MAGIC MIX

ALL GENRES

BACK CATALOGUE - W

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.

      William Antonini

      E La Sua Orchestra

        Very RARE 'cult' Library album by maestro William Antonini and his orchestra recorded with the deep sounds of Dirmaphon studios in Rome. Very small Library and Orchestra production by the pianist Antonini during his career as session man, this is the unique long-playing we have and for sure a lost collectible gem. Excellent studio orchestra arranged by the maestro. Expect some strong Blues Rock influences with loads of Killer Psychedelic sounds all over the place / amazing Jazz-Funk and Blues Funk vibes / heavy Progressive riffs with Big Band Swinging Jazz and Jazz-Rock tunes / huge bassline with stoned flute and deep Tenor sax / amazing early '70s Freakbeat clubbing tunes. A Killer album!

        Reissued with the original back liner notes written by Italian Jazz father Carlo Loffredo.

        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!

        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.

        William Basinski & Lawrence English

        Selva Oscura

        For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, "Selva Oscura", was seeded. The phrase 'Selva Oscura' draws its root from Dante’s Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time.

        Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. "Selva Oscura" was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiseled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.


        FORMAT INFORMATION

        Coloured LP Info: Limited edition opaque grey vinyl.

        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.

          William Bendix / Lewis J Force

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

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

          STAFF COMMENTS

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

          Will 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!)

              Wild Billy Childish & CTMF are back! Hot on the heels of their recent “Punk Rock Enough For Me” single is the band’s second longplayer Acorn Man. Billy Childish is an international cult figure, painter, poet and novelist. He has released over 120 independent albums and influenced a vast range of musicians from Kurt Cobain, Beck and Mudhoney, through to Jack White, The Hives, The Strypes and Kylie Minogue. Time will no doubt see more names added to the list. His Latest band is CTMF.

              Billy’s description of their sound holds true - “the sound of yesterday, tomorrow” Acorn Man is arguably one of Childish most accessible LPs, showcasing Childish's love of punk rock and beat. Traces of dirge and the The Fall mingle effortlessly with unbounded pop on tracks such as 'It's So Hard to be Happy.' Childish's 35 year quest for the 'ever essential bones of pop' bears fruit and remains true to to his opening gambit back in 1977. "We write the songs, produce the songs and determine what constitutes success."

              '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.

              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

                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.

                  Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

                  One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Wayne Forde's super heavyweight 'Dance To The Music Freakout' is the second reissue from the label for 2018!

                  Yet again, not much is known about Wayne Forde, or his band 'Stereo'. Could it be another Peter and Patrick studio project? Another selection of local, neighbourhood players and singers? Who knows? What we do know, however, is that this record is a TOTAL disco bomb. All of what you want from a Queen Constance record is here, it's dripping in funk, raw and soulful. Essential stuff for anyone with even a passing interest in disco or anything funky. These jams are super long, percussive dance-floor melters that will do damage! Super rare, too. You won't find one of these nestled in the racks in your local chazzer, which is exactly why these (legit) represses should be in your cart. Essential.

                  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.

                      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

                        Wendell Harrison & Phillip Ranelin

                        A Message From The Tribe

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



                        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.

                              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.

                                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.

                                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.


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

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

                                  William Onyeabor

                                  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.


                                    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.

                                    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. 


                                    Will Sheff (Okkervil River)

                                    I Am Very Far: The Lyrics

                                      Will Sheff of Okkervil River has long been recognized for his writing: a contributor to McSweeney’s, Sheff was nominated for a Grammy for his liner notes for Roky Erickson’s 2010 album ‘True Love Cast Out All Evil’, and The New York Times declared that “Sheff writes like a novelist”.

                                      It is with great pleasure that Jagjaguwar presents ‘I Am Very Far: The Lyrics’, a hard bound lyric book containing the full scope of Sheff ’s vision for his latest and most refined album to date, Okkervil River’s ‘I Am Very Far’.

                                      Functioning as much more than a complement to the albums themselves, Sheff ’s prose weaves tales both subtle and dynamic, and enriches the content of his songs.

                                      Including the lyrics for the single ‘Mermaid’ and other songs recorded during the ‘I Am Very Far’ sessions, ‘I Am Very Far: The Lyrics’ is a complete work in its own right.


                                      FORMAT INFORMATION

                                      Hardback Book Info: Limited to only 50 copies for the UK and Eire.

                                      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.

                                        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!

                                          After the excellent Sky Girl, Midnite Spares and Oz Waves comps, Efficient Space now bring us 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. 


                                          STAFF COMMENTS

                                          Patrick says: Efficient Space (AKA the mega label behind the fantastic Sky Girl comp) introduce us to the obscure brilliance of indigenous Australian troop Waak Waak Djungi with this retrospective set of their nineties output. Amid the beautiful new age twinkle of "Rainbow Serpent", "White Cockatoo" and "Black Crow" we find the motorik pulse of "Djambaku", Balearic house of "Gandi Bawong" and the spine tingling acid chug of "Mother, I'm Going".

                                          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.

                                            Yoshi Wada

                                            Lament For The Rise And Fall Of The Elephantine Crocodile

                                            Born in Kyoto, Yoshi Wada moved to New York in the late 1960s. He is well-known as a Fluxus artist with links to La Monte Young, and has been involved in many performances and sound installations. However, he has released only two solo recordings, both hard to find. Finally, EM bring us this CD reissue of his most important and rare LP, "Lament For Rise And Fall Of The Elephantine Crocodile" (originally released in 1982 on India Navigation). This CD contains two pieces: track 1 is a 31 minute-long solo overtone voice (he studied with legendary Indian vocalist Pandit Pran Nath) recorded at performance space Dry Pool. This is reminiscent of didgeridoo calls or the otherworldly moan of the foghorn. Track two is a dense psychedelic drone made using a bagpipe-like self-made instrument, and clocks in at over 33 minutes long.

                                            FORMAT INFORMATION

                                            CD Info: Japanese import reissue features 96khz/24bit digital remastered the complete full length version of the album (original LP edition was edited), liner notes in English and Japanese and rare photos.

                                            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 With Yoshi Wada And Friends

                                            FRKWYS Vol. 14 – Nue

                                            Composer Tashi Wada has performed for years with his father Yoshi Wada—artist, composer, and early member of the Fluxus movement. However, they have rarely appeared together in studio settings. Nue, the fourteenth entry in RVNG Intl.’s intergenerational FRKWYS series, finally brings Tashi and Yoshi, along with an eclectic group of close friends and extended family, together on tape.

                                            Nue draws on aspects of Tashi’s background for his widest vision to date—among them the minimalist bagpipe music of Yoshi, who co-composed three of the tracks, the psychoacoustic and perceptual explorations of his mentor, composer James Tenney, and reimagined forms of ancient and devotional music. The album, however, is not a tribute to the past or a recapitulation of familiar sounds. Instead, Nue is an intertwining of people and ideas as a means of growing, of looking inward to move outward, and of looking back to move forward.

                                            To achieve this growth, Tashi assembled a core group of fellow travelers, including Yoshi, composer Julia Holter, producer Cole MGN, and percussionist Corey Fogel, to give life to this multifaceted suite. As an experience, Nue subtly navigates the interactions, intimacy and spaciousness of this group.

                                            The album’s title itself is a nod to Tashi’s abiding interest in duality and the unknown: nue is a mythological Japanese chimera with the face of a monkey, the legs of a tiger, and a snake for a tail, a composite form, at once disturbing and otherworldly. But, as the composer points out, nue is also French for naked—stripped of complexity, bare and exposed, but also raw and essential.

                                            From the doubling of tones—and the world of harmonic nuances such an action produces—to the rich interplay between individual musicians, all baring their own personalities and experiences through shared performance, Tashi’s compositions allow space for these elements to join and grow. The multipartite creature that is an ensemble melds in the simplicity and purity of the music itself.

                                            As explained by Tashi, each part was written with an individual in mind, not simply an instrument. And each individual performer makes their mark, from Holter’s vocal performances on the cresting, oceanic “Mutable Signs” and “Ondine” with guest vocalists Simone Forti, Jessika Kenney and Laura Steenberge, to Fogel’s resonant, precise percussion on “Bottom of the Sky.” Producer Cole MGN, who has worked extensively with artists like Beck and Ariel Pink, helped to create a world of sound with minimal yet multi-dimensional materials. Like many of its influences, Nue uses deceivingly simple means to create complex, coherent worlds and narratives.

                                            Tashi notes the influence of legendary Brazilian writer Clarice Lispector, whose work looked inward, investigating memory and emotion and dream, to understand the often overwhelming world outside the self. Like Lispector’s classic novel Near to the Wild Heart, Nue cleaves these archetypal dualities—world/self, old/new, complex/simple—to create a work that allows them to coalesce into something singular.

                                            As Tashi states in his liner notes: “My desire was to create something both old and new sounding—ancient and futuristic—and ultimately something of its own world and other. Nue is a vision, an endless night of dreams, and a personal history of sorts, full of joys and demons.”


                                            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!

                                            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.


                                              Kurt Wagner & Gregor Schwellenbach

                                              Flotus Movements

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

                                                Adrian Wagner

                                                Realm Of The Ring Lords

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

                                                Wagon Christ

                                                Ataride / Tomorrow Acid

                                                Ironic acid breakbeat that recreats rave / hip house for 2001. Flipped with electronica, downbeat and mentalism!! Noskool sounds!!

                                                Wagon Christ

                                                Musipal

                                                Luke Vibert returns to Ninja Tune for his latest foray into leftfield breaks, chilled hip beats and general funky quirkiness. Hurrah!

                                                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.


                                                  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.

                                                    Tom Waits

                                                    Alice

                                                    Originally recorded in 1992 for Robert Wilson's stage adaption of "Alice", this finally gets an official release after being Waits' most sought after 'lost' album. The album is packed with majestic dark ballads and obsessive madness that Waits has made his own speciality. This is a creative genius at the height of his powers.

                                                    The evil twin to the "Alice" album, this is a showcase to the madness inside the head of Waits. This again is music to a Robert Wilson stage adaption, this time to "Woyzeck" which is about a soldier driven to lunacy and murder, and Waits' dark and intense music mirrors this to dazzling effect.

                                                    In 2008, Tom Waits launched a sold-out tour, garnering intense critical praise – Daily Telegraph named Waits 'The greatest entertainer on Planet Earth' – and thrilling fans across the world, some in cities where Waits had never played before. Now comes the document of those concerts, 17 performances hand-picked by Waits from along the tour. Leaning heavily on songs from his ANTI- releases – including a haunting “Trampled Rose” from Real Gone and roaring “Get Behind the Mule” from Mule Variations – Waits also digs into the vaults for tracks like a re-imagined “Singapore” from 1985’s Rain Dogs. "Glitter And Doom Live" will reside in the Waits catalogue alongside earlier live albums like "Nighthawks at the Diner" and "Big Time", both discs held on par with his classic studio releases by fans.



                                                    Tom Waits

                                                    Mule Variations

                                                    Tom Waits is one of the most innovative artists in popular music. His singular vision embraces everything from blues to tin-pan-alley to jazz to just about anything else you can think of. Grammy winner, actor, poet, a master of the musical collage and lyrical surprise, Tom Waits is simply a giant. "Mule Variations" offers the most complete picture of Tom Waits of any of his albums. Edgy stomps, humour and experimentation are interspersed with some of the most beautiful and personal songs he's ever written.

                                                    FORMAT INFORMATION

                                                    2xLP includes MP3 Download Code.

                                                    'A lot of songs that fell behind the stove while making dinner' is how Tom Waits describes his new three-disc set, "Orphans". The collection goes far beyond a simple career retrospective, with over 30 newly recorded songs – from Waits' own versions of songs he gave to other artists to some 'things I recorded in the garage with the kids'. Over two-thirds of the material has never been heard before now. Each of the three CDs is separately grouped and sub-titled – "Brawlers", "Bawlers" and "Bastards" – to capture the full spectrum of Waits' ranging and roving musical styles. "Brawlers" is chock full of raucous blues and full-throated juke-joint stomp; "Bawlers" contains Celtic and country ballads, waltzes, lullabies, piano and classic lyrical Waits' songs; while "Bastards" is filled with experimental music, stories and jokes.

                                                    Tom Waits

                                                    Real Gone

                                                      Written and produced by Waits with his wife and long-time collaborator, Kathleen Brennan, "Real Gone" features 15 tracks that echo everything from primal blues to what Waits calls 'cubist funk', all mixed and mashed with rock-steady grooves, Latin rhythms and 'vocal mouth percussion' to create a unique new musical hybrid. "Real Gone" features Primus' Les Claypool and Brain Mantia and long time collaborators Marc Ribot and Larry Taylor.

                                                      Though Tom Waits had spent most of the 70s establishing himself as one of America's most distinctive singer-songwriters, "Swordfishtrombones" found him reinventing himself and creating one of the most original sounds in popular music. Leaving behind his Kerouac-influenced lyrics and lounge-lizard piano-bar stylings for an unprecedented eclecticism that merged Brecht-Weill artsong, Captain Beefheart-style avant blues, Harry Partch-inspired junkyard percussion, along with a healthy dose of everything else but the kitchen sink. All this sonic exoticism would be for naught where it not accompanied by equally striking, arch songwriting. "Swordfishtrombones" moves from the Ken Nordine-style recitative of "Frank's Wild Years" and the demented Delta blues of "Gin Soaked Boy" to the marimba-laced shaggy-dog tale "Shore Leave" and the crazed, Loony Tunes instrumental "Dave the Butcher". The blazed a trail that Waits (and countless imitators) would follow fruitfully for years to come, and remains one of the most impressive recordings not just of Waits's career, but of anyone's.

                                                      FORMAT INFORMATION

                                                      Ltd LP Info: Import copies.

                                                      Tom Waits

                                                      Orphans - Limited Vinyl Box Set

                                                        "Orphans: Brawlers, Bawlers and Bastards" is a spectacular musical journey, which visits almost every genre of American song tradition. This box set redefines the words ‘Deluxe’ or ‘Collectors Edition’. With 7 LPs of 180 gram vinyl, six previously unreleased songs, a 32-page book featuring lyrics and insight, and a beautiful hardbound box, the collection captures the full scope of Tom Waits’ shamanic powers as a vocalist, literary lyricist, romantic melodist, innovative arranger and pioneer of sonic worlds.
                                                        The set, which took over three years to compile and record, is grouped by genre with songs guaranteed to move and shake the heart, the body, the mind and most unquestionably the soul.
                                                        Each of the albums separately arranged and sub-titled – "Brawlers", "Bawlers" and "Bastards" to encapsulate the full range of Waits’ nomadic scope of musical styles.

                                                        "Brawlers" - is packed with full throated juke joint stomp, boogies and riotous blues. It’s roadhouse Waits. He chugs, whistles and screams. It’s primal steaming surreal blues. He channels the Stones, Beefheart, Muddy Waters and T-Rex. One new one, ‘Low Down’ is raw garage rock with Waits’ 20 year old son, Casey on drums and San Francisco’s white trash blues icon, Ron Hacker, on guitar.

                                                        "Bawlers" - Lonesome ballads about the sadness at the end of the road are framed by tender songs of innocence and green hope. The plaintive hill country laments of, ‘Tell It To Me’ and the cautionary tale, ‘Fannin Street’ blend poignantly with saloon songs of betrayal and despair (‘The World Keeps Turning’) Celtic waltzes and bitter cabaret torch songs like, ‘It’s Over’ and ‘Little Drop Of Poison’, all of which explore what the heart gives and what it takes away.

                                                        "Bastards" - explores the strange and unusual side of Waits, who is peculiar by nature. Contained here is experimental music and scary tales. There are uncategorizable diversions into this dark side. It tunnels beneath the city with spiels, rants, mouth rhythms, including a poignant reminiscence of car ownership, a Ramones cover and a version of Daniel Johnston’s, ‘King Kong’, a disturbing bedtime story,(not for children faint of heart), and a poem by Charles Bukowski. It has insects, murder, drowning and insanity. Or as ma says, the full dinner menu.

                                                        Tom Waits

                                                        Alice

                                                          Alice is one of the most distinctive of all Waits' creations, occupying its own corner in the odd-angled room that is Tom Waits' body of work and while there are the familiar parts--the redoubtable ragged voice, jazz ballads and poignant musings on death and longing--the whole is strange and exotic.

                                                          A devastatingly beautiful atmosphere made of sorrow and reverie, insanity and resignation, rises like a mist in Alice. It's a lyrical melancholia, a feeling that creeps in on the arms of Stroh violins and unabashed poetry. These are songs to fall into, and sometimes, to keep falling. There are fragile, haunted musings, and laments, mad ruminations, and tales of unrequited love and anthems from beyond the grave.


                                                          STAFF COMMENTS

                                                          Barry says: While the avant charm of Real Gone and the sombre balladry of Blood Money rip a genre hole all of their own, Alice is uncompromising in its artistic scope and arguably epitomises the artistic drive of Waits more than anything else. A multi-faceted work of brilliance.

                                                          FORMAT INFORMATION

                                                          2xLP includes MP3 Download Code.


                                                          next 100

                                                          Latest Pre-Sales

                                                          174 NEW ITEMS

                                                          Happy New Music Friday everyone. Loads of great releases out today and we some new banners up too… https://t.co/U3FlW0AnpM
                                                          Fri 19th - 10:02
                                                          RT @TheLucidDreamUK: Thank you for the brilliant words on ‘Actualisation’, @PiccadillyRecs Fantastic store, that we love very much. They’ve…
                                                          Fri 19th - 9:58
                                                          RT @SarahCityLife: Seven years today since I saw @thestoneroses sit down together at a London conference - seems like last week it’s still…
                                                          Thu 18th - 1:24
                                                          In stock now and available to order!!!! https://t.co/fnhOUqewMg 1 per person please folks... @cavernofAM https://t.co/nkvSP6DzaS
                                                          Thu 18th - 11:29
                                                          E-newsletter —
                                                          Sign up
                                                          Back to top