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White Hills / Gnod

Aquarian Downer

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

    aqua blue vinyl

    Wire

    NINE SEVENS

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

      NINE SEVENS is the first of a series of re-releases of Wire's 70's catalogue, released for the first time worldwide on the band’s own label pinkflag. The 7" box set itself is a unique collection of Wire 7"s recorded in the period 1977-1980 and includes 6 singles released originally on Harvest, one originally released on Rough Trade and one single recorded in 1980 that was never released on 7’. The 9th item is the EP given away with the first pressings of the album 154. Everything is freshly re-mastered from the original archive analogue sources. This product is intended as a Record Store Day exclusive, produced in an edition of 1500 with no plans to repress. In addition, until after Record Store day many of the tracks are no longer available in digital stores or spotify.

      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!

      Well, this is absolutely massive! Japanese label Disktopia have pulled off an A&R masterstroke, luring the legendary Wally Badarou into the studio for his first vinyl release of solo music since 1989! "The Unnamed Trilogy Vol.1" sees the keyboard king doing his thing for 2k17 with four contemporary recordings completely in step with the unforgettable grooves of "Echoes". "Fisherman (I-Theme) kicks the set off with a stellar drum box rhythm, buoyant bass synth and slick synth-licks which veer into fusion territories before snapping back into the land of cybernetic jazz funk boogie. A rhythmic, chanted vocal adds an almost electro touch to the track, while the coastal cool of the number should delight the Balearic crowd. The tropical tackle continues with "The Daiquiri Diaries (Vintage Extended)", as Wally weaves a little cinematic spell on our adoring asses. Atmospheric, emotional, and laced with percussive subtleties, quayside Rhodes tones and muchos moonlight - this is for the lovers and bad cops. Imagine a tender moment with a loved one immediately before you make a drugs bust. Over on the flip "Awa" brings a decidedly Bubble Bobble vibe to the table, chiming perfectly with the Digital Zandoli comps as it sways, shimmers and squeezes under the Chicken Limbo pole. Surely a must have for OG cyberpunk Ruf Dug, this is more tropical than a line of Lilt dust and totally reminiscent of Zora's Domain and Monkey Island. Finally the synthesised vox, cloudlike calm and digital charm of "Higher Still..." closes the set on an ambient note - definitely one for fans of "Words Of A Mountain". Wally's back! 

      STAFF COMMENTS

      Patrick says: Holy shit batman! Synthfunk king Wally Badarou is back with new material - and it's fucking class! From the jazzier than your keyboard tie cyber-groove of "Fisherman", through the late night loving by the Quay "Daiquiri Diaries", via the Bubble Bobble zouk banger "Awa" to the aquatic, cinematic, synthscape masterpiece "Higher Still" this is the absolute shizzle! Yes!

      After a prolific year as a sessionist in 1979, which saw him lend his silky synthesizer skills to Tumblack, the Gibson Brothers and M ("Pop Muzik"!), Wally Badarou arrived on Riviera LM Recording System, a subsidiary of French powerhouse Barclay, with the sweet soul of his debut solo LP "Back To Scales". Long out of print, and largely overlooked in favour of his admittedly supreme "Echoes" LP, the album has been a secret weapon for the disco, soul and Balearic connoisseurs thanks to the seemless fusion of Wally's enchanting melodies and the emerging electronic sounds of the era. Groove-heavy, soulful and synthetic, "Back To Scales" showcases all the lilting rhythms, intricate keys and potent island funk of "Echoes", while still staying true to the soulful stylings of the time. Out of reach for far too long, this reissue is a gift to everyone.

      STAFF COMMENTS

      Patrick says: Wally was a legend way before "Echoes", and this pristine Love Vinyl reissue returns his solo debut to shelves after far too long. Within the soulful grooves and perfect pop moments, we hear the origins of the innovative synthesis and pure Island funk we know so well.

      German musicologist, deep sonic archivist and expert record dealer Basso presents the third release on his essential Growing Bin imprint, a sublime retrospective of German trio Barthel, Böhm and Bauer. Cherry picking the exquisite highlights from their three private press LPs "Auf Der Suche" (1984), "Zeitlos" (1986) and "New Horizons" (1988), Basso delivers an immersive collection which carries you on a far flung journey through time and space. The unique amalgamation of oriental folk, percussive rock and good old blues found on "Another Rainy Day", "Drift Away" and "Tamam" will let you drift away, dream and dance into a storm. Original copies of their three albums are almost impossible to find these days and change hands for serious sums, so welcome the "Timeless Horizons"...

      STAFF COMMENTS

      Patrick says: Basso collects a batch of ridiculously rare, totally far out jams from German trio Barthel, Böhm and Bauer, perfect for drifting away to. It's CSN, strung out on opiates in North Africa and it's absolutely amazing. A strong contender for reissue of the year.

      William Basinski

      A Red Score In Tile

      Originally released as a limited edition LP on the Three Poplars label in 2003, "A Red Score In Tile" is now available on CD for the first time ever.

      What the critics are saying: 'Think how Erik Satie could have sounded like if his most famous pieces had been inserted in a muffling mix after dropping him down a couple of octaves: a lament of decaying sounds, the feeling of a growing sorrow...' - Massimo Ricci.
      'The entire recording, sounding quite shaky and distorted, is marked by a certain fragility, as if the tape itself is going to break apart at any moment. After listening, you resurface to a world that still seems to sound like this bewitching composition, resounding off the walls, suspended quietly in the air, in the very air you breathe' - Richard di Santo.
      'This is still an understated record of amazing beauty' - Arik Einstein.

      A new recording featuring a recently discovered tape loop melody from his earliest piano and tape experiments, circa 1979. 'The main loop in this piece is one of the original piano and tape experiments from my early days as a composer. A few of the derivative piano variations have been released: "A Red Score In Tile", "Chrome Primitive", some of the Melancholia pieces. Some are still to come in the archival series. This theme, a melody made up of one of the most common chord changes in western music, to me, is one which evokes the Japanese concept of 'mono no aware' which translates roughly to the sadness of things' - William Basinski.

      Basinski's first new release since 2015's Cascade & The Deluge. A Shadow in Time features Basinski's rare Voyetra 8 synthesizer for the first time since Watermusic. For David Robert Jones features two ancient tape loops from deep in the archive as a remembrance for the brilliant, legendary artist known as David Bowie. World-renowned as one of experimental music's most vital and impressionistic composers of the past few decades, William Basinski's tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener's psyche through meditative repetition.

      On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled "For David Robert Jones." Conversely, the title track, "A Shadow In Time," is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to - or wrung from - tape. William Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was one of Pitchfork’s Top Albums of the Decade. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold-out crowds around the world. Basinski is currently touring the world in support of his new album, A Shadow In Time. 

      STAFF COMMENTS

      Barry says: Shimmering tape-loop monoliths and twinkles of light cascade and morph into each-other forming chasms and mountains as far as the eye can see. As grand and unfathomable as any of Basinski's other constructions, and just as beautiful. An essential addition to any ambient collection.

      FORMAT INFORMATION

      CD Info: CD features extended version.

      William Basinski

      Cascade

      First New Album in over Two Years. Includes Bonus Download: “The Deluge (Live at Issue Project Room). “

      Cascade and The Deluge are variations on the latest tape-loop and delay composition from the inimitable William Basinski. In Cascade, a single ancient lilting piano tape loop repeats endlessly carrying one along in its tessellating current. In The Deluge, the same loop is processed through a series of feed-back loops of different lengths creating a spiraling crescendo of overtones that eventually fade away to silence. In the denouement, a series of limpid piano loops leads to an urgent orchestral theme that builds and gradually dies away. William Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California.

      Employing obsolete technology and analogue tape loops, his haunting and melancholy soundscapes explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. The Temporary Residence deluxe LP box-set reissue from 2012 was awarded best re-issue of the year and a score of 10 on Pitchfork. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold out crowds around the world.

      Basinski was chosen by Music Director, Antony Hegarty to create music for the Robert Wilson opera, The Life and Death of Marina Abramovic which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013. Orchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and La Batie Festival in Geneva, Switzerland. Basinski is currently touring the world in support of Cascade and The Deluge, his latest works, TO BE released in Spring 2015 on 2062 & Temporary Residence Ltd. 

      FORMAT INFORMATION

      CD includes MP3 Download Code.

      William Basinski

      The Disintegration Loops

        For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinski's The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming… and for good reason. From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. To mark the 10-year anniversary of its original release – and its forthcoming induction into the 9/11 Memorial Museum this year – Temporary Residence Ltd. is honored to collaborate with William Basinski in presenting The Disintegration Loops in a fashion truly befitting a library of music with such a lasting legacy. This massive limited-edition box set contains all four historic volumes, plus a pair of stunning live orchestral performances from the Metropolitan Museum of Art, and the 54th Venice Biennale, both previously unreleased. Remastered from the original recordings and pressed onto 100% virgin vinyl for the first and only time, this exquisite box set also includes all of the remastered recordings on 5 CDs, the extremely rare 63-minute The Disintegration Loops film on DVD, and a 150-page full-color coffee table book featuring liner notes, and rare photos taken during the making of The Disintegration Loops. The Disintegration Loops has never appeared on vinyl, and will never appear so outside of this sincerely special, painstakingly beautiful collection.

        FORMAT INFORMATION

        Ltd Box Set Info: 9LP+5CD+DVD+Book.

        William Basinski

        The Disintegration Loops I (Remastered Reissue)

        To appease those who missed out on the now-legendary, highly sought-after (and highly sold-out) box sets, we are offering the four volumes of The Disintegration Loops suite as separate, individually packaged albums. The audio was remastered in 2012 from the original master tapes, and the artwork is packaged in deluxe old-style tip-on gatefold jackets. For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinski's The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming? and for good reason.

        From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. Not only lauded by The New York Times, The Wall Street Journal, Pitchfork, NPR and dozens more, The Disintegration Loops have become considered by many to be "one of the most pre-eminent American artistic statements of the 21st Century."

        STAFF COMMENTS

        Ryan says: This one really brings out the tape nerd in me. Basinski allows a single tape loop, already shedding (probably some Ampex 456 tape, they fall apart all the time), to play continuously until it destroys itself in the process. With each pass through the tape head more coating is shed resulting in subtle yet hypnotising differences in the passage throughout the piece. Best heard alongside the footage of 9/11 shot from Basinski's roof the morning the Disintegration Loops were finished (check youTube).

        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

          Passing Dream

            Tompkins Square reissue Passing Dream, originally released by Malaco Records in 1979. Recorded in Jackson, Mississippi, Passing Dream reveals the shifting musical direction of opposite sides of the 70's - a tougher, huskier, more alt-country sound emerging, presaging modern day troubadours like Chris Stapleton and Jamey Johnson. Released by Malaco Records in 1979, the album features the very first studio credit by guitarist Larry Campbell (Bob Dylan, Levon Helm), along with drummer James Stroud (Marshall Tucker Band, Eddie Rabbitt), keyboardist Carson Whitsett (Paul Simon, Tony Joe White) and other crack studio players.

            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.

            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!

            Willie Bobo

            Always There / Comin' Over Me

              Willie Bobo was a Latin jazz percussionist from New York who recorded over 20 albums between 1963 and 1979. During the 70s jazz funk period he recorded a version of “Always There” to rival the Ronnie Laws original as the definitive version becoming a dance floor favourite. The album and extended 12” versions have been reissued many times, now here’s a first issue of the more compact 7” version which has become more in demand recently. It is coupled with an extremely popular vocal track “Comin’ Over Me” featuring singer Errol Knowles. It is the first time this song has been released on 7”. Willie’s son is Eric Bobo, a member of Cypress Hill.

              Lovedancing's main man, Pontchartrain finally tempts old friend and kindred spirit Will Buckey into the studio, lending his ear to the mixdown as Will Buck goes in search of the perfect loop. The titular "Soul Sides" grooves along in classic US house styling, serving up that Rick Wade swing with hypnotic keys, disco strings and some killer Chic guitar. "Ilif 1982" sees Prtmnto enter the fray, the duo getting deep into the filter and echo end of the fx board to lock us into another simmering disco house hit. Skipping to the flip we feel the force of "Do It To Me", a brisk and bumping flip of Crusaders' classic "Streetlife", along with a smooth and grooving deep house version by Parallax - BIG TUNES!

              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 Musicians Of The Brirish Empire

                Thatcher's Children

                Taken from the forthcoming album "Thatcher's Children", this is a limited edition black vinyl 7" featuring an alternative, exclusive non album version of "Thatcher's Children". The flip side "Transition Girlfriend" is also exclusive to this release. The cover has been designed by James Cauty, James also does art alongside Billy and others at London's Aquarium Gallery and was half of the KLF. "Transition Girlfriend" features Nurse Julie on vocals, she's also singing lead on two more tracks on the album. Every five years or so Billy Childish is sited by the current top band as the embodiment of rock'n'roll integrity, and every five years or so Billy splits his group up and starts again from scratch. With his latest combo, The Musicians of the British Empire, Billy carries on his tradition of home made punk and rhythm and blues. This is what a real rock'n'roll group sounds like.

                Wild Billy Childish & CTMF

                A Song For Kylie Minogue B/w True

                  A-side is taken from the band's latest LP SQ 1, and is backed with an exclusive B-side 'True'. The single is already getting played on BBC6Music “On 'A Song For Kylie Minogue' Childish pays tribute to some of the rock stars who have paid tribute to him over the years (minus one or two big names). All true stories, we get an insight as to who has tried to stroke Childish.” (b.childish – march 2016) 40 years ago, Billy Childish, then a 16 year old working in Chatham dockyard formed a group called 'the Chatham Forts', and started a journey through punk rock from 1977 to now. Along the way this painter/ poet has released over 140 independent LPs. (SQ 1 is something like his 150th.) “The reason we didn't sound like the Smiths is because we wanted to sound like this” is Billy's reply to all the reviews of his band's work during the '80 and '90s - in the days when they stood all but alone as 'the kings of garage rock' (New York Times).

                  FORMAT INFORMATION

                  Ltd 7" Info: On transparent red or transparent yellow vinyl! (each limited to 400 copies!)

                  'The reason we didn't sound like the Smiths is because we wanted to sound like this' 40 years ago, Billy Childish, then a 16 year old working in Chatham dockyard, imagined a group called 'the Chatham Forts', and so started a journey through punk rock from 1977 to now. Along the way this painter/ poet has released over 140 independent LPs. (SQ 1 is something like his 150th - no one knows for sure.) As always great lines are delivered with deadpan humour: “The reason we didn't sound like the Smiths is because we wanted to sound like this” is Billy's reply to all the reviews of his band's work during the '80 and '90s - in the days when they stood all but alone as 'the kings of garage rock' (New York Times). SQ 1 could be seen as a manifesto of punk rock defiance, a celebration of musical independence or simply a true document home made rock and roll delivered as art, not commerce.

                  (Few artists have demanded and exerted so much control over their output as Childish. As with his previous LPs, all designs are undertaken by the group, from song writing, recording/producing, track listing, and LP design.)

                  STAFF COMMENTS

                  Laura says: Wild Billy Childish, under various guises, has been ploughing his own very individual furrow through rock'n'roll for forty years. "SQ1" is prime Childish: a raw, stripped back hybrid of classic garage rock and punk. It is, if you like, a musical autobiography of sorts, in that songs like "A Glimpse Of Another Time", "CTMF" and "SQ1" sum up the whole history and ethos of Billy's music. He happily proclaims that they've stayed at 'square one', and why not? Sometimes a handful of chords and pummelling drums is all you need! It's earned him plenty of 'celebrity fans' along the way as documented in his own inimitable way on "A Song For Kylie Minogue", and who can argue with the line "The reason we didn't sound like The Smiths, is because we wanted to sound like this". If anything sums up Wild Billy Childish, it's that statement!

                  Willie Colon & Ruben Blades

                  Metiendo Mano!

                  Any Willie Colón fan who couldn't understand why Colón and Hector Lavoe would want to go their separate ways must have been reassured by the recruitment of Rubén Blades to take his place in 1977. (Surely, no one could argue with the results of 1975's The Good, the Bad, the Ugly, which featured all three figures on one of the best LPs that any of them ever recorded, together or apart.) But Blades certainly wasn't a double for Lavoe; in fact, their styles were completely different. Lavoe was a spark plug of a sonero who could motivate the oldest abuela to get up and dance. Blades, while he may have had the ability to sound like a romantic crooner, only hit with a punch when he wanted to, instead pushing to the front his lyrical concerns with the underclass through a variety of storytelling modes (an interest he shared with Colón himself). There aren't any standout tracks like both its predecessor (The Good, the Bad, the Ugly) and successor (Siembra), but Metiendo Mano! was a worthy introduction to the two recording as twin leads.

                  It's certainly an adventurous record. Colón kept only three arranging assignments for himself, which makes it sound less like a Willie Colón record (and is probably why it's remembered slightly less fondly than its bookends). Luis Ortiz's two excellent charts included one that sounded a much different note than Colón (the opener "Pablo Pueblo") as well as another that sounded as though Colón were writing it himself ("La Maleta"). Colón bolstered his strong brass lineup with additional power (including a tuba solo on the opener), and the lineup is a powerhouse (including frequent collaborator Yomo Toro on two tracks). Meanwhile, Blades proved his range, moving from raging first-person narratives to pastoral boleros -- with no lack of passion on each -- and although Colón is heard less here than on his previous classics, his lieutenants proved the confidence he had in them.

                  Willie Colon & Ruben Blades

                  Siembra

                  The high point of Willie Colón's ongoing collaboration with Rubén Blades (and close to a career peak for both artists), Siembra exploded on the salsa scene in 1978 and has never been forgotten by fans. Beginning with a minute of playfully deceptive quasi-disco arrangements, Colón and his band slip into a devastating salsa groove for the opener, "Plástico," on which Blades first criticizes America's throwaway society and then brings all of Latin America together with a call to unity. Blades wrote all but one of the songs on "Siembra", and shines on all of them; his extended high-tenor salsa scatting lifts "Buscando Guayaba," his tender side comes across on the love song "Dime," and he outlines a devastating life-in-el-Barrio exposé with "Pedro Navaja" (Peter the Knife). For the latter, Colón and Luis Ortiz's tight arrangement adds immeasurably to the song, using street noise and sirens, breaking into an ironic "I like to live in America!," and punching the statement home with a four-trombone line. Reflecting the tough times but optimistic attitude of el Barrio during the late '70s, Siembra joined Cosa Nuestra as one of Willie Colón's career landmarks.

                  After bursting onto the scene at the early age of 17, Willie Colón has gone on to become a revered icon of salsa and bolero music, collaborating with the likes of Celia Cruz, Soledad Bravo, Rubén Blades, and even David Byrne during a long and successful career.  His numerous collaborations with vocalist Héctor Lavoe are considered some of the greatest works of Latin music of all time, and have rendered a slew of gold and platinum records. Critics tend to agree that one of his finest works came in 1970, with the release of "Cosa Nuestra". Smooth and brisk tracks like "Ausencia" and the Latin club track "Che Che Colé" were huge hits among New York's barrio youths, bolstered by Lavoe's potent vocal flair, and Colón's slick, trombone-heavy production. It was their first gold-selling record, and served to cement the duo's legacy as Latin music icons.

                  Willie Colon

                  Wanted By The FBI (The Big Break - La Gran Fuga)

                  We sent our American correspondent over to Philly a couple of weeks back, and using charm, persuasion and eventually brute force, they returned with an illicit cargo of 'missing' US RSD releases. Here we have a limited white vinyl pressing of Willie Colon's "Wanted By The FBI".

                  The Big Break is a masterpiece of Latin music, the kind of formidable artistic statement that established the Fania label as a cultural icon-- going beyond the parameters of a company specializing in crowd pleasing dance music. Needless to say, this is still a great party album, filled with dance friendly classics such as “Barrunto” and “Abuelita”. At the same time, it crystallizes the Colón/Lavoé aesthetic that the duo had been developing on previous albums (""The Big Break"" was Colón's sixth release on the Fania label.) This session is a roller coaster of intensity-- a symphony of contrasting flavors, colors and feelings. Perhaps the one moment that best encapsulates the transcendental qualities of this collection is the bridge of “Panameña”-- the moment when the tune stops on its tracks, Lavoé introduces la salsa de Puerto Rico, el aguinaldo (Puerto Rico's own salsa, the aguinaldo) and all hell breaks loose thanks to Colón's roaring trombone and the spidery piano lines courtesy of the maestro Profesor Joe Torres. The resulting effect is nothing less of apocalyptic. Of the many brilliant LP covers that graphic designer Izzy Sanabria designed for Fania , The Big Break may be the most notorious one. The art capitalized on Colón's ‘Malo’ image. This time, Sanabria flew with the idea and devised a cover that replicated a Wanted by the FBI poster. Using the project's limited budget to his advantage, the designer included a cheap photo of Colón and random fingerprints to create a realistic looking poster. After its release, the company was contacted by the real FBI, which requested that the ‘Wanted by FBI’ text be removed from the cover. Listening to these eight, timeless tracks decades after their original release, the music compels you to ask: how could two young men in their '20 have so much to say? How did they manage to record an album of such depth and beauty? It may be advisable to stop pondering such heady issues and enjoy the music instead."


                  William Patrick Corgan (AKA Billy Corgan - Smashing Pumpkins)

                  Ogilala - Indie Exclusive Pink Vinyl

                    As the founding member of THE SMASHING PUMPKINS, William Patrick Corgan has created one of the most acclaimed bodies of work in musical history having sold more than 30 million albums, and won multiple Grammy Awards in the process. For Ogilala, he teamed up with legendary producer Rick Rubin to make his most intimate body of work to date.

                    FORMAT INFORMATION

                    Coloured LP Info: Indie Exclusive Pink Vinyl – 1000 units.

                    Discovered about 7 years ago, when a good Mancunian friend of AOTN won a copy on ebay, this Willie Dale record changed from an expensive $500 record to a VERY expensive $4000 one almost overnight after being discovered on the Northern circuit.
                    It isn't a straight up Northern dance floor foot stomper though, in fact, it's pretty psyche in places, having more in common with say,  Shuggie Otis than your usual soul record.
                    Maybe it's because it can't be pinned down to one genre that it's blown up so much, Willie would sit comfortably in any set from soul to garage making it pretty much essential, again... 




                    45 year anniversary of William DeVaughn's smooth soul classic remastered and reissued on exclusive white vinyl. Now, how do you start reviewing a record like this? William DeVaughn penned an all-time classic with this smooth, soulful and socially informed ode against materialism and avarice. Staying classy all the way through from the subtle West Coast rhythm to the spinetingling organ, the music is the perfect match for those timeless lyrics and William's gorgeous tones. It's been covered by almost everyone but never bettered and is a necessary addition to any collection. On the flip of this Unidisc 12", we have another soulful treat in the form of "Hold On To Love", the closer of DeVaughn's "Figures Can't Calculate The Love I Have For You". Effortlessly groovy, endearing and heartfelt, this one goes out to all the lovers out there!

                    If, like me, you're a sucker for a breathy French accent then boy do I have a record for you. The more eagle eared of you might recognise the backing as a previous AOTN release, Painel De Controle's 'Relax' a sexy slice of Brazillian boogie that has more or less taken up residence on the turntable at the Walker household since its release two years ago. As always an original of this little beauty will place a not inconsiderable dent in your wallet and lets face it, no one wants that at this time of year. Essential

                    Will DiMaggio returns to Future Times with debut LP, "At Ease." Recorded 2016-17 at the now-illustrious Fairview Ave spot alongside roommates DJ Python, Anthony Naples, and the Exotic Dance crew, "At Ease" is equal parts dizzy street beats and live keyboard action. DiMaggio has a keen sense of dance music and how it gets to dancers, as evidenced in his stellar DJ mixes. “At Ease” is no different, navigating listeners through a lush array of sounds that hints at DiMaggio’s love of 90s hybrid techno, jazz(tronica) and deep house, all inna very now, very psychedelic fashion.

                    Drums juggle around the beat constantly during opener "Fairview Jam," before DiMaggio's synth work takes the tune to space. "Steppin W Friends" is pure mellow heat. "All Good (Jazz Mix)" and "UH UH OH" are two opulent, soulful cuts, funky in a way most can't do. On the second disc, "O God Dam (Sus Mix)" and "Ooze Mix" go in and out of fidelity, tape hiss giving way to clarity and back again, gritty drums and crystal pads, biting synths and soft keys. "Could Be The Look," in that mysterious D1 spot, turns inside-out with cascading synth work and impossible-to-grab kicks that slam in and out, while "For T" closes with hi speed but horizontal lovers techno. A proper record, detailed, thorough and concise - but most of all - enjoyable! Most recommended.

                    Matt Says: Reflecting the sweaty, claustrophobic heat of New York in the summer, yet still managing to hammer out a tune or two in the process. This new LP from Dimaggio epitomizes the street-beat sound with Future Times' level 5 psychedelia. Breakthrough guaranteed.


                    STAFF COMMENTS

                    Matt says: Reflecting the sweaty, claustophobic heat of New York in the summer, yet still managing to hammer out a tune or two in the process. This new LP from Dimaggio epitomizes the street-beat sound with Future Times' level 5 psychedlia.

                    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.

                    Wolfgang Flür

                    Kraftwerk: I Was A Robot - Signed Edition

                      Wolfgang Flür was vital cog in the Kraftwerk machine, galvanising the group’s electric drum sound throughout the 1970’s and propelling the rhythmic backbone of iconic albums such as Autobahn and Electric Café.

                      I Was A Robot is a detailed, evocative account, written in Flür’s no-nonsense style. It takes us from his youth into the band’s formation and touring of their influential works, laying bare the acrimonious break-up and court cases that later followed. This book is the final word on Kraftwerk, their continued influence and what it felt like to be a Man-Machine.

                      ”This is a first-hand account of human life inside the robot factory. A world that I could barely have imagined as a 16-year-old Kraftwerk fan stranded in a suburb on the wrong side of the river from Liverpool. A window into a world that I could never have imagined.” Andy McCluskey, OMD

                      ”Kraftwerk is a myth. Wolfgang is for real. Thus handsome elder statesman of Electronic Music gives a lot of useful inside information about the Men-Machines.” Rudi Esch, ELECRI_CITY

                      FORMAT INFORMATION

                      Paperback Book Info: Limited Signed Edition!

                      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 Fuller

                      Inner City Dream

                        Coming a year on from the brash debut EP, Melvista, Inner City Dream features twelve tracks of swirling psych, jangly pop and punchy, crunchy glam that show off Fuller’s broadening sonic palette and his progression as a writer and producer.

                        He explains: “Melvista was really my first solo expedition and I was learning as I went along. I think by the time I came to record the album I had a better technical knowledge of what I was doing. There's probably a wider span of influences on the album. I wanted to showcase every aspect of my sound.”

                        As well as his steady diet of 70s junk shop glam and bubblegum, Fuller’s regular DJ slots around the Melbourne rock scene’s favourite dive bars produced a new fascination for the polyrhythmic ways of Talking Heads during their late-70s/early-80s peak. It inspired Fuller to make tunes of his own that would make people boogie.

                        Lyrically, Fuller has also progressed. Moving on from the teenage lust of much of Melvista, Inner City Dream presents the worldview of a young man trying to come to terms with his place, both physically and symbolically.

                        Fuller has already started demoing tracks and playing with ideas for his second album, though it may be some time off. The concepts on Inner City Dream and world events have started him thinking about what else could be around the corner.

                        “I think the next few years will be a very interesting time for pop music. The world is in a crazy state right now and it feels as though something will have to give pretty soon. There's plenty to write about. But do people want to hear protest songs or do they want to escape reality? Perhaps there's a new sound around the corner. Who will turn on the light?”

                        Wojciech Golczewski

                        Beyond The Gates

                          Wojciech Golczewski's score for Jackson Stewart's indie horror cult film Beyond The Gates is a synth driven homage to the horror music in the early days of VHS. It saw Golczewski getting a 2nd consecutive nomination for the Fangoria Chainsaw Awards for Best Score. For Golczewski fans, who enjoyed his compositions for movies like Tonight She Comes and Dark Souls, Beyond The Gates is a must.

                          Welcome, curious viewers…have you the courage to go Beyond The Gates?

                          After their father's unexplained disappearance, two estranged brothers – responsible Gordon (Graham Skipper) and reckless John (Chase Williamson) – reunite to sift through the contents of his stubbornly anachronistic VHS rental store. Among the inventory, they find an old interactive VCR board game. Intrigued, the brothers pop in the tape… and soon discover that this video is no ordinary game, but a portal to a nightmarish alternate reality – one with deadly consequences for anyone who dares to press "play." Featuring horror legend Barbara Crampton (Re-Animator, From Beyond), Beyond The Gates is a retro-cool tale of "hex, dies, and videotape" from director Jackson Stewart!

                          One off pressing on 180g vinyl. Includes download card of the entire score by Wojciech Golczewski. Vinyl includes exclusive bonus track 'Outrun With The Dead' by Vincenzo Salvia.

                          FORMAT INFORMATION

                          LP Info: Limited edition solid pink vinyl.

                          Taking influence from the foot stomping soul of early Stax records, Yellow Magic Orchestra’s warbling synthesisers and classic English pop songwriting akin to XTC, the album’s latest offering ‘Exhibition Song’ is both indulgent and soulful. It details days derailed, stalled by trivialities and an overriding urgency to stay home with the person you love – “a hand that’s held with no thought at all, it takes so long just to get one”. Exhibition Song’s decisive and inventive arrangement is a testament to Gonzalez’s skills as a songwriter.

                          ‘Exhibition Song’ follows the rousing AA side “Come Through and See Me / I Spoke to Euan”, released last year during a summer which also saw Gonzalez perform a series of animated and theatrical live shows, including sets at Glastonbury, Green Man, The Great Escape, Visions, Port Eliot, and Festival No.6.

                          Gonzalez made a name for himself at an early age as the petulant frontman and creative force behind guitar-shredding pop-punk band Let’s Wrestle. The band, formed in 2005 when Gonzalez was only 15, was lauded for their no-fi DIY sound. In 2015, after ten years and three records together, culminating in a chaotic sold-out final show at The 100 Club, as reported by The Guardian, the group disbanded and Gonzalez set his sights on an entirely different approach to songwriting – “I wanted to completely indulge myself with the experimentation that I had previously kept to my bedroom demos.”

                          Without letting go of his fascination with ‘Beatlesesque’ melodies, Gonzalez taught himself piano by learning to play Stevie Wonder and Al Green songs, “which all have chord structures I’d not paid much attention to previously. There’s also a lot of emphasis on the bass notes and rhythm of the bass”. He began writing songs harking back to mid 70’s singer-songwriters such as Emmitt Rhodes, whilst maintaining those elements of soul and funk via Sly And The Family Stone and Donny Hathaway. A summer revisiting early electronic music (White Noise, Mort Garson) encouraged Gonzalez to invest in analogue Korg synthesizers, on which he wrote Excellent Musician. Although he made a conscious retreat from punk music, Gonzalez maintains his work is “still defined as angry music; anger is still an energy” but contends that “whilst I’m proud of what I did with Let’s Wrestle, I hate bands that regurgitate the same sound over various LPs – I knew something had to change for me to want to try music again.”

                          For the unplanned and partly improvised recording sessions, which took place in 4 days spread out over a few months, Joe Chilton and Euan Hinshelwood (Younghusband) played driving rhythmic bass and saxophone respectively. They were joined in the Lightship45 studio by drummer extraordinaire Bobby Voltaire (Proper Ornaments, Charles Howl) and, with the help of co-producer Rory Atwell, the songs began to advance into a distinctively modern sound. “I found a new way of working in the ‘First Thought, Best Thought’ manner” says Gonzalez, “I purposefully didn’t allow any of the musicians playing on the record to hear much of the songs prior to the recording sessions, and instead asked them to just turn up on the day, forcing creativity to meet financial deadlines. I was terrified of starting another band, of rehearsing, and of allowing myself to fall back on what I was used to”.

                          The live setup was completed by musician Rose Elinor Dougall who was enlisted to play synthesizer and piano, leaving Gonzalez free to perform unencumbered and ostentatiously as frontman.

                          Willie Graff & Darren Eboli

                          The Tribeca Tapes

                          Quality is the key word from Copenhagen based Music For Dreams and here is another home run. Willie Graff splits his year between DJ residencies in New York and Ibiza. In this new outing with studio partner Darren Eboli, the influence is, as the title suggests, clearly NY-based. Over only four tracks, the pair manage to craft a stunningly comprehensive exploration of the essential elements of dance music.

                          Opening track "Love Flight" staggers into a lush string-driven groove that recalls the glory of Metro Area meets Wally Badarou vibes. Minimal yet playful, it lounges somewhere in the depths of the house tradition, calling on familiar sounds while throwing in odd details along the way (harmonicas?). It takes both skill, devotion and a sense of humor to pull this track off, making for a strong opening. "Moon Tan" lingers on a metallic hook that drags you into a plethora of percussion followed by a rubbery soft baseline. Dubby key work would suggest this was a new wave band jamming at Compass Point, while the icy chill of the xylophone transports you into 80s italo territory.

                          "Second Sun" pulls out the bag of boogie tricks, relying on a firm but humble baseline and smattering drum machine claps. Nile Rodgers-style guitar licks guide us onwards into a well-orchestrated jam that builds up and breaks down with perfect timing while dreamy chords reach for the sky. "First Light" keeps the groove tight while dipping over towards more Balearic temperatures. Steeped in a watery atmosphere and gentle organic percussion, it focuses in on a trance-inducing arpeggio that lulls you in to the swaying Badarou-style synth swirls that intercept it.

                          Woody Guthrie

                          My Dusty Road

                            Released in coordination with the Woody Guthrie Archives, this 4 disc boxed set is the definitive edition of Woody Guthrie's mid-1940s recordings. The sound quality is superb, taken from newly discovered original metal masters. The set includes many of Woody's best-known songs, along with traditional material and collaborations with fellow guitarist Cisco Houston and harmonica player Sonny Terry. To complement and enhance enjoyment of the recordings, the discs are packaged in a replica of a vintage suitcase, complete with handle and latches. Inside the box are a full-color 68 page book that includes extensive notes and many rare or previously unpublished photos, as well as illustrations and illuminated lyric sheets by Guthrie himself. Also included are facsimiles of Woody's business card, a postcard sent from Florida to his wife, and a booking card from the 1940s.

                            Tracklisting
                            Disc 1

                            1. This Land Is Your Land
                            2. I Ain't Gonna Be Treated This Way
                            3. Talking Sailor
                            4. Philadelphia Lawyer
                            5. Hard Travelin'
                            6. Jesus Christ
                            7. The Sinking Of The Reuben James
                            8. Pretty Boy Floyd
                            9. Grand Coulee Dam
                            10. Nine Hundred Miles
                            11. I Ain't Gonna Be Treated This Way
                            12. Ship In The Sky
                            13. Bad Repetation

                            Disc 2
                            1. Poor Boy
                            2. Worried Man Blues
                            3. A Picture From Life's Other Side
                            4. Buffalo Skinners
                            5. Hard Ain't It Hard
                            6. Stewball
                            7. Stackolee
                            8. Gypsy Davy
                            9. Little Darling Pal Of Mine
                            10. What Did The Deep Sea Say?
                            11. Chisholm Trail
                            12. Put My Little Shoes Away
                            13. Will You Miss Me When I'm Gone?
                            14. John Henry

                            Disc 3
                            1. I'm Gonna Join That One Big Union
                            2. Hangknot, Slipknot
                            3. Gonna Roll The Union On
                            4. The Ludlow Massacre
                            5. Sally Don't You Grieve
                            6. Harriet Tubman's Ballad Part 1
                            7. Harriet Tubman's Ballad Part 2
                            8. Tear The Fascists Down
                            9. When The Yanks Go Marching In
                            10. You Can Hear My Whistle Blow
                            11. Union Burying Ground
                            12. You Gotta Go Down And Join The Union

                            Disc 4
                            1. Train Breakdown
                            2. Do You Ever Think Of Me?
                            3. Guitar Rag
                            4. Square Dance Medley
                            5. Guitar Breakdown
                            6. Raincrow Bill
                            7. Ain't Nobody's Business
                            8. Stepstone
                            9. Ezekiel Saw The Wheel
                            10. Bile Them Cabbage Down
                            11. Danville Girl
                            12. Guitar Blues
                            13. Brown's Ferry Blues
                            14. More Pretty Girls Than One
                            15. Sonny's Flight

                            William Hooker With Eyvind Kang & Bill Horist

                            The Seasons Fire

                            This all-star trio features William Hooker on drums, Eyvind Kang on violin and guitar and Bill Horist on guitar. Sync'd up like they've been playing together for eternity these recordings represent a dramatic paradigm shift in the art of improvisation. These three thoroughly modern artists scan jazz, new music and noise – stretching it all out and putting it back together within the expansive boundaries of these tremendously compelling high energy recordings.

                            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

                              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

                                  Ltd LP Info: 180 gram flipback format with download codes.

                                  CD Info: Digi-pack sleeve.

                                  Wizz Jones

                                  Dazzling Stranger

                                  Wizz Jones lies at the heart of the UK folk revival and in his playing and lifestyle he influenced a whole set of fellow guitarist and songwriters amongst them Bert Jansch and John Renbourn. "Dazzling Stranger" was his first US release, it consisted of new recordings, looking back at previous LP's highlights, partly newly written material. A good solid album with strong songs throughout.

                                  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.

                                  Will Long

                                  Long Trax 2

                                    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 to Long Trax 2, the second album from Tokyo-based, American musician, writer, and photographer Will Long. The album is released as three separate 12” singles, and CD. 

                                    Long Trax 2 follows Long’s deep house debut, Long Trax, released in 2016 on Comatonse Recordings. Receiving a 4.2 rating, Long Trax was praised by Resident Advisor and described as a “meditative listen.” 

                                    Its follow-up, Long Trax 2, presents as an ongoing criticism of cultural stasis, conveyed via minimal synthesizers, sampler, and rhythm machine. Dance floors are widely perceived by the masses as safe zones, but few can imagine how to apply notions of safety and equality to other aspects of society. We shouldn't need clubs to hide from our fears and differences in the outside world. Looking ahead, we should look not so optimistically upon what we have accomplished, but with urgency and empathy upon what we haven't. 

                                    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.

                                    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.

                                    This opening 12" feels things out via two simple but atmospheric tracks which see a fluttery pad present jangle with digital claps and simple 4/4 mechanics with the odd snippet of vocal chucked in randomly. It recalls the languid deep house of the late 90s but also serves as a warm introduction as to what might follow in the series... 


                                    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. 


                                    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


                                    FORMAT INFORMATION

                                    LP includes MP3 Download Code.

                                    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.

                                    Willie Mitchell / Bill Brick's Combo

                                    The Champion (Pt1) / Little Queenie

                                    With all the hysteria surrounding the 40th Anniversary of Wigan Casino, Outta Sight tip their hat to that bastion of northern soul with one of the most popular instrumental tracks of all-time… Willie Mitchell’s “The Champion”. In 1975 the thunderous bass drum of “The Champion” echoed around the hallowed halls demanding dancefloor action and it hasn’t let up since. It was originally played off the Hi LP "Driving Beat" or, if you were lucky, off the promotional EP. Here Outta Sight present an official Hi 7" single reissue accompanied by the Twisted Wheel anthem “Little Queenie” courtesy of Bill Black’s Combo (and not Bill Black’s Comb as the typo on the sleeve sticker says - tee hee)


                                    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).

                                    Willie Nelson / Uncle Tupelo

                                    SXS - Truck Drivin’ Man (Live)

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


                                      William Onyeabor

                                      Atomic Bomb Remixes

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

                                        The legendary John Talabot from Spain remixes the Hot Chip cover of Onyeabor’s “Atomic Bomb.” Love Fingers and Secret Circuit from L.A., get together as Secret Fingers and mix “Let’s Fall In Love.” The amazing Japanese artist Oorutaichi remixes the apt “Atomic Bomb” in his own very unique free style, and from Nigeria Ikon remixes this African Hip Hop reinterpretation of Onyeabor’s “Smooth and Good” done by Show Dem Camp & Funbi.

                                        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.


                                        Despite not having released any new tracks in 30 years, Onyeabor has taken on a mythical status in music. Luaka Bop, the record label founded by David Byrne, issued 'Who Is William Onyeabor?', an album of Onyeabor’s greatest work, in autumn 2013. The release, which took five years for Onyeabor to agree to, made TIME’s “Top 10 Albums of 2013” and NPR’s “Top 50 Albums of the Year,” and and was featured in The New York Times, The Guardian, The Sunday Times UK and Rolling Stone, and more importantly was our reissue of the year and a firm Piccadilly favourite.

                                        Originally out on vinyl on Record Store Day, this 10 track Onyeabor remixes / remakes collection now gets a long overdue CD outing. The set includes fantastic reinterpretations by Hot Chip, JD Twitch Optimo, Joakim, plus remixes by Daphni, Scientist, Justin Strauss and even more, all done as part of the Luaka Bop / MOOG Remix Project.


                                        Washington Phillips

                                        Washington Phillips And His Manzarene Dreams

                                          Our label’s inaugural release, 2003’s Goodbye, Babylon, included two recordings by a mysterious gospel musician from Texas named Washington Phillips, who died in 1954. After fielding inquires about the hauntingly beautiful songs from listeners around the world, in 2013, we checked in with Michael Corcoran, the leading researcher on Phillips, to see if any new information had been uncovered. Indeed, Michael had some leads, but he would need a working budget to track them down.

                                          Three years later, after combing through various archives and talking with the last surviving people from the Simsboro-area who remembered Phillips, we now know the name of Phillips’ homemade instrument (the Manzarene); when, where and how he died; and many anecdotes about what his life was like. We are excited to share this story in Washington Phillips and His Manzarene Dreams, a new book by Corcoran accompanied by recordings made by Phillips between 1927-29. To ensure a superior listening experience, we tracked down the most pristine original copies of Phillips’ 78-rpm records, created high resolution transfers and had the audio expertly remastered for the best-sounding Phillips reissue to date. Hear the sublime, hypnotic and ethereal music of Washington Phillips in clarity like never before!

                                          FORMAT INFORMATION

                                          CD & Book Info: 76-page hardcover book with never-before-published research complete with newly remastered audio from pristine, original 78-rpm discs

                                          Wendy Rene

                                          After Laughter Comes Tears - Complete Stax & Volt Singles + Rarities 1964-1965

                                          Born Mary Frierson in Memphis, Tennessee, home of Stax Records, Wendy Rene was re-christened by Otis Redding on signing to Stax as a teenager in 1963. Rene and brother Johnny Frierson were determined to make it in music. Forming singing quartet The Drapels with two friends, they took the bus to 926 E. McLemore Avenue, auditioned for Stax co-founder Jim Stewart, and won a deal on the spot. While the rest of the band were going back to the bus stop, Rene showed Stewart her own songs. The result? Stewart found two acts in one, and Mary had two contracts with Stax.

                                          Both Drapels and Wendy began recording with the greats - that’s The MGs on the group’s “Young Man”, Booker T. Jones playing organ on “After Laughter” and Steve Cropper playing guitar on the dance craze-inspired “Bar-B-Q”, the success of which caused Wendy - then a teen bride - to leave school. The Drapels dissolved almost as quickly as Wendy’s first marriage. But a real hit eluded the singer, and in 1967, with a growing family with second husband and Stax employee James Cross, Wendy decided to retire from the business. Wendy was due to perform one last show with Otis Redding and the Bar-Kays, but changed her mind at the last minute. It was an auspicious decision - that weekend, Redding and four Bar-Kays died when their plane crashed in Lake Monona.

                                          Mary mourned her friends but not her music career. She taught harmony to her children and she sang in church, not in the studio. Then, in 1993, something strange happened - a friend of her son heard Wu Tang Clan’s “Tearz” on the radio. As new generations of artists have rediscovered Wendy Rene’s work, they have touched her life in various ways: Alicia Keys’s remake of “After Laughter…”, “Where Do We Go From Here”, for example, helped pay for her current home.

                                          Though her career was brief, Wendy Rene left behind a thrilling catalogue of classic soul. Here, Light In The Attic gives it the archive treatment it richly deserves.


                                          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.

                                          Will Samson

                                          Welcome Oxygen

                                            After seven years of consistent touring and new releases, Brussels-based Will Samson steps away from his familiar use of electronics and ambient soundscapes, to present his fourth solo album, Welcome Oxygen. Consisting largely of guitar, voice & violin recorded onto tape - this is his most raw and direct work to date. Brad Lee, from The Album Leaf contributes Trumpet arrangements to the track, 'Find A Little Light' and additional overdubs were also added by Belgian violinist, Beatrijs De Klerck (a former touring member of A Winged Victory For The Sullen & frequent live member for Will).

                                            Walter Schuman / Norbert Glanzberg

                                            The Night Of The Hunter / The Blonde Witch

                                            Not content with already liberating over twenty dedicated global horror and thriller soundtracks as part of the labels expansive discography, Finders Keepers Records resurrect their ghostly Finders Kreepers imprint. With an unwaning appetite for the rare and obscure side of the genre the labels next short series combines ten vintage recordings from the formative years or International horror introducing a host of bygone soundtrack musicians that combined folklore, musique concrète, early electronics, childlike vocals and flamboyant orchestras to accompany the surreal and hallucinogenic films that inaugurated and inspired the golden age of macabre fantastique cinema.

                                            Sourcing a cross section of obscure global domestic pressings and under the radar vintage vinyl runs this Finders Kreepers reissue series combines a cross section of the rare / unknown and the seminal, bringing unobtainable sonic gems of both classic and uber-classic shock cinema to a discerning new generation of collectors.

                                            A haunting lullaby that needs little introduction. Previously obscured beneath gruff narration within the grooves on a collectible patchwork vinyl audiobook of the film, this musical highpoint of Walter Schuman’s The Night Of The Hunter score finds a dedicated and undisturbed home as part of the Finders Kreepers catalogue. Originally sung by the five-year-old actress Sally Jane Bruce but stylistically overdubbed by teenage actress Betty Benson the high pitched fragility of this immaculate piece of haunting cinematic song has left an indelible sonic memory in the minds of discerning thriller fans which remain synonymous with recycled Sunday afternoon television schedules. This lament of the two riverboat runaways fleeing from the house where the submerged dead body of their murdered mother sways in the reeds still stands up as one of the most haunting and painstakingly pensive pieces of lyrical film music and has since provided direct influence on adaptations and interpolation by Stella Vander (Magma) members of Stereolab, Goldfrapp and Jane Weaver while the film itself continues to inspire the likes of David Lynch, Jim Jarmusch and Rob Zombie.

                                            Before disappearing into relative obscurity this pastoral Swedish / French witch flick benefitted some active global distribution in the 60s due to the stunning lead actress Marina Vlady. A tale of unrequited love, sorcery and persecution this cinematic poem relies on hallucinogenic dream scenes and a paranoia plot to convey a similar tale to that of Eiichi Yamamoto’s Belladonna of Sadness. With a shimmering organ and acoustic guitar Norbert Glanzberg score which follows the blonde witch as she rows her boat through twilight lakes and echoing caves while living off the land this unknown soundtrack would not be out of place in a haunted Kubrick ballroom or a Lynchian cabaret club. Scaling the outskirts of the classical horror genre La Sorcierre is more of a supernatural story with a horrific conclusion complete with a shimmering haunting score previously only available on a bizarre Israeli exclusive vinyl EP which has always been hard to track down for those who have literally fallen under the spell of the film.


                                            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. 


                                            Through releases from the likes of Glenn Astro, Muff Deep, Brandt Brauer Frick and CTEPEO' 57, Copenhagen's Tartelet Records have become a coterie for an auspicious breed of modern-day oddball. Opting for analogue gear, the Tartelet mainstays bring together lopsided sampling and loose-limbed rhythms suffused with a distinctive degree of restless energy. The next instalment comes courtesy of Nigerian born vocalist, songwriter and Max Graef collaborator, Kesiana a.k.a Wayne Snow. His vinyl debut, "Red Runner" sees the Berlin based producer drop a deluge of soul over grubby Rhodes tones, contorted melodies and tumbling drums backed up by remixes from Glenn Astro and Delusions of Grandeur regulars Session Victim. The title track rubs Snow's harmonised vocal lines against choked horn stabs and chugging guitar flashes as the basement soul bassline keeps everything grooving along nicely. "Blue Moon" sees the producer flip the script, cooking up a slow burner which softly gallops like a Dilla record making use of stuttered shuffles and granular drum samples. Glenn Astro & Imyrmind are first to tuck into the remix buffet, injecting some bump and rattle into the rhythm section and adding some short circuiting synth stabs for a little extra melodic punch. The ever soulful Session Victim transform Snow's original into a tightly coiled dancefloor spring, bursting with spiraling synth energy and laid back funk. Another winner for Tartelet and an assured debut for a producer with a big future ahead of him.


                                            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.

                                            Wes Tirey

                                            Black Wind

                                              On Black Wind, songwriter / guitarist Wes Tirey makes the case for quality over quantity. After a stream of wellreceived cassettes, he assembled a reserved trio and laid down the soft law on a single night. Whereas his previous releases were turned inward, this album opens out like Terence Malick meditating on prairie grass. The arrangements are spacious, simple structures of voice and acoustic guitar, with sparse backing from a telecaster and a trap kit.

                                              In addition to this fine album on Scissor Tail Records is a thematically linked book to be released by Cabin Floor Esoterica. Titled Melodrama Blues: Selected Lyrics of Wes Tirey, it collects writings from Black Wind and three past albums, all related via Tirey’s feel for a mythological americana, the threads of surrealist biblical imagery that underlie our cultural cosmos.

                                              William Tyler

                                              Live At Third Man Records

                                                Recorded on July 18th, 2014, as the opening set for Peter Walker’s psychedelic guitar experience, William Tyler’s Live at Third Man Records LP was buried for far too long in our backlog of masters. To release it too soon would have been to unleash the secrets of the transcendent and acclaimed new record Modern Country (Merge, 2016) before they had a chance to incubate further. Too wait any longer would have been torture for us. Originally planned to be a live single, the full, 5-song performance was too truthy, too seamless, and too perfectly whole to be whittled down to two tracks. So, surprise! A live LP is born.

                                                For those unfamiliar with William Tyler, his story is Nashville legend... born into a songwriting family, Tyler was tapped by Kurt Wagner to become a member of Lambchop at age 19 (two decades younger than the other members), and quickly became the “architect of the band’s sound.” From there, Tyler went on to back up the Silver Jews, Bonnie “Prince” Billy, Charlie Louvin, and others... all the while writing songs for his configuration of choice: fingerpicking solo guitar. The daring simplicity and winsome melodies of his first two albums remains in his most recent effort (which he describes as “a love letter to what we’re losing in America. To what we’ve already lost”), and on this live LP, but Tyler is bringing more depth and more experimentation to his compositions of late. “Gone Clear,” which appears on both records, is a melting pot of ideas: a drone reminiscent of Hindustani classical music, a central melody that sounds distinctly Appalachian, a devolution into a kaleidoscope of colors and ideas that it’s hard to believe is being produced by a single musician. This layering of textures is Tyler’s trademark, and even more awe-inspiring live.

                                                We like to think that with the purposeful lack of smart phones, bars to saddle up to, and, of course, corners, concert-goers in the Blue Room tend to be more in-the-moment than in most performance venues. But it’s a rare artist who can take the already focused atmosphere in the room and quiet every last busy mind — Tyler did just that. This immortalization of the performance in all its transmundane glory will entrance you from first note.

                                                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.

                                                Poland in the house! Wojtek Urbanski is an aspiring young musician from Warsaw. A student of African culture and languages, he started producing hip hop beats in 2002, but then changed direction to nu-jazz on hearing music by The Cinematic Orchestra. Nowadays he names jazz heroes like Herbie Hancock, Miles Davis, Weather Report and Sun Ra as his main influences. On his first outing for Compost Wojtek offers two fine future jazz tunes – "Violet Violin" with a catchy violin sample over a broken electronic beat, "Piano Pianoli" in a more relaxed bar mood. On the remix tip Maximilian Skiba takes "Violet Violin" to the dancefloor, building a nu-disco track around some funktafied keys. Lastly, Envee (one half of Innocent Sorcerers) drops his 'Ponglish Dub' remix of "Piano Pianoli", a broken beat journey to Deep Bass Nine...

                                                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. 

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: 180g vinyl - limited edtion of 500 copies. With download code.

                                                  W. H. Lung

                                                  Inspiration! / Nothing Is

                                                  New Manchester band W. H. Lung. ...One part Neu!, two parts Talking Heads with a teaspoon of Hookworms ...
                                                  W. H. Lung is a recording project founded in Manchester in mid-2016. Its first release, recorded at The Nave in Leeds and produced by Matt Peel, is double A-side single ‘Inspiration!' / 'Nothing Is’.  The tracks locate ideas of eternity and belonging in a peregrination through the absurdity of meaninglessness. W. H. Lung write like the conscious citizen: locate yourself, reflect.


                                                  STAFF COMMENTS

                                                  Patrick says: Ooof! Here we have a hot upfront drop of the latest talent from local folks Melodic, WH Lung. Billed as David Byrne fronting Neu!, this double A-side successfully navigates the art-rock/krautpop dancefloor without spilling a drop of red stripe on your converse - a success in anyone's book!

                                                  Waak Waak Djungi

                                                  Waak Waak Ga Min Min

                                                    NEXT UP FROM THE LABEL THAT GAVE US THE WONDERFUL 'SKY GIRL' COMP..

                                                    Efficient Space is honoured to share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony.

                                                    A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi’s mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that “the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas”. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell.
                                                    On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music.

                                                    Waak Waak ga Min Min (Black Crow, White Cockatoo) combines the previously unreleased Gandi Bawong with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration. 


                                                    Wabi Sabi is a jam-based collaboration between NYC underground notables, including Matt Gardner (Terekke), Rezzie (Weird Magic), Jan Woo and Patricia. Their first release, and the kickoff for the much anticipated Purple Trax label, Pt.01 showcases their dada-esque hypnagogic techno jam-band vibe, as well as some of the hardest-hitting Terekke material yet. Four rough-and-ready, deep and heavy cuts to trip out any head/space.

                                                    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.

                                                      A curious record on Pal Joey's Cabaret label, where the singer Gary Michael Wade gets on the mic over Earth People's "Dance" (a CLASSIC Pal Joey production, of course). Boyd Jarvis remixes the song without any original "Dance" elements and there's the proper old school sounds of "Strong As You".

                                                      FORMAT INFORMATION

                                                      12" Info: Bargain!


                                                      Rick Wade delivers 3 excellent tracks for People of Earth’s sixth release. Escapism is warm, distorted & moody. Dark strings, chords & a thick kick with low end that gives subwoofers a work out. “Stand Alone” is classic BIG RICK. An anytime house jam, chord changes and drum grooves. Just perfect. “Understand”, old skool breaks & sample heavy. A bit of a departure from our norm...and we love it. 

                                                      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

                                                        Waffles

                                                        Waffles007

                                                        It's time for more Waflles! Ditching the maple syrup and bacon for a smattering of truly obscure source material, the Waffles deploy smooth edits and expert mixing, cooking up a storm on side A as space disco synth work combines with a loose, organic funk before a totally seductive female vox sweeps us off our feet. Gorgeous!

                                                        On side B it's a more wigged out affair, squelchy synth work in conversation with chipping bird song and a really cosmic slant on this one. Surely a big one for Baldelli and Harvey et al? Excellent stuff.


                                                        STAFF COMMENTS

                                                        Sil says: Delicious bongo bongo and cosmic vibes, all nicely wrapped by a contagious bassline and some sweet vocals thrown on top. That is A for you. On B we go underground to some dark passages with sparkling lights here and there. A slow chuggy with acidic attempts and gorgeous synths. As always, Waffles is a must for the modern DJ. Yeah!

                                                        Waff

                                                        Puke It Up / Love

                                                        wAFF is now a firm fixture in the clan of hot creative hedonists. Back with ‘Puke It Up’ this time on darker, club-focused off-shoot label Hot Trax, wAFF delivers more of the dense techno material he so clearly relishes making. A pair of head-tripping and immaculately crafted techno cuts; both ‘Puke It Up’ and B-side ‘Love’ (a swinging tropical acid-synth meltdown) will do serious damage on the dancefloor no question about it. Hold on tight because you’re in for a ride on wAFF’s big, bad and heavy bass train.

                                                        Leeds boy wAFF has in the past year gained lofty recognition for this industrious and dextrous talents winning the accolade of best single of 2012 in the DJ Mag awards with ‘Jo Johnson’ from his debut summer smash ‘Rainbows EP’ on Hot Creations.

                                                        With a list of admirers including Luciano, Loco Dice and Sven Vath (who included Jo Johnson on his ´The Sound Of The 13th Season´ compilation) and with Jamie Jones and Carl Cox already hammering ‘Puke It Up’ ; the 24 year old wAFF has also quickly reached the status of hotly in-demand global DJ - smashing into the big league within months of his first EP release but armed with a talent he’s been harbouring since his mid-teens.

                                                        Second Hot Creations release came in the winter of 2012 with the ‘Eclipse EP’, another masterstroke, followed by a massive remix of Digitaria’s ‘Shine’ earlier this year - all further proof of wAFF’s raw and unstoppable talent.

                                                        Inviting wAFF to play a couple of Paradise gigs last year, Jamie Jones and co. are holding on to their wonderboy making him a resident at the night this season as well as bagging these essential new cuts for Hot Trax.


                                                        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.

                                                        Fresh from his success as Kerrier District on Rephlex, and under his own moniker with the "YosepH" LP on Warp, Luke Vibert returns to Ninja Tune under his more off kilter guise as Wagon Christ. He seems to have brought along some of his disco and techno sounds from those two releases as well, mixing up clasic disco-P-funk breaks with squelchy digi-basslines, weird electronics, acid and lush keys. Totally off the wall!

                                                        FORMAT INFORMATION

                                                        2xLP Info: Limited edition green vinyl - 400 copies only!

                                                        CD Info: Digi-pack CD.

                                                        Wagon Cookin'

                                                        The Week The Weekend - Xan Blacq Remix

                                                          The original version of "The Week - The Weekend" by Wagon Cookin' is a truly lavish broken jazz funk number that evokes the feeling of relief that the weekend brings after a hard slog at work. Xan Blacq's remix completely changes it into super cool garagey house groove while retaining the two part structure of the original. B-side cut "Brink Of Dreams" is a dynamic broke-beat wig out to clear your musical palette.

                                                          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.

                                                          Tusk Wax return with debutant Tim Waine at the controls as we swap synthetic safari for aquatic audio. We hop aboard submersival TW14 off the coast of Arkhangelsk and head deep into the icy darkness of the White Sea. Our captain slips a scuffed old DAT into the control panel and bombards us with the industrial gloom of "No Hats", a malevolent chugger rippling with pressure changes and sonar sweeps, only punctured by the echoed messages from the marine base on shore. As we sink to 20,000 leagues under the sea, a new world begins to emerge around our craft. Cystalline formations, enlightened species and ethereal beauty warp and glisten as the healing sounds of Seahawks' 'Dive Deeper Mix' permeates the gloom and lights up the depths. On the Ocean floor, the temperature drops to the fringes of freezing point and all light is distinguished leaving us in complete isolation. The melancholic paranoia of "Maybe You're Awake" encapsulates the fear and loneliness of midnight dark perfectly in five minutes of soundscaped tension. And what lies beneath, you may ask? As our journey continues into the ancient unknown, the future primative sounds of "The Sun Came Out Last Night" fill the vessel with mystic beauty. Pulsating sequences and ritualistic percussion lay a foundation for fevered chants and wails. It's a brave new world out there.


                                                          Manchester's Dan Wainwright makes his debut on Hungarian Hot Wax. Party flavoured and exotic, "Kabila Ngoma" is identified mainly by way of dock off, biting 303 line (with added distortion) and a growling tribal vocal chant. Add some fractured disco drums, a killer arrangement with lots of big builds and drops and you've got a 100% bona fide party banger, ready to do damage at club nights like El Diablos and Homoelectric here in MCR. On the flip, self-confessed acid freak and general dance music vagabond Felix Dickenson contributes an equally lysergic remix - retaining those psychotropic 303s and cooking up the individual elements more slowly, simmering the acid broth over time whilst electrifying the whole thing somewhat.

                                                          Martha Wainwright

                                                          I Know You're Married But I've Got Feelings Too

                                                          Since the release of Martha's critically acclaimed self titled debut album, she has featured on Snow Patrol's hugely successful "Set The Fire To The Third Bar" single, she's worked and performed with Damon Albarn on his Africa Express tour, sang with Rufus Wainwright in his Judy Garland performance at Carnegie Hall, and has also worked with Pete Townsend.

                                                          Martha Wainwright

                                                          Martha Wainwright

                                                          Daughter of Loudon and brother of Rufus; it's good to know she's got it in her genes but this record's so strong it should be judged in its own right. It's slightly country-ish but mainly powerful, acoustic rock. Vocally she's coming from Ricki Lee Jones but Cerys from Catatonia would be a less classic reference. Sweet but husky and delivered with total conviction, her voice and songs have an incredible honesty about them: you can feel the drama and you believe in it too. Fans of Morrissey should love this record. Recommended.

                                                          FORMAT INFORMATION

                                                          Ltd CD Info: This special edition features three new tracks including a debut with her brother Rufus Wainwright.

                                                          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.

                                                            Martha Wainwright releases a wonderful new studio album, ‘Goodnight City’, on [PIAS]. It’s the follow up to her acclaimed 2012 release ‘Come Home To Mama’.

                                                            ‘Goodnight City’ features 12 brand new songs produced by Thomas Bartlett (Surfjan Stevens, Glen Hansard) and longtime producer Brad Albetta. It recalls the emotional rawness of her debut album, much of it encapsulated by the captivating lead track ‘Around The Bend’ and her extraordinary voice.

                                                            “Making ‘Goodnight City’ was the most fun I’ve had in a long time,” Martha admits. “Thomas (keys), Brad (electric / bass), Phil Melanson (drums) and I would sit in a circle and work out arrangements for these vividly different songs. Recording them live with very few overdubs the focus remains on the integrity of the song and our ability to play together as a band.”

                                                            Martha wrote half the songs on the album while the other half were written by friends and relatives: Beth Orton, Glen Hansard, Rufus, Wainwright, Michael Ondaatje and Merrill Garbus of tUnE-yArDs.

                                                            “Because these writers know me and because I was able to personalise these songs by changing things here and there, I made them feel as if I wrote them myself,” Martha explains. “Somehow they wonderfully reflect my life and I am so thankful to the other artists for writing them.”

                                                            ‘Goodnight City’ was recorded in Montreal. Last year Martha and Lucy Wainwright Roche released ‘Songs In The Dark’ as the Wainwright Sisters.

                                                            FORMAT INFORMATION

                                                            LP includes MP3 Download Code.

                                                            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.

                                                            Waipod Petchsuphan / The Super Ranat Band

                                                            Ding Ding Dong / A-Ba-Ni-Bi

                                                            More rare Thai magic here, brought to us once again by those erudite musicologists at Paradise Bangkok. Thundering out of the traps in raunchy, raucous fashion the A-side plays host to a Thai funk masterpiece here from a true legend. Based loosely on the novelty song from the Italian sex comedy 'When Men Carried Clubs and Women Played Ding-Dong', Lae legend Waipod Petchsuphan laments the highs and lows of sexual pursuits while Ethio-style horns punctuate the rough R&B drum workout. Jump to the flip for a truly eccentric freakout that's a funky as curios come! Appearing for the first time on 45, this mental cover version of Israel's 1975 Eurovision entry by the unknown Super Ranat Band originally came off a library LP. Over the toughest grooves, it sounds like the group have thrown all their percussion and xylophones down the stairwell of an eight storey building - Mega!

                                                            Waiters are from Manchester, England. 'What For Art Thou' is their first studio recorded EP and their first new material in over a year. The 12" EP is released in a super limited edition of 100 with screen printed sleeves designed by Matthew Walkerdine and Laetitia Glenton. Includes download of all four tracks.

                                                            Waiters' chiming, emotive guitars, rudimentary drums and minimalist arrangements have been previously heard on a string of releases on Comfortable On A Tightrope, Bijin Record, Birthday Tapes and NIght School among others. Named in alignment with The Shop Assistants, Waitresses and The Servants and taking cues from Salem 66, The Trypes, Love Child and c. Waiters deal in a kind of restrained abstract form of late 20th century un-Popular music.


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