Waits

                                                              Bawlers

                                                                For the first time, Tom Waits will make available as individual records his 2006 classic 56 song release Orphans: Brawlers, Bawlers and Bastards. 

                                                                The collection of 56 songs went far beyond a simple career retrospective. It dipped back as far as 1984 with the bulk of it’s songs hailing from the mid-nineties onward. Over 2/3 of the material had never been heard when originally released in 2006 and had 30 newly recorded songs. Orphans also featured a number of songs finding a home on a Waits’ album for the first time. They included Waits’ unique interpretations of songs by such diverse talents as The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht and Leadbelly. These outtakes, rarities and the previously unreleased material were separately grouped into themes and named, Brawlers, Bawlers, and Bastards. And now these titles will be released individually. 

                                                                Bawlers is a collection of Celtic and country ballads, waltzes, lullabies, piano and classic lyrical Waits’ songs.

                                                                Tom Waits

                                                                Blood Money

                                                                  Blood Money is etched. It's scratched out in bold, dark lines with marimba, trumpet and bass clarinet and contains some of Tom Waits most memorable melodies.

                                                                  "Blood Money is flesh and bone, earthbound," said Waits. "The songs are rooted in reality: jealousy, rage, the human meat wheel...They are more carnal. I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth. I like songs to sound as though they've been aging in a barrel and distressed.


                                                                  STAFF COMMENTS

                                                                  Barry says: One of Waits' most visceral and unnerving outings, cast in fire and delivered through his undeniably unique voice. Minimal, mournful but most importantly, utterly unforgettable.

                                                                  FORMAT INFORMATION

                                                                  LP includes MP3 Download Code.

                                                                  Tom Waits

                                                                  Brawlers

                                                                    For the first time, Tom Waits will make available as individual records his 2006 classic 56 song release Orphans: Brawlers, Bawlers and Bastards. 

                                                                    The collection of 56 songs went far beyond a simple career retrospective. It dipped back as far as 1984 with the bulk of it’s songs hailing from the mid-nineties onward. Over 2/3 of the material had never been heard when originally released in 2006 and had 30 newly recorded songs. Orphans also featured a number of songs finding a home on a Waits’ album for the first time. They included Waits’ unique interpretations of songs by such diverse talents as The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht and Leadbelly. These outtakes, rarities and the previously unreleased material were separately grouped into themes and named, Brawlers, Bawlers, and Bastards. And now these titles will be released individually. 

                                                                    Brawlers is a collection of raucous blues and full-throated juke joint stomps.

                                                                    Tom Waits

                                                                    Foreign Affairs - Remastered

                                                                      1977’s Foreign Affairs takes the jazz and poetry that Tom Waits explored on his earlier albums in a more cinematic direction, foreshadowing his own breakthrough work in the 80s. Opening with the instrumental “Cinny’s Waltz” and featuring some new standards like “Muriel” and “I Never Talk To Strangers”, his dramatic duet with Bette Midler, this album gets into some of Waits’ most ambitious storytelling ever. Foreign Affairs also features the jazzy, colorful “Jack and Neil” and the sweeping, dramatic “Potters Field” as well as classic Waits ballads “Burma Shave” and “Sight for Sore Eyes”.

                                                                      Wajatta

                                                                      Don’t Let Get You Down

                                                                        Wajatta (pronounced wa-HA-ta) - aka Reggie Watts and John Tejada - return on Flying Lotus’ Brainfeeder imprint. Coming from different worlds but sharing a passion for the rich history of electronic music, beat-boxer / comedian / musician Watts and electronic music artist / DJ / producer Tejada bring out the best in each other’s formidable skill sets. Exploring the intersection between influences and innovation, the two describe Wajatta’s music as ‘electronic dance music with its roots in Detroit techno, Chicago house, ‘70s funk and New York hip hop.’ It’s a sound that is both familiar and wholly original and, like all great dance music, ultimately life-affirming. As a result, the 11 tracks on “Don’t Let Get You Down” crackle with the energy of fresh ideas captured at the moment of inspiration. It’s electronic music made organically, from two masters at the top of their respective games.

                                                                        For fans of HNNY, Caribou, Ross From Friends, Jacques Greene, Channel Tres.


                                                                        STAFF COMMENTS

                                                                        Barry says: It would be hard for anything to get you down after listening to the title track of this killer collaboration, and the rest of the album only continues in the same vein. Owing as much to early instrumental hip-hop as it does modern soul and electronica, this is a rich and varied outing and one you have to hear to believe. Grooves for DAYS.

                                                                        Wakefield

                                                                        American Made

                                                                        Wakefield have honed their skills on tours with Homegrown, Reel Big Fish, Alkaline Trio, Early November, Autopilot Off, All American Rejects and Avril Lavigne. From St. Mary's County Maryland, the four members of Wakefield recorded "American Made" in Los Angeles in 2002. They're a mix of brash and sometimes poignant songs strung together by guitar riffs, staccato drum beats, and three-part vocal harmonies underscored by hook-heavy melodies that bounce around like ping-pong balls. Tracks range from the fierce guitar strains of "Sold Out" and the straightforward punk-pop morsel "Un-sweet Sixteen," to the ska-tinged, celebrity-jabbing "Infamous."

                                                                        Rick Wakeman

                                                                        The Very Best Of

                                                                        One of the most influential keyboard players of the whole progressive rock era; Wakeman was the flamboyant ex-Yes synth-wizard whose conceptual solo work found huge success in the '70's. This CD covers the period 1973-1979 during which most of his best work was released.

                                                                        The Wake

                                                                        Here Comes Everybody - 35th Anniversary Edition

                                                                          Factory Benelux presents a special 35th anniversary edition of Here Comes Everybody, the highly-regarded second album by Scottish group The Wake, originally released by Factory Records in 1985. Just 800 copies will be made available for Record Store Day on 18 April 2020, pressed in crystal clear vinyl with a bonus 7-inch single + digital copy.

                                                                          The Wake formed in Glasgow in 1981 after singer/guitarist Caesar left Altered Images. Joining Factory the following year, the group toured with New Order and released popular mini-album Harmony. Trailed by sprightly single Talk About the Past in 1984, second album Here Comes Everybody was eventually recorded as a trio, combining dreampop melodies and wistful lyricism typified by standout track O Pamela (later interpreted by artful French new wave covers project Nouvelle Vague).

                                                                          Praise for Here Comes Everybody: “Holds up as a touchstone for aching, atmospheric synth-pop, all slinky guitars, crispy percussion, textured keyboards and limber bass" (Pitchfork); “The album stands as a pillar of moody synth pop, still bearing passing resemblance to New Order while retaining the bounce of the Postcard label bands and the cavernous production of Closer-era Joy Division, covering it all in some of the heaviest synth wash this side of Klaus Schulze" (Dusted)

                                                                          Newly re-mastered for this special 35th anniversary edition, the original 8 track album is now augmented by companion singles Talk About the Past and Of the Matter, pressed on a bonus 7-inch single in a picture sleeve. Here Comes Everybody itself is pressed on clear vinyl, housed in a white reverse board sleeve with printed inner bag containing lyrics, images and liner notes by band members Carolyn Allen and Caesar.


                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: 800 copies pressed on crystal clear vinyl with a bonus 7-inch single + digital copy.

                                                                          Factory Benelux presents a special 30th anniversary edition of Here Comes Everybody, the highly-regarded second album by Scottish group The Wake, originally released by Factory Records in 1985.

                                                                          The Wake formed in Glasgow in 1981 after singer/guitarist Caesar left Altered Images. Joining Factory the following year, the group toured with New Order and released popular mini-album Harmony. Trailed by sprightly single Talk About the Past in 1984, second album Here Comes Everybody was eventually recorded as a trio, combining dreampop melodies and wistful lyricism typified by standout track O Pamela (later interpreted by artful French new wave covers project Nouvelle Vague).

                                                                          Praise for Here Comes Everybody: “Holds up as a touchstone for aching, atmospheric synth-pop, all slinky guitars, crispy percussion, textured keyboards and limber bass" (Pitchfork); “The album stands as a pillar of moody synth pop, still bearing passing resemblance to New Order while retaining the bounce of the Postcard label bands and the cavernous production of Closer-era Joy Division, covering it all in some of the heaviest synth wash this side of Klaus Schulze" (Dusted)

                                                                          Now remastered for this special edition double disc package, the album is joined on Disc 1 by companion singles Talk About the Past and Of the Matter, a radio session, and a previously unreleased dub take of Torn Calendar. Disc 2 combines their final Factory EP Something That No-One Else Could Bring (produced by John Leckie) with no less than seven previously unreleased demos cut between 1988 and 1990, including unheard songs as well as material later re-recorded for Sarah Records.


                                                                          The Wake

                                                                          Pale Spectre / Plastic Flowers

                                                                            Part of The Optic Sevens Reissue Series. 
                                                                            Limited to 500 copies on splatter vinyl Includes Poster & Postcard.

                                                                            Originally released on Factory Records in 1987 on a 4 track 12” EP entitled “Something That No One Else Could Bring” These 2 tracks make their first appearance as a 7” single. 


                                                                            Igor Wakhevitch

                                                                            Nagual (les Ailes De La Preception)

                                                                              Originally released in 1977, this was (once again) a product of the fruitful association between Wakhevitch and american dancer/choreographer Carolyn Carlson. Compiling some of the pieces specially written for Carlson's "This, that and the other" (created for the Groupe de recherche Théâtrale de l'Opéra de Paris), the album follows the otherwordly steps of it's predecessor ("Les Fous D'or") in a more calm, relaxed, almost nocturnal way.

                                                                              Inspired by Carlos Castaneda's writings, Nagual is another mysterious and intriguing statement of musical esoterica: a collection of twelve musical vignettes covering a whole range of styles, from majestic electronic pieces to echo-drenched concrete-like sketches via impressionistic piano compositions. A bewitching musical journey, built around Wakhevitch's keys where electronics give way to more acoustic sonorities (piano, harp) for a highly-charged magical sound. A very special record !!!

                                                                              FORMAT INFORMATION

                                                                              Ltd LP Info: Strictly limited to 500 copies - single cover reproducing the original 1977 artwork - includes insert with liner notes plus reproduction of the original Nagual insert.

                                                                              Ryley Walker

                                                                              Golden Sings That Have Been Sung

                                                                              In November 2015, at the end of a ten month period which saw him play over 200 shows, Ryley Walker decided that he should probably head home. The preceding months had been extraordinary. In March, his second album ‘Primrose Green’, emerged to critical hosannas from the likes of NPR, Village Voice, Uncut and Mojo and in the process earning admiration of musicians who had chalked up no shortage of turntable miles in Walker’s life. Robert Plant declared himself a fan, as did double-bass legend Danny Thompson, with whom Ryley would later embark on a British tour. A sprawling tour of the USA around ‘Primrose Green’ presented a perfect chance to workshop ideas for what would eventually become this, his third studio album, ‘Golden Sings That Have Been Sung’.

                                                                              ‘The Roundabout’ represents a symbolic return to Chicago, while other songs are directly wedded to Ryley’s actual return there. Perhaps more than any other song on the record, the somnambulant sun-dappled intimacies of opening track ‘The Halfwit In Me’ most audibly bear the imprint of Ryley’s improvisational sessions with Wilco multi-instrumentalist, Chicagoan and producer Leroy Bach, while ‘Funny Thing She Said’ is an unflinching study of separation set to a shimmeringly supple ensemble performance.

                                                                              Soft, slo-mo explosions of melody intermittently burst through the distant thunder of the verses on ‘A Choir Apart’. Intriguing, surreal images are meted out by ‘I Will Ask You Twice’, like a malfunctioning slide projector and, perhaps best of all, the stunning finale, ‘Age Old Tale’, which spiders out from an Alice Coltrane-inspired reverie into a sustained rapture that very few artists have managed to achieve.

                                                                              STAFF COMMENTS

                                                                              Barry says: Having been one of our end of year favourites in 2015, Ryley Walker had a lot to live up to with this follow-up (obviously he had impressing us in mind). It turns out that this is just as monumental, if not more so. There is a sense of assurance here, a confidence gained through years of honing his craft. Perfectly sculpted Americana-tinged acoustic guitars are bolstered but never overpowered by frenetic violin slashes while molasses-slow drums perfectly compliment the unhurried and confident instrumentation. Walker and band have got a lot of bettering to do if they'll ever top this, but going on previous form, i'm sure they will. An absorbing and rewarding listen.

                                                                              Ryley Walker

                                                                              Golden Sings That Have Been Sung - Deep Cuts Edition

                                                                              Ryley Walker is pleased to announce his new album, Golden Sings That Have Been Sung, coming out August 19th on Dead Oceans. It’s the triumphant follow up to his breakout album, Primrose Green, which earned critical hosannas from the likes of NPR, Village Voice, Uncut, and Mojo and admiration of musicians who had chalked up no shortage of turntable miles in Walker’s life. Robert Plant declared himself a fan – as did double-bass legend Danny Thompson, with whom Ryley embarked on a British tour.

                                                                              In November 2015, at the end of a ten-month period which saw Ryley play over 200 shows in support of Primrose Green, Ryley decided that he should probably head home. However you wished to measure it, he was surely due some sort of holiday. Although, a holiday was the last thing on Ryley’s mind – and certainly not a holiday in his adopted hometown. After a year spent on the road, all that Ryley could associate with Chicago was the emotional debris he had left behind.

                                                                              He went into the studio over the Christmas vacation to record Golden Sings That Have Been Sung whose songs were directly wedded to Ryley’s return to Chicago. Some of his formative musical memories had been shaped by the work of pioneering Chicago acts such as Gastr del Sol and Tortoise. “Jeff Parker was the guitarist with Tortoise, and I used to listen to him a lot,” recalls Ryley, who figured that, for the first time in his career, it might be helpful to enlist the services of a producer. With only one person on his shortlist, once again, all roads led back to Chicago.

                                                                              Ryley had been a long-time admirer of sometime Wilco multi-instrumentalist LeRoy Bach. Back in 2009, still in his teens, he had frequented the improv nights hosted by Bach at a restaurant/gallery space called Whistler. “For me, it was an incredible opportunity,” recalls Ryley, “…because you would sometimes also have Dan Bitney, the drummer with Tortoise, and I’d get to play with these people. I mean, they were twice my age. I’m sure they thought I was annoying at first, maybe some of them still do, but I kind of looked at them like gurus – and to have these old school Chicago heads taking me in was just amazing.”

                                                                              For Ryley then, the prospect of having Bach produce his album was something of a no-brainer. “It was everything I wanted it to be,” he enthuses. “I would go to LeRoy’s house every other day with a riff, and we would take it from there.” Perhaps more than any other song on the record, the somnambulant sun-dappled intimacies of opening track and lead single “The Halfwit In Me” most audibly bear the imprint of those Whistler sessions.

                                                                              Golden Sings That Have Been Sung was made for the dewy magic hour when night and day have yet to meet and, as long as the song is playing, you feel might briefly leave the corporeal world with them. This is the music you might imagine the woodland animals making once the humans have left for the night. This is Ryley Walker’s coming of age.

                                                                              STAFF COMMENTS

                                                                              Barry says: Having been one of our end of year favourites in 2015, Ryley Walker had a lot to live up to with this follow-up (obviously he had impressing us in mind). It turns out that this is just as monumental, if not moreso. There is a sense of assurance here, a confidence gained through years of honing his craft. Perfectly sculpted Americana-tinged acoustic guitars are bolstered but never overpowered by frenetic violin slashes, molasses-slow drums perfectly compliment the unhurried and confident instrumentation. Walker and band have got a lot of bettering to do if they'll ever top this, but going on previous form, i'm sure they will. An absorbing and rewarding listen.

                                                                              The title sounds pastoral and quaint, but the titular green has dark hallucinogenic qualities, as does much of the LP. Ryley didn’t have much time to write this LP, so some of it he didn’t. Bits of lyrics were improvised into full-blown songs in the studio, more often than not on the fly. However, the ratty bits of handwritten words that make up the balance of the record grew from scattered misadventures across an ill-fated 2013 tour.

                                                                              The band on Primrose Green is a mixture of new and old Chicago talent, blending both jaded veterans of the post-rock and jazz mini-circuits together with a few eager, open-eared youths. (It’s worth stating at this point that this is not a jazz record, despite the sheer volume of jazz and experimental heavyweights that make up the rest of Primrose Green’s all-star cast. Chicago has blurred these lines since forever.)

                                                                              Ryley Walker is the reincarnation of the True American Guitar Player. That’s as much a testament to his roving, rambling ways as to the fact that his Guild D-35 guitar has endured a few stints in the pawnshop. Swap out rural juke joints for rotted DIY spaces and the archetype is solidly intact. His personal life might be tumultuous and his residential status in question, but his bedrock is disciplined daily rehearsal and an inexhaustible wellspring of song craft.

                                                                              Raised on the banks of the ol’ Rock River in northern Illinois, Ryley’s early life doesn’t give us much more than Midwestern mundanity to speak of. Things start to pick up in 2007, when he moves to Chicago and briefly attempts a collegiate lifestyle. Here, he storms the local noise scene with his Jasmine-brand electric guitar, and a few years of wasted finger-bleeding basement shows firmly established his name locally, if not always positively. By 2011, at age 21, Ryley’s music offered impressive displays of fingerpicking prowess, though not fully elaborated documents.

                                                                              It was a 2012 bike accident that set Ryley on his current path. Practice became more diligent. He began lacquering his fingertips at cheap salons. Ryley was finding a new path refracting the British traditional spectrum, from Bert Jansch to Nick Drake, and defying all the limitations of the genre. His 2013 recordings — The West Wind EP and All Kinds of You LP – fully express these Anglophilic tendencies to the point of nearly exhausting their possibilities.

                                                                              “Primrose Green” is a colloquial term for a cocktail of whiskey and morning glory seeds that has a murky, dreamy, absinthian quality when imbibed, and a spirit-crushing aftereffect the morning after. It is the moment before departure from the mindstate of Ryley’s previous release, All Kinds Of You.


                                                                              STAFF COMMENTS

                                                                              Andy says: Love Tim Buckley, John Martyn and Nick Drake? So does Ryley Walker! Classic songs, grooves and vibes, but unlike the folk-lite froth choking up the "Charts", this goes straight to the source and brings it on home! Good stuff.

                                                                              FORMAT INFORMATION

                                                                              LP includes MP3 Download Code.

                                                                              Scott Walker

                                                                              The Childhood Of A Leader - Original Soundtrack

                                                                              Scott Walker follows his remarkable collaboration with Sunn O))) with this remarkable soundtrack to Brady Corbet’s directorial debut, Walker’s first score work since the Pola X soundtrack in 1999.

                                                                              Partly inspired by Jean-Paul Sartre’s short story of the same name, The Childhood of a Leader is a tense psychological drama tracing the formative years of a young boy and set against the backdrop of the 1919 Paris Peace Conference that led to the establishment of the Treaty of Versailles.

                                                                              Walker continues to work with long-term collaborators Peter Walsh (co-producer) and Mark Warman (musical director), with the latter conducting an orchestra comprised of 46 string players and 16 brass for the studio recording.

                                                                              FORMAT INFORMATION

                                                                              Indies Exclusive LP Info: Limited edition clear vinyl.

                                                                              A heavyweight astral shower of rhythm and vibes, Ash Walker’s third album ‘Aquamarine’ is released on 19th July 2019 via Night Time Stories. Ash’s production output is similarly exploratory: his journeys have taken him far and wide, from tunnels under the river Thames to recording local percussionists in the Atlas mountains of Morocco. Inspired by a deep dive of sounds from artists including Duke Ellington, Quincy Jones, King Tubby, Bo Diddley, 4Hero, J Dilla, Pete Rock, Curtis Mayfield, Philip Glass, and Steve Reich; his first two albums, ‘Augmented 7th’ (2015) and ‘Echo Chamber’ (2016) gained attention from the likes of BBC 6 Music DJs Gilles Peterson, Don Letts, Gideon Coe and Clash Maga- zine, XLR8R and MIMS.

                                                                              ‘Aquamarine’ is a projection and culmination of all he’s absorbed. A cosmic explosion of sound and colour, rhythm, shape and patterns. The arrival of an unassuming dreamer now projecting his unique flavour of expression. ‘Aqua- marine’ is the take-off of this audial spaceship, a sound discovered in the grooves of thousands of records, united in one. A meditation designed to inspire good energy, Ash hopes to bring a sense of calm and tranquility to the listener amongst the chaos of life. Recorded at home with the freedom of time and space, it combines analogue with digital, and a fondness for normally unwanted shapes and textures such as fuzz, hiss and crackle.

                                                                              “My previous albums have felt to me more like ventures on land. This one feels more like a deep sea voyage into the subconscious. Living to dream with visions of grandeur. Manifesting a beautiful path to walk on. It was inspired by everything around me, from friends and family to art and design, engineering and architecture, movement and how we use our five senses. I love to try and push my own boundaries of what I perceive to be right and wrong, seeing mistakes as innovations, and obstacles as inspiration.”

                                                                              Highlights on the album include ‘Under The Sun’, ‘Time’ and ‘Finishing Touch’, all of which feature the smooth and silky voice of Laville. Themes of metaphysical exploration and transportation re-occur in the cosmic jazz of ‘Brave New World’ and the smoked beats on ‘Come With Us’. Also featured across the album are trumpet and flugel-horn genius Yazz Ahmed, bassist Marc Cyril (Keziah Jones, Jr Walker & The All Stars) and renowned musician and producer Jonathan Shorten.


                                                                              STAFF COMMENTS

                                                                              Barry says: Mixing elements of downbeat, hip-hop and a healthy dose of soul, 'Aquamarine' is another superb outing for the ever-talented Ash Walker. Shadowy beats clash with reverbed guitar and echoing vocals before breaking into loungy slow-jazz and heady opium-den instrumentals. It actually confounds all genre expectations and is all the better for it. Proper lovely.

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: 180g teal coloured virgin vinyl.
                                                                              Limited to 1000 copies.

                                                                              “I was under a lot of stress because I was trying to make an anti-folk record and I was having trouble doing it. I wanted to make something deep-fried and more me-sounding. I didn’t want to be jammy acoustic guy anymore. I just wanted to make something weird and far-out that came from the heart finally. I was always trying to make something like this I guess, trying to catch up with my imagination. And I think I succeeded in that way — it’s got some weird instrumentation on there, and some surreal far-out words.

                                                                              I’m lucky enough to have some people who are playing on it who had a big part in shaping the songs and writing with me. Cooper Crain, the guy who engineered it, and played all the synthesizers. And when the flute guy, Nate Lepine came in, that was really something that made it special. The producer was this guy LeRoy Bach. I love LeRoy, he’s a really talented guy. He did the last record too.

                                                                              And it’s more Chicago-y sounding. Chicago sounds like a train constantly coming towards you but never arriving. That’s the sound I hear, all the time, ringing in my ears.” – Ryley Walker.

                                                                              STAFF COMMENTS

                                                                              Barry says: Narcotics enthusiast and all-round ledge Ryley takes us on his newest journey into the wilderness with 'Deafman Glance', with the same tender plucking acousticry we've come to know and love, but with the psychedelic element all the more pronounced. Brilliantly progressive and nuanced songwriting with Walker's imitable style.

                                                                              On ‘The Lillywhite Sessions’, Ryley Walker and the similarly indebted trio of drummer Ryan Jewell and bassist Andrew Scott Young cover Dave Matthews’ infamously abandoned 2001 art-rock masterpiece of the same name, a record where he and his band indulged a new adult pathos and a budding musical wanderlust.

                                                                              With a delicate rhythmic latticework and vocals that ask you to lean in, ‘Busted Stuff’ recalls Jim O’ Rourke’s golden Drag City days. Emerging from a wall of distortion, ‘Diggin’ a Ditch’ becomes a power trio wallop à la Dinosaur Jr, shaking off existential malaise like twenty-something pals writing rock songs in the garage. Walker’s ‘Grace is Gone’, the most faithful take here, is a testament to his unflagging love for the music that helped make him a musician.

                                                                              This end-to-end interpretation of youthful fascination is a collective reminder that we are all just kids from somewhere, reckoning with our upbringing the best we can. Walker has stepped through the door long ago opened by the Dave Matthews Band to find a world teeming with musical possibilities. On ‘The Lillywhite Sessions’, he has, in turn, created his own.

                                                                              STAFF COMMENTS

                                                                              Barry says: As well as being a VERY good follow on the ol' Twitter, Ryley Walker is also a superb chap and undeniably brilliant songwriter and musician. Although the songwriting doesn't really get a look in on this release (it being entirely covers), it is clear that his laid-back style and impeccable vocal performance is only improving. Even if you've never heard this Dave Matthews Band release before, I implore you to hear Walker's take on things. Stunning.

                                                                              Scott Walker

                                                                              'Til The Band Comes In

                                                                                Following on from a quartet of critically acclaimed solo LPs, ‘Scott’, ‘Scott 2’, Scott 3’ and ‘Scott 4’, and the compilation LP, ‘Scott Walker Sings Songs from His TV Series’, ‘ Til The Band Comes In’ was his sixth studio album. Originally released in 1970, the LP is a loose concept album about the inhabitants of a tenement building. Produced by Johnny Franz, it features the singles “Jean The Machine” and ‘Til The Band Comes In”. “Long About Now’ features the Israeli born singer Esther Ofarim of “Cinderella Rockefella” fame. 

                                                                                Scott Walker

                                                                                Climate Of Hunter

                                                                                  ‘Climate of Hunter’ was considered by many as Scott’s ‘comeback’ solo album due to a self-imposed 10 year hiatus following the release of his 7th studio album, ‘We Had It All’ in 1974. Originally released in March 1984, it contains the single “Track Three”, which was accompanied by a stunning promo video which was first aired on the Old Grey Whistle Test. The album features a stellar cast including Billy Ocean, Mark Isham, Evan Parker and Mark Knopfler of Dire Straits playing guitar on a cover of the Tennessee Williams classic, “Blanket Roll Blues”. Among the album’s many fans was Bono of U2 who is on record as saying: “Scott Walker’s Climate of Hunter was a great influence on The Joshua Tree – just listen to “With Or Without You” – March 1987.

                                                                                  Scott Walker

                                                                                  No Regrets - The Best Of Scott Walker And The Walker Brothers

                                                                                    First time on vinyl since 1992 for this stunning ‘Best of’ from singer-songwriter Scott Walker. It’s now a 2LP set on 180gram vinyl. Features all the hits including “Make It Easy On Yourself” (#1 in August 1965), “My Ship Is Coming In” (#3 in December 1965), “The Sun Ain’t Gonna Shine” (#1 in March 1966), “Joanna” (#7 in May 1968) and “No Regrets” (#7 in January 1976).

                                                                                    FORMAT INFORMATION

                                                                                    2xLP includes MP3 Download Code.

                                                                                    Scott Walker

                                                                                    Scott - Vinyl Reissue

                                                                                      One of the most enigmatic figures in pop music history Scott Walker (nee Scott Engel) first saw massive success in England with his band The Walker Brothers in 1965. Not really brothers, nor were they British, the trio left Hollywood seeking fame in England, and they found it here for a time with their particular brand of orchestrated pop.

                                                                                      Following the groups demise in 1967 Walker set our to pursue solo stardom in perhaps the most peculiar way possible, with over-the-top baroque pop songs owing more to his idol Jacques Brel, Tony Bennett and Frank Sinatra than they did to the Beatles or the Stones.

                                                                                      This is his first solo LP from 1967 and features three of his own compositions along with covers of songs by Brel, Tim Hardin, and the Brill Building team of Cynthia Weil and Barry Mann. A true original.

                                                                                      FORMAT INFORMATION

                                                                                      Ltd LP includes MP3 Download Code.

                                                                                      Scott Walker

                                                                                      Scott 2 - Vinyl Reissue

                                                                                        Originally released in 1968, "Scott 2" made it all the way to number one on the UK pop charts, perhaps the strangest number one hit in pop history. Continuing with his orchestral obsession, "Scott 2" features over-the-top string and horn arrangements, occasionally veering into dangerously schmaltzy territory. This production style is in drastic contrast to the lyrical content, songs of despair, prostitution, homosexuality, and brutal honesty, indicting the same glamorous and glitzy lifestyle that his baroque pop style emblemizes. Along with many originals "Scott 2" features songs by Jacques Brel, Tim Hardin, and Bacharach/David.

                                                                                        FORMAT INFORMATION

                                                                                        Ltd LP includes MP3 Download Code.

                                                                                        Scott Walker

                                                                                        Scott 4 - 50th Anniversary Half Speed Master Edition

                                                                                          Despite its initial lukewarm reaction, the album failed to chart on release (possibly due to the album being released under his birth name of Noel Scott Engel!), today ‘Scott 4’ is considered one of his greatest achievements and has been recognised as a major influence on countless artists – David Bowie, Jarvis Cocker, Marc Almond amongst others. His song-writing reached new peaks on this record (it was the first Scott Walker album to feature entirely original material) and is incisive, articulate and acerbic.

                                                                                          Here are some of his finest compositions – The Seventh Seal (inspired by the classic Ingmar Bergman film), features a haunting Ennio Morricone-style arrangement, The Old Man’s Back Again also displays cinematic qualities and a penetrating theme (“dedicated to the neo-Stalinist regime,” the “old man” of this song was supposedly Josef Stalin), Duchess and Boy Child are achingly beautiful, timeless classics. The eclectic mix of folk, country, and soul influences contained, make this an intriguing and innovative body of work.

                                                                                          This special 50th anniversary edition has been mastered and cut to vinyl using the unique ‘half-speed’ process, at Abbey Road Studios, London, for ultimate sound quality.

                                                                                          Scott Walker

                                                                                          Tilt

                                                                                            Scott Walker’s twelfth studio album from 1995 is now presented over 2LPs for an improved audio experience. Originally released in May of 1995 the album was Scott’s first album in 11 years and remarkably reached Number 27 in the UK Albums chart. No singles were released from ‘Tilt’. Scott explained his 11 year hiatus to journalist Richard Cook saying that he had become “the Orson Welles of the record industry……People take me to lunch, but nobody wants to finance the picture”. Tim Finn from Crowded House is a huge fan of ‘Tilt’: “I was very impressed with ‘Tilt’, good on car journeys through unfamiliar landscapes. It’s very brave, very bold, very unconcerned with trends: Scott’s out there on his own path, albeit a very twisted one”. 

                                                                                            It is not too often that we come along something sent to us that really has this much of an impact. Coming off the back of an email, opened on a frosty winter morning, with the comparatively toasty shop air warming my fingers, and the tinkling reverbed piano of 'Turn' warming my cold, cold heart. 

                                                                                            Simeon Walker crafts gorgous, plaintive piano pieces whose strength lies not in their complexity (though there is layer upon layer of complexity to even the simplest sounding outcomes), but in their absolute, trasportative wonder. 

                                                                                            The aforementioned 'Turn' obviously owes some dues to the dull hammers and dampened grace notes of Nils Frahm (though the comparison feels a little lazy, there are few modern pianists that cover the wide emotional range that Frahm does without it feeling overwrought), but with a wintery tentative unease coming in waves before being hushed again through the ambient echoes of creaking wood and paddling keys. 

                                                                                            Pieces like 'Drift' pull things back down to earth with infrequent harmonic clashes and slowly unfurling blossoms, redolent and fragile. There is a recurring juxtaposition of terse, semi-melodic intervals leaving a question in the air before being answered by overwhelming beauty. The sadness is overcome by a wealth of melody like the thaw of the winter is culled by the rich, warming progressions. 

                                                                                            The flipside sees a more plaintive beginning, with the held notes and echoing shadows of 'Froze' slowly increasing intensity (and tempo) into a more visceral but no less mournful requiem, the minor keys producing overlapping notes until the the established notes stumble over themselves into an intentionally jarring key change.  

                                                                                            Throughout 'Mono', walker display an innate knowledge of melody, an impeccable ear for progression, and an undeniably human outlook. Beautifully designed (aesthetically and thematically), and impeccably produced. Walker is a true, undiluted talent. 

                                                                                            STAFF COMMENTS

                                                                                            Barry says: Completely beautiful minimalist piano pieces, swimming in icy ambience and warm, fireside euphoria. Recommended for fans of Frahm, Johannsson, Richter et. al, but reducing it's appeal to that may be doing a mis-service. This is stunning on it's own merits and manages to do that rare thing of giving nods to the greats without mindless emulation. Stunning.

                                                                                            This is the second collaboration of Joe Buhdha and Terri Walker, the first being 2014’s "Untitled to Entitled" EP featuring "Feel Right" and "Tired Out". The EP received major support from many taste makers and top DJs around the world and now the pair are back with a full length album! With a smorgasboard of high grade collaborations throughout - Children Of Zeus, DRS, Rodney P - Terri Walker merges reggae, house, soul and hip-hop into a distinctly UK-centric brew. 

                                                                                            STAFF COMMENTS

                                                                                            Matt says: Tasty merging of flavours makes this a highly accomplished UK offering. Rich with a multi-coloured, carnival energy, with a skilled and attentive songwriting to boot. A winner!

                                                                                            Inner space centurion and local star command operative Tommy Walker III returns with a new mission directive this September. Hardwiring to the Red Laser network and initiating an advanced, beta-tested programme of futuro-manctalo cybernetics, TWIII's meta-level hybridisation of Italian synth disco & northern English rave styles, combined with an expert deciphering of modernised club dynamics has resulted in a faultless system capable of withstanding the most extreme sonic test environments.
                                                                                            RL30's eight tracks are RL Corp. operation-certified to work alongside Human2.0's electrostatic discharge profile. Universally approved usage for sentient earth dwellers offering portals into dancefloor ecstasy and inter-dimensional transcendence. This programme begins with 'Pocsy', and sees euphoric holograms burst through galloping Italo mechanics, fusing retro-tinged optimism with a nu-age release. 'Shoiab' (named after a fellow starship captain tasked to MCR and in alliance with RL Corp...) unleashes red shifted synths and carnal cowbells for the cyberotic lap-dancers to get jizzy too. 'Autopilot' allows the on-board crew to reassemble, a well automated array of arpeggios guiding the shuttle during the first phase, until reconsolidating in the latter stages for full-on interdimensional 5-D funk jam. 'Lightwork' is pure RL endorsed synth-jizz, erupting out of Tommy's arsenal like a mis-timed giant alien cumshot; minus any Manga references. 'Astral Projectile Vomit' address a common problem endemic to protectors of our star cluster; then channels a shiny, serpentine chrome sequence and thrusts it down the rainbow road for maximum belly aches.
                                                                                            More hydraulic collisions between electronic disc-boogie and newly mined atomic particles from passing asteroids ensures Srg. Walker has enough mainroom material to keep the Sharons and Traceys of the main hub dancing in between injections of dimethyltryptamine. Closing with a trio of humanoid hits that'll have Jonny5 ordering kryptonite margaritas for the entire ship, Tommy Walker celebrates with the cosmic conge, 'Gary Blast'. RL Corp is confident RL30's internal algorithm is a future-proofed, cross-species platform for auditory excitement, and will continue to stimulate listeners across a multitude of environments.

                                                                                            Peter Walker

                                                                                            'Second Poem To Karmela' Or Gypsies Are Important

                                                                                            Remastered from the original stereo 1/4" tapes LP and CD feature expanded gatefold tip-on jackets and liner notes.

                                                                                            Light In The Attic and the legendary folk/blues/roots label Vanguard Records are proud to begin a series of collaborations under the umbrella Vanguard Vault.

                                                                                            The series will explore the vaults of Vanguard and see the reissuing of obscure nuggets, psychedelic weirdness and just some good old-fashioned seminal music.

                                                                                            Originally released in 1968 on Vanguard Records, Peter Walker’s album “Second Poem To Karmela” Or Gypsies Are Important was a ground breaking blend of folk, raga, psychedelia, Eastern and Modal sounds that has remained unsung for decades. While his debut album for Vanguard,Rainy Day Raga, has been reissued several times on LP and CD, this album (his sophomore effort), remains an obscure and hard to find vinyl relic. Until now..

                                                                                            Carefully re-mastered from the original tapes, guitar scholar Glenn Jones recently interviewed Peter Walker for hours and has written a book-deep essay for the CD and LP liner notes that detail Walker’s association with an incredible cross-section of 1960’s counter-culture icons including LSD guru Timothy Leary (Walker personally provided ‘the soundtrack’ to many a trip), he studied raga music with Ali Akbar Khan, and like his close friend Sandy Bull, Walker worked on a fusion of Western and Eastern sounds. Jim Pepper plays flute on Second Poem (he also recorded with The Fugs and Don Cherry), other accompaniment to Walker’s guitar, Sarod and Sitar playing includes violin, organ, tablas, and tamboura.

                                                                                            This is true “acid folk” as interesting, progressive, and memorable as fellow 1960’s world travelers Robbie Basho, Davy Graham, and the Incredible String Band.


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