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Wipers

Alien Boy EP

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

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

    Working Men's Club

    Megamix

      THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
      LIMITED TO ONE PER PERSON.


      Working Menís Club hotly anticipated, self-titled debut album was due to drop this June, now, for reasons obvious to most of us, it is due October. Looking at the blank space left by the postponement, 18 year old wonderkid frontman Syd Minsky-Sargeant decided to utilise his free time, in lockdown, and capitalise on the creative momentum the band has garnered. The result is a 21-minute continuous ëMEGAMIXí that simultaneously acts as a taster and a condensed electronic reworking of parts of the album. ìOur album would have been released today but we had to push the release back due to Covid. It doesnít feel like a particularly apt time to be self promoting anything at all however we wanted to give something to the people who pre-ordered the album on what would of the original release date,î says Minsky-Sargeant. ìInitially it seemed a bit of a crazy idea to go and remix an album we've just made that isn't even out yet. But once we got into it we were like, ëlet's fucking go for ití. One could of course argue that crazy ideas are whatís needed in such crazy times but, in reality, what has been produced is less of a chaotic and scatterbrain idea and more a coherent artistic statement in line with the bandís perpetual forward momentum. Minsky-Sargeant teamed up with the bandís producer Ross Orton - under the moniker ëMinsky Rockí, a recently started project under which they recently completed a Jarvis Cocker remix - and the pair worked remotely to create the unique reimagining. ìRoss has a studio in Sheffield and I have a bit of one at home. So I would play a synth part and then send him the file over and he'd put it into his computer and then bring it up on a shared screen. I could see his interface and we'd mix it like that. It was like being in the same room.î The result is a ìreinterpretation rather than a remixî says Minsky-Sargeant. Over its seamlessly flowing duration, as it unfurls in hypnotic and infectious grooves - teasing snippets of songs as they weave in and out - the mix plays out like a classic 12î extended mix. Albeit one that takes on different forms and explores new terrain altogether. ìIt takes a number of parts of the album but different versions [and edits] of the songs,î he says. ìI've played new parts on more or less everything. Some tracks I've taken out the guitar parts and re-done them with synths or replaced bass lines with synths.î Thereís something of a northern lineage that can be traced here too, in that the 12î band remixes were something of a mainstay of Manchester bands like New Order and A Certain Ratio, and in a similar spirit, WMC are a new young band pushing, and crossing, the boundaries of where guitar and electronic music can interlink and overlap. ìIt's free flowing and electronic, rather than sounding like a band,î Minsky-Sargeant says of the mix. ìIt gives an insight into what the record is like, as well as the future of the band, but itís also something totally exclusive. It's very much its own thing.î

      Warpaint

      The Fool - Andrew Weatherall Sessions (RSD21 EDITION)

        On the completion of the recording of The Fool, Andrew Weatherall was given access to the album's master tapes to work on mixes for the finished record. The track Baby, along with Warpaint's iconic single Undertow, were both mixed by the Guv'nor and appeared on the finished album that was released in 2010. For the first time ever, this Record Store Day edition brings together all the mixes Weatherall created while working on the project, including a never released before, finished version of Jubilee. ìI remember that one of the main reasons why we wanted Andrew Weatherall to mix the Warpaint album was because we loved his brilliant work on the Primal Scream remix of Higher Than The Sun. I know that we discussed this particular track with Emily and she knew it of course and also loved it. I think it was a key reason they agreed to let Andrew do the mix. - Geoff Travis - Rough Trade Records 

        TRACK LISTING

        Side A 1.Warpaint 2. Undertow 3. Bees
        Side B 1. Jubilee 2. Shadows
        Side C 1. Majesty 2. Baby
        Side D 1. Composure 2. Lissies Heart Murmur 3. Set Your Arms Down

        Wire

        PF456 DELUXE (RSD21 EDITION)

          THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

          IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).


          Full length versions on vinyl for the first time in a unique package

          Wire

          Not About To Die (RSD22 EDITION)

            THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            Released as an illegal bootleg back in the early1980's Not About To Die were recordings made for EMI as demo's for 1978/1979 albums Chairs Missing & 154. Now Wire have decided to redress the balance and give the album it's first offical release on their own pinkflag imprint

            Willie Nelson

            Phases And Stages (RSD24 EDITION)

              THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

              IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.


              Willie Nelson's 1974 classic, celebrating its 50th Anniversary in March, just prior to RSD If Shotgun Willie played a bit like a concept album, Phases and Stages was a full-blown one, tracing the dissolution of a marriage and devoting one side to the wife's perspective, the second to the husband'sÖ.Phases and Stages is easily the equal of its remarkable predecessor, a wonderful set of music that resonates deeply, as deeply as the words. Make no mistake -- the deceptively relaxed arrangements, including the occasional strings, not only highlight Nelson's clever eclecticism, but they also heighten the emotional impact of the album. And this is a hell of an emotional record, where even each side's celebratory honky tonk numbers (the medley "Sister's Coming Home/Down at the Corner Beer Joint" and "Pick Up the Tempo," respectively) are muted by sadness. Then, there are the centerpieces: "Walkin'," where the woman decides it's time to move on; "Pretend I Never Happened," perhaps the coldest ending to a relationship ever written; "Bloody Mary Morning," a bleary-eyed morning-after tale that became a standard; "It's Not Supposed to Be That Way," a nearly unbearably melancholy account of a love gone wrong; and "Heaven and Hell," a waltz summary of the relationship. Any two of these would have formed a strong core for an album, but placed together in a narrative context, their impact is even more considerable. As a result, this is not just one of Willie Nelson's best records, but one of the great concept albums overall.

              Wilco

              The Whole Love Expanded (RSD24 EDITION)

                THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

                IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

                Beautiful x3 LP Vinyl boxset of original album + rare bonus material. Very limited!

                Walter Verdin

                Voor Adeline

                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.

                TRACK LISTING

                1. De Zus Van Adeline
                2. Squeezin'
                3. Dreamin'
                4. Wavin'
                5. Lancement
                6. Vijf Tape Loops
                7. De Zus Van Adeline (Playback Mix)
                8. A Million Miles (Pas De Deux) 

                Wednesday Addams & Danny Elfman

                Paint It Black - Wednesday Theme Song

                  ‘Paint It Black’ performed by Nevermore Academy star pupil, Wednesday Adams. Her debut release. Expect more from this talented young musician.

                  “The version of ‘Paint It Black’ played by Wednesday on her cello has a unique dark energy that fascinated fans.” - auralcrave.com

                  TRACK LISTING

                  Paint It Black - Wednesday Addams
                  Wednesday Main Titles - Danny Elfman

                  Wilma Archer

                  A Western Circular

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

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

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

                    TRACK LISTING

                    Western Circular
                    Scarecrow
                    Last Sniff With MF DOOM
                    Killing Crab
                    The Boon With Samuel T. Herring
                    Cheater With Sudan Archives
                    Cures & Wounds
                    Decades With Samuel T. Herring & Laura Groves
                    Ugly Feelings (Again)
                    Worse Off West

                    Waldemar Bastos

                    Pretaluz - 25th Anniversary Edition

                      Artist waldemar bastos was recorded and produced by arto lindsay and david byrne in new york. Its title, which means “blacklight” in portuguese, is a hint to the powerful sorrow the music holds: pretaluz is an elegiac response to the angolan civil war, drawing on influences near and far like the fado, semba, zouk, and morna, to create indelible songs. “with his dramatic pauses and dynamic vibrato rising above subtle rhythms picked out on nylon-string guitars, everything mr. Bastos sings emerges as a lament of enormous sadness,” wrote the times.

                      Now on vinyl for the very first time, this limited 25th anniversary edition of pretaluz is a contender for the best-sounding record on luaka bop.

                      TRACK LISTING

                      1. Sofrimento
                      2. Rainha Ginga
                      3. Muxima
                      4. Kuribôta
                      5. Morro Do Kussava
                      6. Minha Família
                      7. Menina
                      8. Querida Angola
                      9. Kanguru

                      Willis Earl Beal

                      Acousmatic Sorcery

                        After years of toiling in obscurity, Willis Earl Beal is releasing his debut album, ‘Acousmatic Sorcery’, through Hot Charity / XL Recordings.

                        The album’s eleven songs are taken from a series of recordings Beal made while living in Albuquerque, New Mexico. After living in the Chicago area for his entire life, Beal felt compelled to be near the desert, an idea he had long romanticized. “The desolate atmosphere was always in my head,” Beal says.

                        He arrived in Albuquerque without a plan, a place to live, or enough money to live off of. He lived on the streets while trying to land a job and began singing to help him cope while sleeping rough. He spent days drawing and printing up his flyers, distributing them all over his new city. Eventually Beal found work as the night porter at a motel.

                        ‘Acousmatic Sorcery’s scattershot approach and rudimentary instrumentals, along with Beal’s backstory, had people pegging him as an ‘outsider’ artist alongside Daniel Johnston and Jandek. And, as a fan of both men, Beal likes that distinction. “I'm glad I’m an outsider artist,” he says. “I can do whatever I want to and people don't know what to expect.”

                        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!

                          TRACK LISTING

                          A1. William Bendix - Dallas
                          A2. William Bendix - Centurion
                          A3. William Bendix - Dallas (Lucky Koi Remix)
                          B1. Lewis J. Force - Folkestone Nightclub
                          B2. Lewis J. Force - Folkestone Nightclub (Parasols Remix)

                          Wilson Boateng

                          Asew Watchman

                            Reissue of this amazing Ghanian boogie / highlife record from 1988. Cut loud on 12” and therefore optimized for dancefloor action. In addition we get two remixes from Amsterdam-based DJ Mendel.

                            Originally privately released in a small run by Wilson himself, ‘Asew Watchman’ and ‘Mabre Agu’ were both recorded in Brixton, London in 1988 after his relocation from Ghana to the UK in search of stardom, following the footsteps of burger highlife stars Pat Thomas, George Darko and Thomas Frempong.

                            Sadly, however, after pressing one thousand copies of the album, and although the music itself rivalled the very best burger highlife of the time, Wilson was beset by various obstacles both in London and back home. As such, the record was unable to make the headway that it deserved, and the music was soon lost into obscurity.

                            Nevertheless, with original copies now selling for triple figures on the second-hand market, and after a two-year search to track Wilson down, Kalita felt obliged to repress this lost classic.


                            STAFF COMMENTS

                            Matt says: Afro-boogie that'll find favour with lovers of Don Laka and Oby Onyioha. I like the two OGs / two remix format very much. You'll get loads of legs outta this!

                            TRACK LISTING

                            Side 1
                            1. Asew Watchman (4:42)
                            2. Mabre Agu (3:39)
                            Side 2
                            1. Asew Watchman (Mendel Extended Mix) (6:35)
                            2. Mabre Agu (Mendel Midnight Mix) (5:15)

                            Walter Branco

                            Meu Balanco

                              This one takes us back! We originally reissued Waltel Branco's 'Meu
                              Balanço' in 1995, it was one of the frst releases to come out on Mr Bongo
                              It is a much-requested title with original copies becoming ever more-scarce and the price tag increasingly rising, so it feels ftting to present this stunning record once again for all to enjoy. Waltel Branco was born in Paranaguá, Brazil in 1929 and died in Rio de Janeiro in 2018. During his triumphant career he accumulated an impressive musical portfolio. A true maestro who from the 1950s onwards appeared on productions as a guitarist, writer, conductor, composer, and arranger. He worked with some of the greats of Brazilian music including Elis Regina, Dom Um Romao, Bossa Três, Marcos Valle and Tony Bizarro to name just a few. 'Meu Balanço' was originally released on CBS Records Brazil in 1975. It is Brazilian big band, orchestrated jazz-funk at its finest. Echoing the library and film productions created in Europe and the USA at the time, it also displays the hallmarks of Waltel's heritage with distinct threads of Brazilian favour running throughout. The musicians on the record include under- the- radar players that were the backbone of the Brazilian music industry in the 1970s including Luizão Maia on bass, Edmundo Maciel on trombone and Paulinho Braga on drums. The album firts between jazz-funk, cinematic library excursions, breaks and beats, easy- listening, and 70s cop show instrumentals. It is a breezy ride into Waltel's world, wonderfully nostalgic and of another time and place, yet snippets of the production echo the beats of contemporary hip-hop iconic artists such as Madlib, knxwledge and The Alchemist. Brazilian jazz-funk at its finest from an iconic composer.

                              TRACK LISTING

                              1. Luar Do Sertão
                              2. Sonho No Céu
                              3. Meu Balanco
                              4. Lady Samba
                              5. Apenas Um Coração Solitário
                              6. Jael
                              7. Walking
                              8. Satiricon
                              9. Carmen
                              10. Meiguice
                              11. Petit Fils
                              12. Zoraia

                              Will Burns & Hannah Peel

                              Chalk Hill Blue

                                Along the hills that cradle this village, that throw their shadow on us, that hold themselves above the houses (on a day like today half-wreathed in fog) there is a path. Some people say it is the oldest path there is, but that doesn’t really matter. What matters is that it is an old path. Worn out of the scarp in places, in others cut deliberately to mark the way. The way where, though? One answer is that once, it was the way across the country from East to West, from farm to market. The way of the drover. Another is that now, it is the way across a line of hills that run through what people call the ‘home’ counties. As if there are counties that are not home.

                                Sometimes these places that rub up against the hills and its path are strangely dull. The towns and villages can look alike, they have been predated on by the high street chains and the supermarkets and they have suffered the decay of pubs and the reluctance of themselves to demand more from the changes that come with time, which is, after all, inevitable and which should, in the end, be progressive. But if we look beyond the intensive farms, the lookalike market towns, the money, the golf courses and the expensive four-wheel drive cars, there is, still, a real place to see. A place with its own tang, as a wise man I know once described it. There are fishermen and builders and window cleaners who get round their drink-driving bans by going to work on a horse and cart.

                                There are Italian farmers whose legendary boys run the football club, there are old gypsy families that own garden centres, feuding tree surgeons, ex-hedonist-local-playboys who you wouldn’t believe did what they did when they owned a pub just outside of the village where they thought they could get away with anything (and for a while did), tiny cricket clubs where the treasurer ran off with the money and last anyone heard was running a burger van in Northamptonshire. There are still a few good pubs too, where people rub along like they do. More decently than it sometimes feels we’re capable of anymore. All that as well as affairs and heartbreak, death, illness, love. Of course, love.

                                And beyond the people, there is that other life. Not as much as there should be, no, we must say that. Not enough butterflies, not enough lizards or water voles or fish, certainly not enough birds. But what there is is. And if you take that path out of the village, and up into the hills it is there. It’s broken in many ways, and it’s changed and it’s changing. And we’re causing the changes. But what’s sad about the degradation of our times is that we can still see the potential nature of real places when we come up against them. These old paths, these old stories, these old buildings. We don’t need them for nostalgia, or for some artificial sentimental reverie, we need them to function as engines for our own epochal story-making. That’s what the blandness of a global market economy will put a stop to. The real tang of each person, as well as each place. All deserving of their stories. Here’s some fragments of some I heard along the path.

                                Will Burns, 2018

                                Will Burns is Caught by the River poet-in-residence, and Hannah Peel is a frequent fixture of Caught by the River festival stages – both with the ‘cosmic colliery’ electronica of her solo work, and with orchestral place-rock band The Magnetic North (of which Chalk Hill Blue producer Erland Cooper is also a member.)

                                As part of their collaboration, Burns, Peel and Cooper walked the landscapes around Burns’s Wendover house together: their chalk-heeled boots tracing shared routes through the rhythms and repetitions of the place. What emerges in Chalk Hill Blue is a site-specific-non-specific record of creative place portraiture; an album that traces elements of a living landscape, and reworks them into something that is as sensitive and finely-observed as it is visionary.

                                TRACK LISTING

                                1 Out Of Doors
                                2 The Night Life
                                3 Afterwards
                                4 Spring Dawn On Mad Mile
                                5 Change
                                6 Chalk Hill Blue
                                7 May 9th
                                8 Swallowing
                                9 Ridgeway
                                10 Summer Blues
                                11 February

                                Will Burns & Hannah Peel

                                Chalk Hill Blue - Deluxe Edition

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

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

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

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

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

                                  TRACK LISTING

                                  ‘Chalk Hill Blue’ LP
                                  Out Of Doors
                                  The Night Life
                                  Afterwards
                                  Spring Dawn On Mad Mile
                                  Change
                                  Chalk Hill Blue
                                  May 9th
                                  Swallowing
                                  Ridgeway
                                  Summer Blues
                                  February

                                  ‘Pale Tussock’ 7”
                                  Moth Book
                                  Wendover, Bucks

                                  Will Burns & Hannah Peel

                                  Pale Tussock

                                    Hannah Peel and Will Burns announce details of a new double-A sided single, ‘Pale Tussock’, released via Rivertones. The 7” single features a pair of new pieces from Hannah Peel and Will Burns, combining the same evocative, powerful sonic palette and plainspoken poetry as their acclaimed album ‘Chalk Hill Blue’.

                                    TRACK LISTING

                                    Moth Book
                                    Wendover, Bucks

                                    William S. Burroughs

                                    Break Through In Grey Room - 2023 Reissue

                                      Inspired by the original Industrial Records release of William S. Burroughs’s Nothing Here Now but the Recordings, Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin.

                                      Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut-up' technique. Sommerville's technical background enabled him to contribute to the early development of sound-and-light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.

                                      TRACK LISTING

                                      Side A:
                                      1. K-9 Was In Combat With The Alien Mind-screens
                                      2. Origin And Theory Of The Tape Cut- Ups
                                      3. Recalling All Active Agents
                                      4. Silver Smoke Of Dreams

                                      Side B:
                                      1. Junky Relations
                                      2. Joujouka, Pt. 1
                                      3. Curse Go Back
                                      4. Present Time Exercises
                                      5. Joujouka, Pt. 2
                                      6. Working With The Popular Forces
                                      7. Interview With Mr. Martin
                                      8. Joujouka, Pt. 3
                                      9. Sound Piece
                                      10. Joujouka, Pt. 4
                                      11. Burroughs Called The Law

                                      William S. Burroughs

                                      Nothing Here Now But The Recordings - 2023 Reissue

                                        In 1980, Genesis P-Orridge and Peter “Sleazy” Christopherson of (then-)Throbbing Gristle travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz. Genesis and Sleazy started the daunting task of compiling the experimental sound works of Burroughs, which, up until that point, had never been widely heard.

                                        During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word “cut-ups”, collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Over the following year, P-Orridge, Christopherson and Grauerholz spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and experimental prowess for audio anomaly within technical limitations. In early 1981, Burroughs had relocated to Lawrence, KS to escape the violence and manias of New York City life. There, P-Orridge and Christopherson put the finishing touches on the record that would be known as Nothing Here Now but the Recordings.

                                        Released in Spring 1981, the album would end up as the final release on Industrial Records, brought about by the dissolution of Throbbing Gristle. It was quietly out of print until 1998, when John Giorno and the Giorno Poetry Systems included the album on a retrospective CD box set, which compiled the majority of Burroughs's seminal recordings. In 2015, Dais Records worked closely with the Estate of William S. Burroughs to finally re-release, for the first time in 36 years, a proper vinyl reissue of William S. Burroughs Nothing Here Now but the Recordings to celebrate the centennial anniversary of William S. Burroughs.

                                        TRACK LISTING

                                        Side A:
                                        1. Captain Clark Welcomes You Aboard
                                        2. The Saints Go Marching Through All The Popular Tunes
                                        3. Summer Will
                                        4. Outside The Pier Prowed Like Electric Turtles
                                        5. The Total Taste Is Here - News Cut-up
                                        6. Choral Section, Backwards
                                        7. We See The Future Through The Binoculars Of The People
                                        8. Just Checking Your Summer Recordings

                                        Side B:
                                        1. Creepy Letter - Cut-up At The Beat Hotel In Paris
                                        2. Inching - "Is This Machine Recording?
                                        3. Handkerchief Masks - News Cut- Up
                                        4. Word Falling – Photo Falling
                                        5. Throat Microphone Experiment
                                        6. It’s About Time To Identify Open Area
                                        5. Last Words Of Hassan Sabbah

                                        Will Butler + Sister Squares

                                        Will Butler + Sister Squares

                                          Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They’d do the hand jive with TV stars past and future; they’d get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago.

                                          Julie Shore is Jenny’s sister. She’s always made music—playing Chopin, writing songs, making bands with her friends. She’s had the archetypal Millennial journey of entering adulthood in the ’08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive.

                                          Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration— whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum.

                                          These four—Miles, Julie, Jenny, and Sara—are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They’ve all just finished a new record together: Will Butler + Sister Squares.

                                          “After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite,” says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they’d produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn.

                                          “I had quit my band Arcade Fire very recently, after 20 years—maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers,” says Will. “But, honestly, I was feeling great about the record.”

                                          The album projects widescreen emotional landscapes. Lead-off single “Long Grass” is like a Harry Styles song with 20 more years of life behind it. Standout track “Satur- day Night” has a beat, according to Miles, “with that robot-alien-dancing-at-a-haunted-dive-bar feeling that we were going for.” The back half of the album is a dance-able, weird choral record with harmonies both beautiful and dissonant. Closing song “The Window” is the comedown after the party—Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It’s a record with a warm, humane soul.

                                          STAFF COMMENTS

                                          Barry says: A beautifully presented, texturally rich mix of grand orchestral statement pieces and drum-machine rich indie-folk, brittle harmonies and syncopated percussion bursting into soaring choral lifts. The beautifully transcendent mix of all three vocal talents is the icing on the cake.

                                          TRACK LISTING

                                          SIDE A
                                          1. Open
                                          2. Stop Talking
                                          3. Willows
                                          4. Long Grass
                                          5. Me N My Friends 6. Saturday Night
                                          7. Car Crash
                                          SIDE B
                                          8. Sunlight
                                          9. Arrow Of Time
                                          10. I Am Standing In A Room 11. Good Friday, 1613
                                          12. Old Year
                                          13. Hee Loop
                                          14. The Window

                                          Will Butler

                                          Generations

                                            In the five years since Will Butler released his debut album, Policy, he’s toured the world both solo and as a member of Arcade Fire, released the Friday Night live album, recorded and released Arcade Fire’s international #1 album Everything Now, earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children. He also found the time and inspiration to write and record a new album, Generations. “My first record, Policy, was a book of short stories,” Butler says. “Generations is more of a novel despairing, funny, a little bit epic… A big chunk of this record is asking: What’s my place in American history? What’s my place in America’s present?

                                            Both in general as a participant, as we all are, in the shit that’s going down but, also extremely particularly: me as Will Butler, rich person, white person, Mormon, Yankee, parent, musician of some sort, I guess. What do I do? What can I do? The record asks that question over and over, even if it’s not much for answers.” While the songs on Generations contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler’s music. That brightness is at its most intense when he and his solo band Miles Francis, Sara Dobbs, and Julie and Jenny Shore perform on stage. Their electricity is palpable throughout Generations, with the bulk of the new songs having been worked out live.

                                            Wild synth production gnarly bass synths with live drums and anthemic backing vocals as on first single “Surrender” are punctuated by intimate, direct moments: Butler’s voice cracking on “Fine” as he conjures his ancestors, and “Promised,” a meditation on friendship, how lives are built together, and how and why they drift apart. Generations was recorded and produced by Butler in the basement of his home in Brooklyn. Tracking finished in March 2020, as New York closed down for the pandemic. Half the record was mixed in Montreal by longtime Arcade Fire engineer Mark Lawson, the other half by Brooklyn-based producer Shiftee (who is, incidentally, bandmate Julie Shore’s husband and Will’s brother-in-law). Generations opens a dialogue with the world. It posits answers and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth… or at least a way forward. 

                                            TRACK LISTING

                                            1. Outta Here
                                            2. Bethlehem
                                            3. Close My Eyes
                                            4. I Don’t Know What I Don’t
                                            5. Know, Surrender.
                                            6. Hide It Away
                                            7. Hard Times
                                            8. Promised
                                            9. Not Gonna Die
                                            10. Fine

                                            Waldir Calmon

                                            Airport Love Theme / Afro Som

                                              You know it’s going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil. Add on top of that, being sampled by Madlib on the track ‘Curls’ on his Madvillain album!

                                              Taken from Waldir Calmon’s ‘Waldir Calmon E Seus Multisons’ album on Copacabana (1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn’t expect it to become the fabric to one of the songs from the iconic ‘Madvillain’ album.

                                              But... like many things in life, you shouldn’t judge a book by its cover. ‘Airport Love Theme’, like its name suggests, falls into full-on lounge territory. It’s feelgood music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard. ‘Afro Son’ taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition.

                                              This quirky 60’s-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey’s ‘E.V.A.’, also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism. Waldir Calmon had an active career in music working from the ‘50s right up until his passing in 1982.

                                              His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early ‘50s to a long-running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi, Jo o Gilberto and Doris Monteiro.

                                              STAFF COMMENTS

                                              Patrick says: Breakbeat exotica and lounge grooves abound on the Madlib sampled 'Airport Love Theme', while it's all about psychedelic soul on the far out flip "Afro Som".

                                              TRACK LISTING

                                              Airport Love Theme
                                              Afro Som

                                              Wild Billy Childish & CTMF

                                              Last Punk Standing

                                                Like an Inexplicable Wheel' The strangest thing in life is time, not clocks but that there was a past and there will be a future apparently). Life seems to be an inexplicable wheel, and I thought there should be a pop song (or two) about that. 'Last Punk Standing' A more CTMF sounding track. This should really be called 'Who'll be the Last Punk Standing?' but it looked better as a shortened title. Again it's about time, and knowledge running out. When a generation passes there's no one left to explain the true nature of their experience. eg- those who fought in WW2 are all but gone and that's how we get the rise of the new right: we learn from history that we don't learn from history. Who'll be left to pass on the essence of what punk was about - home-made, please yourself music. PS - the character Roberta, is from a Leadbelly tune- I thought it nice to have her and Mark E. Smith in the same pop song (Mark was still with us when we recorded this number). Billy Childish – May 2019

                                                STAFF COMMENTS

                                                Barry says: There's no denying that Childish has had one of the most prolific and succesful careers in the rock and/or roll world thus far, and it doesn't look like he has any intention of slowing down. Clashing, snarling punk-rock attitude and most importantly, bloody good tunes.

                                                Wild Billy Childish & CTMF

                                                Where The Wild Purple Iris Grows

                                                  New album from CTMF! On CD, digital and black vinyl LP! Billy Childish - Musician, poet, painter and writer shows no sign of slowing down. The last twelve months have seen him record a “career in a year” with The William Loveday Intention, battle off a debilitating COVID infection and revisit his punk roots with CTMF

                                                  STAFF COMMENTS

                                                  Barry says: The always prolific Childish returns for another storming LP of fuzzed-out punk and jilted rock and/or roll. Screaming guitars segue into jangling rhythmic sections, brilliantly epitomising the melodic duality of this hugely influential character.

                                                  TRACK LISTING

                                                  1 – Where The Wild Purple Iris Grows
                                                  2 – Mystery Song
                                                  3 – Ballad Of Hollis Brown
                                                  4 – She Was Wearing Tangerine
                                                  5 – Pluma Dorada
                                                  6 – Come Into My Life
                                                  7 – Train Kept A Rollin'
                                                  8 – You Can't Capture Time (Slight Return)
                                                  9 – You Say That You Love Me
                                                  10 – Tunnel Of Love
                                                  11 – Mouldy Fig
                                                  12 – The Same Tree

                                                  William Doyle

                                                  Lightnesses I & II - 2022 Reissue

                                                    It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time.

                                                    In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums.

                                                    Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.”

                                                    TRACK LISTING

                                                    Disc 1)
                                                    1. Aisles Of White
                                                    2. Number Of Harmony,
                                                    Disc 2)
                                                    3. History Of Change
                                                    4. Winter Of Fullness

                                                    William Doyle

                                                    Near Future Residence - 2022 Reissue

                                                      It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time.

                                                      In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums.

                                                      Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

                                                      TRACK LISTING

                                                      1. Flexford Forest Community Choir
                                                      2. Cadence Gardens, 2026
                                                      3. Sightings At Tangmere Close
                                                      4. Music For The 3rd Floor Atrium
                                                      5. Rose Building Improv Group
                                                      6. Next Door’s Granular Band Practice
                                                      7. Hocombe Astral Projection Society (Abridged)
                                                      8. New European Optimism
                                                      9. Derwenthorpe Rainwater Harvest
                                                      10. Municipal Harmonics
                                                      11. Near Future Residence

                                                      William Doyle

                                                      The Dream Derealised - 2022 Reissue

                                                        It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time.

                                                        In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums.

                                                        The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.”


                                                        TRACK LISTING

                                                        1. Seeing Spectral
                                                        2. Everything Tilted
                                                        3. Flexford Looping
                                                        4. A Silence Of Vision
                                                        5. Derealisation LKX
                                                        6. I No Longer Knew What To Do
                                                        7. Field Open Wide
                                                        8. Don’t Get Carried Away
                                                        9. All To Be Footnotes 

                                                        William Doyle

                                                        Great Spans Of Muddy Time

                                                          It’s nearly a decade since William Doyle handed a CD-R demo to the Quietus co-founder John Doran at a gig, who loved it so much he set up a label to release Doyle’s debut EP (as East India Youth). Doyle’s debut album, Total Strife Forever, followed in 2014, as did a nomination for the Mercury Music Prize. A year later, he was signed to XL, touring the world and about to release his second album – all by the age of 25.

                                                          After self-releasing four ambient and instrumental albums, Doyle’s third full-length record – and the first under his own name – Your Wilderness Revisited arrived to ecstatic reviews in 2019: Line of Best Fit described it as “a dazzlingly beautiful triumph of intention” and Metro declared it an album not only of the year, but “of the century”. Just over a year later, as he turns 30, Doyle is back with Great Spans of Muddy Time.

                                                          Born from accident but driven forward by instinct, Great Spans’ was built from the remnants of a catastrophic hard-drive failure. With his work saved only to cassette tape, Doyle was forced to accept the recordings as they were – a sharp departure from his process on Your Wilderness Revisited, which took four long years to craft toward perfection. “Instead of feeling a loss that I could no longer craft these pieces into flawless ‘Works of Art’, I felt intensely liberated that they had been set free from my ceaseless tinkering,” Doyle says.

                                                          “The album this turned out to be – and that I’ve wanted to make for ages – is a kind of Englishman-gone-mad, scrambling around the verdancy of the country’s pastures looking for some sense,” says Doyle. “It has its seeds in Robert Wyatt, early Eno, Robyn Hitchcock, and Syd Barrett.” Doyle credits Bowie’s ever-influential Berlin trilogy, but also highlights a much less expected muse: Monty Don, presenter of the BBC programme Gardeners’ World, Doyle’s lockdown addiction.

                                                          “I became obsessed with Monty Don. I like his manner and there's something about him I relate to. He once described periods of depression in his life as consisting of ‘nothing but great spans of muddy time’. When I read that quote I knew it would be the title of this record,” Doyle says. “Something about the sludgy mulch of the album’s darker moments, and its feel of perpetual autumnal evening, seemed to fit so well with those words. I would also be lying if I said it didn’t chime with my mental health experiences as well.”

                                                          Great Spans of Muddy Time is a beautiful ode to the power of accident, instinct and intuition. The result, however, is far from an anomaly: this celebration of the imperfect album is one that required years of honed craft and dedicated focus to achieve. “For the first time in my career, the distance between what I hear and what the listener hears is paper-thin,” Doyle says. “Perhaps therein reveals a deeper truth that the perfectionist brain can often dissolve.”


                                                          STAFF COMMENTS

                                                          Barry says: There has been a significant stylistic change in Doyle's output since his early material as East India Youth, and every single note oozes with the intellectual construction and well placed melodic sensibilities that will ensure his place in the musical landscape for years to come. 'Great Spans...' is a wonderfully rich and fascinating journey, and one that rewards with each further listen.

                                                          TRACK LISTING

                                                          Side A
                                                          I Need To Keep You In My Life
                                                          And Everything Changed (But I Feel Alright) 
                                                          Somewhere Totally Else
                                                          Shadowtackling
                                                          Who Cares
                                                          Nothing At All

                                                          Side B
                                                          Rainfalls
                                                          New Uncertainties
                                                          St. Giles’ Hill
                                                          Semi-bionic
                                                          A Forgotten Film
                                                          Theme From Muddy Time
                                                          [a Sea Of Thoughts Behind It]

                                                          William Doyle

                                                          Springs Eternal

                                                            Serving up art-pop for the anthropocene, Springs Eternal is the Mercury-nominated, critically acclaimed artist William Doyle’s most ambitious and most playful creation to date. Taking a panoramic view of the ecstasies and agonies of life in the 2020s, the record asks how we exist as fragile flesh and blood – our hearts beating and our minds racing – in an unprecedented, almost unimaginable time of runaway climate destruction and technological expansion.

                                                            Springs Eternal presents a strange and thrilling cast of characters – from cowboys to castaways – who just might be Doyle, once or twice removed. “Most of the songs are in the first-person, but rather than being autobiographical, I was trying to imagine hyperreality versions of myself,” Doyle says. “What if decisions I made in my life had resulted in the self of each particular song? How many degrees of separation am I from those realities? It’s a frightening thought, and frightening thoughts often make for good songs.”

                                                            Across 11 tracks, we hear from narrators teetering on the precipice of global disaster, heartbreak, addiction, indoctrination and mental illness, until they pass into the great unknown. The lyrics, by turns earnest and ironic, upfront and allegorical, are paired with infectious melodies and often outright swagger. Co-produced by indie superproducer Mike Lindsay (Tunng, LUMP) at his MESS studio in Margate, we hear the siren song of the sea washing around pulsating electronics and stirring instrumentation, featuring contributions from musicians Alexander Painter, Genevieve Dawson and Brian Eno.

                                                            A recurring theme of water and flooding runs through the record, alluding simultaneously to the global climate crisis and the deluge of overwhelm these parallel-universe Williams are experiencing. “It wasn’t until we were mixing the record that I realised how many water references there are,” Doyle says. “I guess there’s a fluid border between our inner selves and the outside world that allows things to flood in, in unstoppable or perhaps irresistible ways.”

                                                            Springs Eternal is the next chapter in the William Doyle sonic odyssey that began with his incarnation as East India Youth (Total Strife Forever, 2014; Culture of Volume, 2015) and developed under his own name, producing the critically acclaimed records Your Wilderness Revisited (2019) and Great Spans of Muddy Time (2021). Alongside his own output, Doyle recently produced Anna B Savage’s celebrated debut album A Common Turn (2021) and plays in Orlando Weeks’ band both live and on his upcoming record.

                                                            TRACK LISTING

                                                            Garden Of The Morning
                                                            Now In Motion
                                                            Relentless Melt
                                                            Soft To The Touch
                                                            Eternal Spring
                                                            Cannot Unsee
                                                            Castawayed
                                                            Surrender Yourself
                                                            A Short Illness
                                                            A Long Life
                                                            Because Of A Dream

                                                            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.

                                                              William Eggleston

                                                              512

                                                                William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon’s Transference and Jimmy Eat World’s Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you’d rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music.

                                                                By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic “Musik”. You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins).”

                                                                TRACK LISTING

                                                                1. Improvisation
                                                                2. Ol’ Man River
                                                                3. Smoke Gets In Your Eyes
                                                                4. Over The Rainbow
                                                                5. That’s Some Robert Burn
                                                                6. Onward Christian Soldiers

                                                                William Eggleston

                                                                Musik

                                                                  Native Memphian William Eggleston, 77, is widely regarded to be the most important photographer of the late 20th Century but there is another side to him that took root in his Sumner, Mississippi childhood, where he discovered the piano in the parlour that ignited in him a lifelong passion for music.

                                                                  In the 1980’s, Eggleston, who disdained digital cameras and modernity in general, became surprisingly fascinated with a synthesizer, the Korg O1/W FD, which had 88 piano-like keys and in addition to being able to emulate the sound of any instrument, also contained a four-track sequencer that allowed him to expand the palette of his music, letting him create improvised symphonic pieces, stored on 49 floppy discs, encompassing some 60 hours of music from which this 13 track recording was assembled.

                                                                  The music, which he refers to as ‘Musik’, adopting the German spelling of his hero, JS Bach, is highly emotional, whether he’s improvising a Bach-like organ fanfare out of whole cloth, using a Korg patch titled ‘Guitar Feedback’ to create a dirge, or playing Lerner and Lowe’s ‘On The Street Where You Live’ as a dramatic overture.

                                                                  Release available in a beautiful gatefold double LP with photography by Alex Soth.

                                                                  Wendy Eisenberg

                                                                  Auto

                                                                    Drawing the connections between Wendy Eisenberg’s releases feels like undertaking a wide-ranging investigation. Albums of wildly inventive guitar, tempo-shifting avant rock and curiously leftfield pop fit together as offerings of Eisenberg’s curious mind. On Auto, their most innovative and inner-reaching album yet, Eisenberg explores emotional, subjective truth, and how it interacts with an objectivity no person alone can grasp. Inspired by the solo work of Mark Hollis (Talk Talk) and David Sylvian’s Blemish, with playing skills that have already seen them climbing Best Guitarist lists and an unvarnished vocal immediacy, Wendy Eisenberg has created an album of subtle display that resonates with maximal impact.

                                                                    Auto has multiple meanings. First, automobile: “A lot of these songs were written about and mentally take place when I’m in the car on my way to gigs,“ says Eisenberg. Immediate melodies came to them on these trips, to which they’d later add complex guitar parts. And automata: “I make myself into a machine, which is why everything that’s played is precise.” Finally, they frame their work in the literary technique of auto-fiction, “the semi-fictionalized presentation of the self in a narrative form of growth,” as Eisenberg sees it.

                                                                    The album served as a means toward working through emotional conflicts from adolescent trauma and PTSD, and dissects the dissolution and conflict that led towards the breakup of their former band. With much of it written while its events played out, Auto faces the grief of losing what one thinks is their future while experiencing a dramatic reshaping of their past; it delves openly into the limited nature of one person’s narrative.

                                                                    After making a few efforts to record Auto, Eisenberg ultimately chose to collaborate with childhood friend Nick Zanca, who contributes electronic elements and production. Mirroring the personal and organic offered by Eisenberg, synthetic sounds form a kind of boundary or context for everything. They “sound like commentary on songs that were written from an organic or subjective perspective,” says Eisenberg. Their place on the album is integral for Eisenberg’s goal “to outweigh the subjectivity of normal singer-songwriter guitar songs with the objectivity of electronic sound.”

                                                                    Warren Ellis

                                                                    This Train I Ride: Original Soundtrack

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

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

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

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

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

                                                                      TRACK LISTING

                                                                      This Train I Ride
                                                                      Because I Was A Girl
                                                                      Westbound
                                                                      The Rules Concerning Men
                                                                      Airport Train
                                                                      I'll Hop Trains The Rest Of My Life
                                                                      Freight Train
                                                                      Mystery Train

                                                                      William Fitzsimmons

                                                                      Ready The Astronaut

                                                                        Centring around the Icarus myth, William Fitzsimmons’ seventh album sees him debark on a slightly different sound aesthetic, yet still his distinctive voice holds it all together.

                                                                        For fans of Bon Iver, The National, Sufjan Stevens and José Gonzalez.

                                                                        TRACK LISTING

                                                                        ‘Ready The Astronaut’ (CDGRON242 / LPGRON242)
                                                                        Dancing On The Sun
                                                                        No Promises
                                                                        Down With Another One
                                                                        Daedalus, My Father
                                                                        As Long As I Can Breathe
                                                                        Ready The Astronaut
                                                                        You Let Me Down
                                                                        Maybe She Will Change Her Mind
                                                                        If I Fell Back To The Earth (You Will Never Find Me)
                                                                        Icarus
                                                                        To Love Forever

                                                                        Bonus CD (LPGRON242 only)
                                                                        Ready The Astronaut (Alternate Version)
                                                                        Adore You
                                                                        Maybe She Will Change Her Mind (Alternate Version)

                                                                        Wayne Fontana & The Mindbenders

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

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

                                                                          Wesley Fuller

                                                                          All Fuller No Filler

                                                                            Armed with his trusty white Gibson Flying V and his ain't-no-square corkscrew hair, Perth-born, Melbourne-based power pop boy wonder Wesley Fuller is a pop classicist who is not afraid to mess with the classics. Mixing stunning Beatles-style pop melodies with thumping disco beats like no one since Jeff Lynne in the late 70s, and chucking in a crunchy big glam whomp and the boldest bubblegum colours heard this century, Fuller is the latest in a line of artists that goes back to Brian Wilson and Paul McCartney; artists with a singular pop vision. Fuller first made a name for himself early in the second decade of the millennium, up front of Perth power pop outfit Hurricane Fighter Plane.

                                                                            Discovered online by legendary English A&R man James Endeacott, Fuller moved to Melbourne where he met and worked with like- minded folk like You Am I's Davey Lane. Soon he was making waves internationally with his 2016 EP Melvista and his 2017 debut album Inner City Dream, around which he spent an extended period of time touring Australia and in the UK and Europe. Of course, at the start of the new decade, the world changed and Fuller's ability to keep the momentum going was lost. "It was the late summer of 2019 and I'd just returned home to Melbourne after a European Tour (and several months overseas following that). I'd just ended a long-term relationship, and I'd never felt so disconnected from my friends in the Melbourne music scene - having not played locally in almost a year. “I'd lost all the momentum I'd built up in 2018, so I was back to square one. It was time to get cracking on album #2!” The result of that disconnect and of hours of isolated work throughout lockdown and beyond, Fuller's second album is ready to go.

                                                                            TRACK LISTING

                                                                            Side A
                                                                            1. Back To Square One
                                                                            2. Alamein Line
                                                                            3. Jacaranda
                                                                            4. Pacific Coast Highway
                                                                            5. Everything Is Strange
                                                                            6. Inside And Out
                                                                            7. Trade War
                                                                            Side B
                                                                            1. Counting Down The Days
                                                                            2. The Velvet Affair
                                                                            3. The House Of Love
                                                                            4. Look No Further
                                                                            5. Worthwhile
                                                                            6. All Of My Dreams

                                                                            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?”

                                                                              TRACK LISTING

                                                                              1. Inner City Dream
                                                                              2. Someone To Walk Around With
                                                                              3. Skyways
                                                                              4. Better Of Me
                                                                              5. Morality
                                                                              6. All The Colours Of Sadness
                                                                              7. #1 Song
                                                                              8. It Can Change My Ways
                                                                              9. Biggest Fan
                                                                              10. Wish You Would
                                                                              11. Miranda Says
                                                                              12. No More Chances

                                                                              Will Gardner

                                                                              Remains

                                                                                "Remains" is the debut album from composer and sound artist Will Gardner.

                                                                                Will has worked extensively behind the scenes as an arranger, orchestrator and pianist in both Berlin and London, arranging strings for alt-J, Daughter, Låpsley and Madness. This debut solo work explores the experience of caring for his father through the final stages of Parkinson’s dementia.

                                                                                The album is both an aural imagining of the dementia experience (it’s memory slippages, disturbances, delusions and paranoias) and also a deeply personal account of grieving for a parent, and what it means to grieve for someone who is still alive.

                                                                                The composition process started after Will began reading from his Dad’s personal diaries which stretched back over twenty years. The exploration of memory through music is a constant thread throughout the album.

                                                                                “I became quite preoccupied with the idea of memory whilst reading the diaries and caring for my Dad (who’s own memory was faltering). I was thinking about where memories belong, who do they belong to, what does it mean to ‘share’ a memory, and where do they go, shared or otherwise, if they are ‘lost’?”

                                                                                Will began to compose themes using extracts from his dad’s diaries. Fragments of the text were used to derive the rhythms and melodies on which the tracks are built. Through this process, a sort of translation occurred: the immediate meaning became lost, but an imprint of it remained within the music.

                                                                                The old family piano keeps returning as a presence throughout Remains - a seared memory alongside strings, voices and other indiscernible textures, often altered and disfigured through digital effect chains. Ideas repeat themselves. Moments of clarity fall away into fog; sounds glitch in and out of focus and are distorted almost beyond recognition. Signals of separate audio chains influence each other, morphing together in an uncanny conversation - mirroring the deterioration and disorientation brought on by the disease.

                                                                                Despite the gloom, however, there is a softness that underpins these nightmares. “Whilst trying to capture this dark and incoherent internal world that my Dad was experiencing, I noticed that I kept returning, somewhat counter-intuivately, to quite delicate, soft sounds. I realised that these sounds were like seeing my own reflection emerge within the work - my own sense of concern for what he was going through and my own grief for what was being lost day by day."

                                                                                "Remains" deals with a raw, complex subject from multiple angles, slipping back and forth between Will’s own perspective and the imagined perspective of his father.

                                                                                Growing up in the Fens, East Anglia, Will’s early life was steeped in classical music. His earliest musical experiences were singing as a chorister in Ely Cathedral and he went on to study classical music at Cambridge, and obtain a piano diploma from the Royal School of Music.

                                                                                On graduating, Will moved to Berlin and spent a number of years working for composer Jonathan Bepler on Matthew Barney’s experimental operatic film "River of Fundament". It was here that he began to explore electronic music and sound design for the first time.

                                                                                Will moved to London in 2016, where he established himself as an in-demand musician, working across a variety of different genres and practices. In 2021 he wrote and conducted the arrangements on alt-J’s fourth studio album The Dream, and in 2019 was commissioned by Låpsley to write a collection of works in response to her second album "Through Water", to be played on her European Tour. He has also written arrangements for Daughter (Rough Trade 2023), HMLTD’s "The Worm" (2023). His film and TV orchestrations can be heard in Sky Atlantic's "Tin Star" (2017), "Oceans Eight" (2018), and BAFTA-nominated "Blue Jean" (2022).

                                                                                All of this collaborative experience across multiple genres plays a significant part informing Will’s own sound. Comfortable in both studio and concert hall, he demonstrates a wide variety of creative techniques from both classical and electronic music traditions.

                                                                                "Remains" is the work of a skilled and experienced practioner that is both fragile and powerful at the same time. It's an album that stays with you long after the needle has been lifted and ironically, lives long in the memory.

                                                                                Wesley Gonzalez

                                                                                Wild Garlic

                                                                                  Wild Garlic - a four-track EP - sees Gonzalez recording with a full band, with the aim of capturing a sound as close to his live shows as possible, for the first time since he played in his earlier band Let’s Wrestle. Production was handled by Jamie Neville (Puma Rosa) and Ben Romans Hopcraft (Warmduscher, Childhood, Insecure Men) at Teeth Studios in Northwood Junction.

                                                                                  Of the EP, Wesley added: “I have been blessed with a new lineup of fantastic musicians to accompany me on the road, we started referring to the band as Wild Garlic and the camaraderie and talent of the band has had a direct effect on how I chose to record this EP.”

                                                                                  The EP is the first release by Gonzalez on Sheffield-based independent record label Bingo Records (The Bug Club, Melin Melyn, Mr Ben & the Bens).

                                                                                  TRACK LISTING

                                                                                  1. When I Rot 03:11
                                                                                  2. II Proud II Beg 03:25
                                                                                  3. Dress Rehearsal 03:56
                                                                                  4. Old Town 03:14

                                                                                  'Language Of The Birds' LP was recorded solo shortly after completing 'Galaxies Like Grains Of Sand' and 'The Honey Bear' with jazz pianist Greg Foat. 'Language Of The Birds' is noticeably influenced by Warrens love of walking the countryside and woodlands on the Isle of Wight. It's also influenced by his interest in Catastrophism/ Extinction events and the use of Symbolism employed in the Art, Architecture and Writings used to communicate knowledge of such events to subsequent civilizations.

                                                                                  Warrens personal folk musings hint at 60s Psychedelic Folk but with a deeper connection to nature and the part we all play within it, it's impossible not to be drawn into his music and artwork which provokes memories of old children's books, Fairy tales, and the transportive paintings associated with them.

                                                                                  TRACK LISTING

                                                                                  1. Eve Of The Deluge
                                                                                  2. The Falling Rain
                                                                                  3. Zep Tepi
                                                                                  4. Then It Was Gone
                                                                                  5. From Lonely Hours
                                                                                  6. I Just Didn't Think You'd Care
                                                                                  7. Autumn's Draw
                                                                                  8. They Glide The Hills
                                                                                  9. Only A Moment
                                                                                  10. Wu Wei

                                                                                  Willie J Healey

                                                                                  Bunny

                                                                                    Is Willie J Healey your favourite artists’ favourite artist? You better believe it. Alex Turner, Joe Talbot of IDLES, Jamie T and Orlando Weeks are among those who believe, most having come onboard following the Neil Young-meets-The Beatles-meets Elvis Costello charms of his 2020 album ‘Twin Heavy’. And while Willie has largely been the preserve of those in the know, that’s all about to change. When Florence Welch heard his upcoming album ‘Bunny’ via its producer, her friend Loren Humphrey, as well as through YALA! Records co-founder Felix White, she was sufficiently impressed to invite Willie and his band on this autumn’s Florence + The Machine arena tour.

                                                                                    If you’ve already discovered the album’s introductory track, ‘Tiger Woods’, you’ll have had a first taste of why Florence was so won over. It sees Willie dive headfirst into a style of music he has always loved, but that never previously found its way into his own songs. It’s a low-slung, sensual ‘70s-style jam which simultaneously calls to mind Sly and The Family Stone, Philly soul, ‘Midnite Vultures’-era Beck and a little OutKast.


                                                                                    STAFF COMMENTS

                                                                                    Barry says: 'Bunny' sees Willie J Healey continue his fusion of soul, jazz and classic rock into a uniquely cohesive and wonderfully accomplished whole. Hazy jazzy balladry and crispy funk all topped with Healey's vox. Brilliant.

                                                                                    TRACK LISTING

                                                                                    Side A
                                                                                    1. Woke Up Smiling
                                                                                    2. Dreams
                                                                                    3. Tiger Woods
                                                                                    4. Thank You
                                                                                    5. Bumble Bee
                                                                                    6. Black Camaro
                                                                                    Side B
                                                                                    1. Sure Feels Good
                                                                                    2. Chrome
                                                                                    3. Late Night Driving
                                                                                    4. Little Sister
                                                                                    5. Morning Teeth
                                                                                    6. Bumble Bee Reprise
                                                                                    7. Bluebird

                                                                                    Wren Hinds

                                                                                    A Child's Chant For The New Millenium

                                                                                      Wren Hinds brought fresh thematic cogency to his third album, recorded in early 2020. The linking matter is his unerring ability to apply himself to each new situation, in this case a longing for connection - to humanity, nature - in a world tilted towards digital disconnection. While the lockdowns intensified the album's dystopian fears, the beauty and artistry in Wren's song craft counterpoint the shadows eloquently. The title-track laments "digital modification" over gamelan-ish flutters across six delicate minutes. All spectral voices and pining, 'Sign of Life' yearns for "some act of human kindness" to a wind-caressed cowboy lollop. 'The Pearl' longs for blissful quietude, while 'Wrenbird' evokes Sam Beam at his dreamiest. River's Song' adds soft, sure layers of accordion and guitar, before 'The Path' marshals misty harmonies and finger-picked guitar for a gentle declaration of resistance. "Bang your freedom drum," sings Wren, mapping out a singular path with understated assurance.

                                                                                      “Absolutely thrilled to be putting out ‘A Child’s Chant for the New Millennium’ with Bella Union! At the end of 2019 through early 2020 I buried myself amongst instruments, wires, synths, guitars and whatever I could get my hands on, I lost myself in the layering of textures, sounds and vocal overtones, armed with the scribbles of a couple new songs, ‘A Child’s Chant’ was born”.

                                                                                      TRACK LISTING

                                                                                      1. A Child's Chant For The New Millennium 06:01
                                                                                      2. Sign Of Life 05:28
                                                                                      3. The Pearl 05:44
                                                                                      4. Wrenbird 04:29
                                                                                      5. River's Song 04:04
                                                                                      6. The Path 02:37
                                                                                      7. Conclusion 00:19

                                                                                      Reissue of this amazing 1986 album where drum machines meet improv jazz. Horvitz gathers together his drum machine and synths along with his talented friends -Elliot Sharp included- for this really original record that is both composed and improvised. An obscure gem by one of the most spirited musicians to populate NY 80's avant-garde, a golden era for vanguard attitudes and sounds. Horvitz, keyboard player at Naked City (along with John Zorn, Bill Frisell, and Fred Frith) had classical musical education and an ulterior demise of the discipline; radical jazz sensibilities, and rock'n roll vitality. That made up for a very unique, highly distinctive, breed of cutting-edge music. The boundaries of contemporary composition are expanded, breathing from improvisatory strategies and awareness of both the pop world and the most experimental milieu's discoveries.

                                                                                      Large is the importance of his long-time collaborator Butch Morris' Conduction method, a system of structured free improvisation. "Dinner at eight" offers new turns on the development of these mixed approaches by being both composed and improvised but also neither fully electronic nor fully acoustic. Written mostly in the loneliness of a San Francisco apartment, the project is less collaborative than others by Wayne, and its sound palette becomes more electronic and rhythm-based. Nevertheless, the helping hand of the most stellar musicians in New York becomes crucial as it rounds the timbral and structural magic of the project. The rhythmic and sound design experiments of tracks such as "Dinner at eight" or "Conjunction For C" go hand in hand with the machine funk of "This New Generation" (where angular bass and guitar are provided by Elliot Sharp).

                                                                                      We can find a robust synthetic marimba and bass jazz in "Extra Extra" or insistent dry percussions on "Second Line" that wouldn't be far from Marc Barreca's investigations. "True" and "These Hard Times" are also harmonizing with these mechanic sounds. Joyous, exotic, and whimsical songs that prove how an ear for experimentation is an open ear to all sounds, including the most melodic and overtly fun. Brilliant fresh sensibilities and musical interests collide in "Dinner At Eight" to form a very special milestone of NYC avant-garde music, offering us an even richer vision of that amazing fertile scene

                                                                                      TRACK LISTING

                                                                                      1. Dinner At Eight
                                                                                      2. This New Generation
                                                                                      3. 3 Questions
                                                                                      4. Conjunction For C.B.
                                                                                      5. True
                                                                                      6. Extra Extra
                                                                                      7. In The Fields They Lay
                                                                                      8. Second Line
                                                                                      9. Danced All Night
                                                                                      10. These Hard Times
                                                                                      11. Reprise For C.B.

                                                                                      Back in the 80s I became a big funky jazzy and soulful vinyl collector. Which opened the world of the late great Mr Weldon Johnathan Irvine music, I managed to collect all of him LPs and singles back in the days. All have a place in my heart, back in the 90s I was also lucky enough to meet him. Licensing & Compiling for a small up label called Hubbub records. Mr Irvine was such a calm and gently person who just oozed music. He sadly passed away in 2002, which was a shock. But now years later It is a great honour to be able to release some of his music from his Nodlow music label on to 7" for the first time.

                                                                                      In 1974 Weldon released his "In Harmony" These two tracks are high line early 70s Weldon, "Fat Mouth" again features the Weldon rift. This Clavinet heavy groove is back up with the mighty Joe Jones on organ, is held steady with pumping drums of Napoleon revels "Turkish Bath" is a laid-back jazz groove, with Weldon laying down a superb lead Rhodes story and melody. Backed up with Joe Jones on the piano. Weldon's keyboard echo throughout his music with such simplicity.

                                                                                      TRACK LISTING

                                                                                      1. Fat Mouth
                                                                                      2. Turkish Bath

                                                                                      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.

                                                                                        TRACK LISTING

                                                                                        A1. Waylon Jennings, “My Baby Walks All Over Me”
                                                                                        B1. Sanford Clark, “It’s Nothing To Me”

                                                                                        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.


                                                                                        Will Long

                                                                                        Royal Blue / Mustard

                                                                                        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... 


                                                                                        TRACK LISTING

                                                                                        1. N
                                                                                         A.

                                                                                        Willy Mason

                                                                                        Already Dead

                                                                                          Magic, miracles, ghosts, world leaders; these days it seems there is little left to believe in. Lies outweigh truth and even truth can be dangerous. Raising everyone’s spirits Already Dead – the fourth album and the first for nine years from Willy Mason - explores honesty and deception, anonymity in the digital age, good intentions with unexpected consequences, freedom, colonialism, love, god, and purpose because, its storyteller says, now is the time to restore some much-needed faith.

                                                                                          “Already Dead is a spiritual state to aspire to; it is freedom from the trappings and inhibitions of one’s ego, culture, and mythology. It is freedom and love and freedom to love in the face of death,” tells Willy of the philosophy behind the writing. “It’s about the necessary destruction of one’s mythology; mythology of species, sex, race, nation, self. It’s about the pain and tragedy that comes with such destruction, but also about the freedom, possibility and opportunity for reconciliation; reconciliation with the natural world and with each other.”

                                                                                          Already Dead arrives at a time when certain words must be said. It is a quest for love in a society which fears and discourages it; for truth and justice in a society which prioritises convenience and profit. “I ended up diving so deeply into this record because it felt at the time, like the only way I could hope to do some good for somebody,” Willy says. “All the concern and care I have for people, fear, frustration and sadness, all came pouring out."

                                                                                          Sparkling opener ‘Youth On A Spit’ is one of Willy’s heaviest tracks to date; “I feel no pain I’ve already bled / You can’t kill me I’m already dead,” he taunts, through double-sided declaration of invincibility before embarking upon a biting, bold, and caring tour through the purgatory of life in 21st century North America; reaching for Heaven “The Truth is Love/The Truth is Life/The Truth is Sowing Paradise'', whilst preparing for Hell, “Things we’d do to each other/I’m worried to discover” (Gilded Lie). All the while pleading and appealing to one’s nation as if to a wayward lover; “oh my country/you were born/as a branch from a tree of thorns/of poison apple poison tree/you’ve fallen far but roots run deep” (Oh My Country). Even those considering themselves above suspicion cannot hide: “Wilfully ignorant/a false equivalence/smitten with shame/a pawn in the game” (One Of The Good Ones).

                                                                                          Voyaging across the cracks of a bleak and crumbling landscape, beauty begins to blossom as Already Dead casts new shades of meaning when applied to a society and culture teetering on the edge between reinvention and dissolution. Hope, without promise, develops into its own suspended resolution with ripping album closer ‘Worth It’ and looks towards reaching a definitive destination after the soldiering on of early LPs Carry On (2012) and If the Ocean Gets Rough (2007); “The seed and the sowing/the need and the growing/the hope and the hatred/the faith and the sacred/the thief and the servant/the fazed and the fervent/I Know It’s Worth It”.

                                                                                          After seeing the world on countless tours and supporting independent music communities, Willy’s next move looks to be even greater. “Already Dead captures the feeling of these times and I’m trying to give people encouragement, whatever that may be or look like,” he says. Here lies unquestionable truth; life might be uncertain, but to be Already Dead is just the beginning.


                                                                                          STAFF COMMENTS

                                                                                          Barry says: It's been a long wait since the last Willy Mason LP but 'Already Dead' perfectly epitomises what we've come to know and love from Willy. Brimming with folky restraint, but imbued with a cinematic intensity, these are cleverly written and brilliantly played earworms.

                                                                                          TRACK LISTING

                                                                                          1. Youth On A Spit
                                                                                          2. You’d Like To Be Free
                                                                                          3. Gilded Lie
                                                                                          4. Reservation
                                                                                          5. Oh My Country
                                                                                          6. Slowslide
                                                                                          7. One Of The Good Ones
                                                                                          8. Outwit The Devil
                                                                                          9. If There’s A Heart
                                                                                          10. Worth It

                                                                                          Wesley Matsell

                                                                                          Total Order Of Being

                                                                                            Welsh mystic Wesley Matsell returns to Border Community with an ebullient EP of 90s tinged dance utopianism. File alongside the good-natured old school stylings of Orbital, Lone and The MFA. Thoroughly road tested in the DJ sets of James Holden, the staccato gasps of rave banger ‘Total Order Of Being’ exude a melodious, propulsive appeal.

                                                                                            A trio of companion tracks seal the deal: ‘Future Beacon’ combines sacred, mystical arpeggios and rattling breakbeats; ‘Dowlais Wheelie Crew’s layers of vibrant synths form a decidedly modern groove; and ‘Rite Of Pant’ is a rousing exercise in handmade primal proto-house.

                                                                                            This is the final release in a collectable four part series of limited vinyl (500 copies). All four covers fit together to reveal a larger picture by UK designer Jack Featherstone.

                                                                                            Wall Matthews

                                                                                            Spine River:The Guitar Music Of… 1967-1981

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

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

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

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

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

                                                                                              New solo record by the guitarist of The Fresh & Onlys


                                                                                              TRACK LISTING

                                                                                              1.Summer Rains (4:44)
                                                                                              2.Protection (2:14)
                                                                                              3.Solomon’s Song (3:05)
                                                                                              4.Call By Night (2:37)
                                                                                              5.Bride Of The Lamb (2:17)
                                                                                              6.Divided In Two (4:01)
                                                                                              7.Rear View Mirror (3:16)
                                                                                              8.Stand Before Me (4:27)
                                                                                              9.Devil’s Blue Eyes (4:12)

                                                                                              ‘Like Shadows Dancing In The Dark’- Label Sampler Bonus Disc
                                                                                              Tracklist
                                                                                              1. Jenny Hval – Female Vampire (from Blood Bitch)
                                                                                              2. Exploded View – Orlando (from Exploded View)
                                                                                              3. Lust For Youth – Display (from Compassion)
                                                                                              4. Blanck Mass – Atrophies (from Dumb Flesh)
                                                                                              5. Wymond Miles – Divided In Two (from Call By Night)
                                                                                              6. Psychic Ills – I Don’t Mind (feat. Hope Sandoval) (from Inner Journey Out)
                                                                                              7. Institute – Perpetual Ebb (from Catharsis)
                                                                                              8. Cheena – Car (from Spend The Night With…)
                                                                                              9. Destruction Unit – Salvation (from Negative Feedback Resistor)
                                                                                              10. Marching Church – Living In Doubt (from This World Is Not Enough)
                                                                                              11. Flowers For Agatha – The Freedom Curse (from KBDR Vol.2)
                                                                                              12. Pop.1280 – USS ISS (from Paradise)
                                                                                              13. Almost Holy OST (Atticus Ross & Bobby Krilic) – Wild Moose
                                                                                              14. John Carpenter – Utopian Façade (from Lost Themes II)

                                                                                              Wymond Miles

                                                                                              Earth Has Doors EP

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

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

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

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

                                                                                                TRACK LISTING

                                                                                                1. The Ascension (5:33)
                                                                                                2. Passion Plays (3:27)
                                                                                                3. Night Drives (4:06)
                                                                                                4. White Nights (2:12)
                                                                                                5. Bronze Patina (1:32)
                                                                                                6. Vacant Eyes (5:30)
                                                                                                7. Anniversary Song (4:43)
                                                                                                8. Why Are You Afraid? (3:17)
                                                                                                9. Love Will Rise (2:59)

                                                                                                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.

                                                                                                TRACK LISTING

                                                                                                1. Strange Desire
                                                                                                2. Pale Moon
                                                                                                3. Singing The Ending
                                                                                                4. Run Like The Hunted
                                                                                                5. Youth’s Lonely Wilderness
                                                                                                6. The Thirst
                                                                                                7. You And I Are Of The Night
                                                                                                8. Lazarus Rising
                                                                                                9. Badlands
                                                                                                10. Trapdoors And Ladders

                                                                                                Will Oldham & Lori Damiano

                                                                                                Shorty’s Ark

                                                                                                  ‘Shorty’s Ark’ is a book for young readers, a collaborative effort between singer Will Oldham and graphic artist Lori Damiano, based on work by Oldham and musician Matt Sweeney. Drawing inspiration from the story of Noah, ‘Shorty’s Ark’ names and pictures a wild variety of species to inform and engage an equal variety of young minds with the diversity that can be found around this great planet of ours. The flood stands as metaphor for current impending changes in our planet, and the story works as a springboard for understanding concepts of interdependency, diversity and extinction.

                                                                                                  Colourfully illustrating as many creatures and their places as possible, ‘Shorty’s Ark’ is an earth-affirmative vision meant to stimulate the curiosity and passion of those who encounter it. Will Oldham makes songs, mostly out of his home in Louisville, KY where he lives with his wife Elsa Hansen Oldham and their daughter, Poppy Jo. Increasingly, Oldham’s lyrics make sense. He loves partnering up in order to make the strongest work; it was partnership that yielded the song ‘Shorty’s Ark’ (it can be heard on Matt Sweeney & Bonnie ‘Prince’ Billy’s ‘Superwolves’ album), and his partnership with Lori Damiano that make this book what it is.

                                                                                                  Lori Damiano is an illustrator / animator / textile artist based in Oregon. She loves to tell stories in pictures made out of paint, yarn, or pixels. A lot of the stories she draws are based on observing her fellow earthlings.

                                                                                                  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.

                                                                                                  TRACK LISTING

                                                                                                  1. I See A Darkness
                                                                                                  2. Ohio River Boat Song
                                                                                                  3. So Far And Here We Are
                                                                                                  4. The Way
                                                                                                  5. Wai
                                                                                                  6. The Glory Goes
                                                                                                  7. Only Someone Running
                                                                                                  8. Big Friday
                                                                                                  9. Most People
                                                                                                  10. Strange Affair
                                                                                                  11. New Partner
                                                                                                  12. Party With Marty (Abstract Blues)

                                                                                                  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.


                                                                                                  TRACK LISTING

                                                                                                  A1. Tomorrow
                                                                                                  A2. Why Go To War
                                                                                                  B1. Love Me Now
                                                                                                  B2. Fantastic Man
                                                                                                  B3. Try And Try

                                                                                                  William Onyeabor

                                                                                                  World Psychedelic Classics 5: Who Is William Onyeabor?

                                                                                                  THE PICCADILLY RECORDS REISSUE/COLLECTION OF THE YEAR 2013.

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

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

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

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

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

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

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

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

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

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

                                                                                                  TRACK LISTING

                                                                                                  1. Body And Soul
                                                                                                  2. Atomic Bomb
                                                                                                  3. Good Name
                                                                                                  4. Something You Will Never Forget
                                                                                                  5. Why Go To Ware
                                                                                                  6. Love Is Blind
                                                                                                  7. Heaven And Hell
                                                                                                  8. Let’s Fall In Love
                                                                                                  9. Fantastic Man

                                                                                                  LP EXCLUSIVES – NOT AVAILABLE ON CD OR DIGITALLY:
                                                                                                  10. When The Going Is Smooth & Good
                                                                                                  11. The Way To Win Your Love
                                                                                                  12. Jungle Gods
                                                                                                  13. Love Me Now

                                                                                                  William Orbit

                                                                                                  The Painter

                                                                                                    William Orbit returns with his first new album in over eight years. Entitled ‘The Painter’ it is unmistakeably William Orbit and features vocal collaborations from an array of artists including Katie Melua, Beth Orton, Georgia, Polly Scattergood, Ali Love and more.

                                                                                                    TRACK LISTING

                                                                                                    1. Duende (feat. Katie Melua)
                                                                                                    2. Bank Of Wildflowers (feat. Georgia)
                                                                                                    3. I Paint What I See (feat. Beth Orton)
                                                                                                    4. William Orbit & Hukwe Zawose - Heshima Kwa Hukwe
                                                                                                    5. Nuestra Situación (feat. Lido Pimienta)
                                                                                                    6. The Diver (feat. Natalie Walker)
                                                                                                    7. William Orbit & Polly Scattergood - Colours Colliding
                                                                                                    8. Gold Coast
                                                                                                    9. Second Moon
                                                                                                    10. Promethean Lies (feat. Ali Love)
                                                                                                    11. Planet Sunrise
                                                                                                    12. No Other World (feat. Beth Orton)
                                                                                                    13. Free Glo (feat. Gloria Kaba And Laurie Mayer)
                                                                                                    14. I Paint What I See (feat. Beth Orton) (Epic Mix) (VINYL ONLY EXCLUSIVE TRACK)

                                                                                                    Wayne Phoenix

                                                                                                    Soaring Wayne Phoenix Story The Earth And Sky

                                                                                                      soaring wayne phoenix story the earth and sky is the debut album from multi-disciplinary British artist Wayne Phoenix. Originally conceived over a decade ago as one part of an elaborate project encompassing music, film, and performance, story the earth and sky is not only a profoundly personal and vulnerable expression unbound by Phoenix’s exploration of creative potential and mystery, but a bridge beyond the artificial boundaries that separate us all from an unfiltered voice within us all.

                                                                                                      The impetus of this album formed around a musical improvisation that occurred in 2009 between Phoenix and Richard, a man who he was working with as a support client. Richard suffered from severe autism, and had been labeled as non-verbal. But as Wayne sat down to play the piano one day with Richard in the room, he was met with some surprising behavior. Richard began uttering some simple phrases over Wayne’s piano, his speech interplaying with the melancholic chords.

                                                                                                      Moved, if not transformed, by the event, Phoenix began developing a vocal style in tune with our natural, unmanufactured voice as a means to accomplish boundless interconnectivity. He searched for “the voice of the child within, which has no concept of the world it inhabits, nor any means to navigate that world.”

                                                                                                      This realization spurred a deeply creative period for the artist, spanning nearly fourteen years to date. Originally conceived as one part of a multimedia project, soaring wayne phoenix story the earth and sky, communicates the core of the artist’s creative intentions. Phoenix says that “all these works to date are the by-product of something else, which has manifested as music and has been spread over various artistic formats, not limited to any one specific discipline.”

                                                                                                      Phoenix perpetuates this hazy aura of his work, stating “if it came to finding the converging principle that ties it all together, one could find oneself in a position similar to Rumi’s story of the elephant in the dark, in which each person felt a different part of the elephant and considered it to be the whole”

                                                                                                      Mirroring this theme of subjectivity, the first half of story the earth and sky starts in abstract, words and thoughts left hanging in the ether. Phoenix’s broken, spoken word obscures itself in melodic white noise and distortion. As we reach the middle of the record, the smoky sound of the opening pieces begins to clear, making space for a melancholic yet musical manifestation of Phoenix’s work, that while still somewhat disarming, soars to higher heights. soaring wayne phoenix story the earth and sky focuses on the artist’s internal search and dissolves in the surrounding ambiance before eventually, and undeniably, arriving outside and beyond itself. A powerful, intentional debut from an artist determined to find and define a new form of expression.


                                                                                                      TRACK LISTING

                                                                                                      A1. Mood
                                                                                                      A2. Alone
                                                                                                      A3. Place
                                                                                                      A4. Home
                                                                                                      A5. ...and Sleepless Skies
                                                                                                      A6. Burn False Messages
                                                                                                      A7. I Gave You Power
                                                                                                      A8. Reserve
                                                                                                      A9. Death Is Pure Objectivity
                                                                                                      B1. Latika’s Grace (it’s Not What You Go Through, It’s How You Go Through It)
                                                                                                      B2. Gate
                                                                                                      B3. Nightswim Feat. Run Rivers
                                                                                                      B4. Cygnet
                                                                                                      B5. The Light The Lamb
                                                                                                      B6. One Man Island Feat. CrystalXulu

                                                                                                      Will & James Ragar

                                                                                                      Will And James Ragar One

                                                                                                        A wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980. BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One”.

                                                                                                        James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album. Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.

                                                                                                        ‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers. ‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote. The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.

                                                                                                        TRACK LISTING

                                                                                                        1. As The Day Grows Tired
                                                                                                        2. She's Laughter
                                                                                                        3. My Shining
                                                                                                        4. Don't I Wish To Be Free
                                                                                                        5. Melting Pot
                                                                                                        6. Needs
                                                                                                        7. Parade
                                                                                                        8. Louisiana Fall
                                                                                                        9. Hidden Away
                                                                                                        10. Just A Wanderer
                                                                                                        11. Oregon
                                                                                                        12. Forever
                                                                                                        13. Bayou Paradise

                                                                                                        Will & James Ragar

                                                                                                        Forever / Bayou Paradise

                                                                                                        BBE Music announces the first-ever re-issue of this sun baked folk/jazz hybrid 45 by Louisiana brothers Will & James Ragar. First released in 1981, this private press 7" showcases Will & James' songwriting skills, refined performance and sophisticated compositions. Remastered by Frank Merritt the re-issue has an analogue warmth that the brothers say sounds even more pleasing than the original. Will & James Ragar began as the Will James Band performing on the popular 'Crawfish Circuit' of Southern Louisiana - this circuit included New Orleans, Thibodaux and Baton Rouge. They played blues, rock and jazz combos, covering everything from James Taylor to Jimi Hendrix. Eventually evolving into an acoustic folk-rock duo by the time they entered the studio in 1980. Both tracks on the 45 were recorded at River City studios in Baton Rouge in 1980. The engineer had the Allman Brothers on his list of recording credits, so they felt they were in excellent company. "Bayou Paradise" was an ode to the beauty of Southern Louisiana. The famous Sunshine bridge over wetlands as the sounds of migrating geese echo overhead on their journey down the Mississippi River flyway. The Atchafalaya river basin flows into the Gulf of Mexico near Lafayette creating a large wetland area and lush lakes connected by endless bayous. Miles and miles of lush swamps with many uninhabited areas just waiting to be explored.

                                                                                                        "Forever" captures the exhilaration of new love, focusing on its intoxication and ecstasy without looking ahead to the reality of a life on the road. The soulful chorus inspires motion and enthusiasm. The shadow of Woodstock had a defining role against tradition. Things were changing socially. Loving someone forever was always part of the dream but seemingly broken in an age of break-ups and divorce. The optimistic hope that "love will survive" was half dream and half pessimistic glance forward at the social trends of relationships that were to follow. The studio band included Will & James. John Smart on keyboards, he's solo on "Forever" was achieved with the Legendary Analog Prophet synth and saturated the studio with rich layers of its distinctive sound, driving the up-tempo chorus. Dave D'Aubin, a versatile bass player whose resonant tone is very present on both songs. Tommy Jefferson is on drums, an alumnus of the Southern University jazz program, the same place Randy Jackson and Billy Cobham studied. Tommy used a tight higher pitch snare drum on the recording, a sound that would soon become very popular, but at that time was a little ahead of the curve. The session was recorded on analogue tape using the 24-track MCI recorder and mixed down to analogue tape for the single. Will & James added vocal harmonies and soaked up the fidelity during mix-down. The release coincides with the long-awaited re-issue of the brothers' album 'Will & James Ragar One'. This much sort after private press long-player was originally released in 1980 and sold locally in a limited run has now been fully remastered by Frank Merritt. BBE Music presents the album in a glorious gatefold with extensive sleeve notes. This time the vinyl will be pressed over 2 discs to produce the best sound possible.

                                                                                                        TRACK LISTING

                                                                                                        1. Forever
                                                                                                        2. Bayou Paradise

                                                                                                        William And Jim Reid

                                                                                                        Never Understood: The Story Of The Jesus And Mary Chain

                                                                                                          For 5 years after they'd swapped sought-after apprenticeships for life on the dole, brothers William and Jim Reid sat up till the early hours in the front room of their parents' East Kilbride council house, plotting their path to world domination over endless cups of tea, with the music turned down low so as not to wake their sleeping sister. They knew they couldn't play in the same band because they'd argue too much, so they'd describe their dream ensembles to each other until finally they realised that these two perfect bands were actually the same band, and the name of that band was The Jesus and Mary Chain.

                                                                                                          The rest was not silence, and picking up those conversations again more than 40 years later, William and Jim tell the full story of one of Britain's greatest guitar bands for the very first time - a wildly funny and improbably moving chronicle of brotherly strife, feedback, riots, drug and alcohol addiction, eternal outsiders and extreme shyness, that also somehow manages to be a love letter to the Scottish working-class family.

                                                                                                          William And Jim Reid

                                                                                                          Never Understood: The Story Of The Jesus And Mary Chain - Record Store Edition

                                                                                                            For 5 years after they'd swapped sought-after apprenticeships for life on the dole, brothers William and Jim Reid sat up till the early hours in the front room of their parents' East Kilbride council house, plotting their path to world domination over endless cups of tea, with the music turned down low so as not to wake their sleeping sister. They knew they couldn't play in the same band because they'd argue too much, so they'd describe their dream ensembles to each other until finally they realised that these two perfect bands were actually the same band, and the name of that band was The Jesus and Mary Chain.

                                                                                                            The rest was not silence, and picking up those conversations again more than 40 years later, William and Jim tell the full story of one of Britain's greatest guitar bands for the very first time - a wildly funny and improbably moving chronicle of brotherly strife, feedback, riots, drug and alcohol addiction, eternal outsiders and extreme shyness, that also somehow manages to be a love letter to the Scottish working-class family.

                                                                                                            Wayne Robbins & The Hellsayers

                                                                                                            The Lonesome Sea

                                                                                                              Hailing from Asheville, North Carolina, Wayne Robbins describes this debut as 'a love letter to the ocean from the mountains of North Carolina' (Asheville is located on the crest of The Blue Ridge Mountains). The title of the album is a Carter Family reference to a song called "Sinking In The Lonesome Sea". Robbins: 'One September night I wandered into the Carter fold in rural Virginia and was surprised to witness Johnny Cash and June Carter singing the song and I thought it matched a lot of what I was writing at the time. Actually the album really originates with Dylan's "Basement Tapes". The two guitarists in the band, Jeff Whitworth and Jonas Cole are fans of everything from Doc Watson to Super Furry Animals'. This album reminds us of everything we love about Galaxie 500, Neil Young and Mercury Rev (check out the sonic guitar sound on "Jesus"). It was self-recorded in a venue in North Carolina 'The Grey Eagle' on nights it was closed.

                                                                                                              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.

                                                                                                              TRACK LISTING

                                                                                                              1. C#7
                                                                                                              2. I Saw An Angel
                                                                                                              3. All Roads Lead To Helen
                                                                                                              4. The Island Of Malta
                                                                                                              5. The Devil Has A Map
                                                                                                              6. Rowboat Of Stone
                                                                                                              7. The Lonesome

                                                                                                              Will Samson

                                                                                                              Paralanguage

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

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

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

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

                                                                                                                TRACK LISTING

                                                                                                                Calescent
                                                                                                                Beyond The Dust
                                                                                                                Flowerbed
                                                                                                                Triplet
                                                                                                                Lacuna
                                                                                                                The Human Mosaic
                                                                                                                Ochre Alps
                                                                                                                The Smallest Sliver

                                                                                                                Will Samson

                                                                                                                Welcome Oxygen

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

                                                                                                                  Will Sheff

                                                                                                                  Nothing Special

                                                                                                                    After nine critically acclaimed albums, twenty bandmates, countless bars, clubs, theaters and festivals, after two full decades, Will Sheff is letting Okkervil River drift out to sea with the release of Nothing Special, his debut collection under his own name. Nothing Special was recorded with a mix of old friends (like Benjamin Lazar-Davis and Will Graefe) and new collaborators (Christian Lee Hutson, Cassandra Jenkins, Dawes drummer Griffin Goldsmith, and Death Cab For Cutie pianist Zac Rae).

                                                                                                                    Wayne Shorter

                                                                                                                    Schizophrenia - Tone Poet Edition

                                                                                                                      Wayne Shorter’s 1967 album Schizophrenia found the legendary saxophonist at the pinnacle of post-bop with a sextet of like-minded musical explorers including James Spaulding, Curtis Fuller, Herbie Hancock, Ron Carter & Joe Chambers performing Shorter originals like ‘Tom Thumb’, ‘Go’, and ‘Miyako’.

                                                                                                                      This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

                                                                                                                      TRACK LISTING

                                                                                                                      1. Tom Thumb (Side A)
                                                                                                                      2. Go (Side A)
                                                                                                                      3. Schizophrenia (Side A)
                                                                                                                      4. Kryptonite (Side B)
                                                                                                                      5. Miyako (Side B)
                                                                                                                      6. Playground (Side B)

                                                                                                                      Walter Smetak

                                                                                                                      Smetak

                                                                                                                        This reissue reproduces the much sought after original 1974 edition, published by Phillips. It includes the catalog of instruments used, adds a brochure with new photos and presents the remastered audio. The liner notes were written by Caetano Veloso. An emblematic figure of the Brazilian avant-garde and a key part of the cultural climate that made the rise of tropicália possible, Walter Smetak was a Swiss musician and inventor of instruments who developed his career in Brazil.

                                                                                                                        "Smetak" (1974), his debut album, was produced by Caetano Veloso and Roberto Santana, and had the support of Gilberto Gil. It sums up a personal universe that combines Afro-Brazilian ritual traditions, theosophy, microtonal studies, collective improvisation and the use of unconventional musical instruments.

                                                                                                                        TRACK LISTING

                                                                                                                        SIDE A
                                                                                                                        A1. Tijolinhos, Material De Construção "Audição Espontânea Do Silêncio, Violão Eólico 02:30
                                                                                                                        A2. Akwas 08:22
                                                                                                                        A3. Dos Mendigos 00:48
                                                                                                                        A4. Sarabanda Projeção Improvisada 07:02
                                                                                                                        A5. Dansom 01:38

                                                                                                                        SIDE B
                                                                                                                        B1. Mantram 07:37
                                                                                                                        B2. Iêéaóôu 00:43
                                                                                                                        B3. Música Dos Mendigos 05:41
                                                                                                                        B4. Indiferenciações 10:05
                                                                                                                        B5. Preludiando Com Joseba 02:02
                                                                                                                        B6. Uibitus E Beija-Flores Etc. "Poluiçãoquebratória" 02:44

                                                                                                                        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.

                                                                                                                        TRACK LISTING

                                                                                                                        Light Blue
                                                                                                                        Thick Skin
                                                                                                                        Manzanita
                                                                                                                        Vanishing Class
                                                                                                                        Whatever’s Divine
                                                                                                                        I See You
                                                                                                                        Some Ride
                                                                                                                        Skating On The Glass
                                                                                                                        This Is What We Do
                                                                                                                        Ribbons

                                                                                                                        Will Stratton

                                                                                                                        The Changing Wilderness

                                                                                                                          Will Stratton’s rich catalogue is proof that the Hudson Valley folk musician thrives on exploration and reflection. Chart his trajectory over his previous six albums and you’ll find a songwriter not content to stay comfortable or do the same thing twice. From his 2007 debut What the Night Said, which he released aged 20, to 2014’s Gray Lodge Wisdom, a resilient and gorgeous LP which documented his bout with cancer, as well as 2017’s Rosewood Almanac, a de facto love-letter to song-writing, his guitar, and his favourite records, the subtle but sizable tweaks to his process, arranging, and writing have been revelations. “I’ve always tried to make the process of making music as much of a source of pleasure and exploration as possible,” says Stratton. So it’s no surprise that The Changing Wilderness, his resonant and clear-eyed seventh album, pushes him to expansive new heights again.

                                                                                                                          The 10 tracks on the LP came about from an intense four-year period of soul-searching and change for Stratton, where he knew he needed to change the way he wrote songs. “I was just really sick of introspection,” he says. “I had to write music that felt like it was engaging with the outside world, rather than focusing on what was going on in my own life like on my earlier records.” With the 2016 election, Donald Trump’s Presidency, and rising right-wing extremism on his mind, Stratton set out to interrogate his country’s present crises. Like the best protest music, these songs aren’t didactic or preachy. Instead, they ask more questions than claim to have answers with Stratton’s lyrics taking a scalpel-like approach to the very worst of human nature. 

                                                                                                                          TRACK LISTING

                                                                                                                          1. Tokens
                                                                                                                          2. Black Hole
                                                                                                                          3. Infertile Air
                                                                                                                          4. The Rain
                                                                                                                          5. Finally Free
                                                                                                                          6. Fate's Ghost
                                                                                                                          7. When I've Been Born (I'll Love You)
                                                                                                                          8. River Of Silver
                                                                                                                          9. Venus
                                                                                                                          10. Stillness

                                                                                                                          The final William Stuckey release unfortunately did not make it on time for the man himself who sadly passed last year, with support of his family we are very happy to do this 45 justice.

                                                                                                                          The previously unreleased 'Everything That's Good In Life' A Very suitable unreleased track up there with his finest moments, it's got everything that would have made this a classic over the years and no doubt will make it a future classic for years to come, flipped with an alternate 7" Mix of 'Hold Me Close' this is a rock solid 45. You know what to do.

                                                                                                                          TRACK LISTING

                                                                                                                          1. Everything That's Good In Life
                                                                                                                          2. Hold Me Close (7 Inch Mix)

                                                                                                                          During the production of two singles (This being the first) unfortunately William Stuckey passed away, below are some words from my partner in the project Brian Sears regarding our work with him pm his LP.

                                                                                                                          Brian Sears - I'm not one that likes to write but I wanted to say a few things about William Stuckey. William Stuckey passed away last in August 2021 at age 73, and is an artist that I've been working with since last summer. He was a key fixture in the Little Rock music scene and most notably was one of the driving forces behind the legendary True Soul label. Lee Anthony, the owner of True Soul Records, once told me that William Stuckey was the most talented musician he had ever worked with, and if you know anything about that label or Lee Anthony, that's quite a compliment.


                                                                                                                          When I reached out to William last summer about re-releasing his material, he ignored my calls and messages. Fortunately, I was able to reach his son, Erreyon who was kind enough to listen to me. I've worked a lot of terrible sales gigs in my past and "getting to the point" is sometimes a hard thing to achieve, especially when you're trying to talk about the music business and music that's 50 years old. But the point was simple, his music matters and deserved to be preserved. This resonated with William and Erreyon and they gave Euan Fryer and myself a chance.There was a memorable handoff of the master tapes in a parking lot and from that point forward I knew William Stuckey trusted me. Trust is something he had to do a lot in his life due to the fact that he was visually impaired and I'm thankful he trusted us. As I wrote before, there was a long process of transferring the tapes, but it was successful, and the album has never sounded so good. William had incredible hearing and was able to pick out details most might not detect. He was gifted and that shined through his own playing and voice through copious recordings. Speaking with him after he finally heard the newly remastered album, the way he had intended for it to sound, is something I'll never forget. Moments like that are really the reason why I feel so compelled to work with older musicians that didn't get a fair shake the first time.

                                                                                                                          Meeting William Stuckey face to face earlier this summer was one of the highlights of my year. We laughed and hung out at his place where he had lived for the past 50 years. I told him his music was internationally known and the re-release was well received. He was humble and felt like a long lost friend that I hadn't seen in a long time. I'll never forget that. I told him I wanted to take some photos, and I'm so glad I did.We had a good time and it was a beautiful summer night and as I left his place his neighbours noticed me walking to my car and wanted to chat, so we talked briefly and it ultimately lead to one of them getting into their car and cranking "The First Time" on the stereo system in their driveway. I wasn't sure if Stuckey could hear it from his house, but part of me knew he probably could and hearing his song echo in the background as I drove off and thinking about Stuckey and the time we shared and his music being appreciated by so many, even in that moment, is a wonderful memory. I'd like to think he was smiling.His music and legacy will live on forever.
                                                                                                                          Rest in peace to a great one.

                                                                                                                          TRACK LISTING

                                                                                                                          1. The First Time
                                                                                                                          2. The First Time (Instrumental)

                                                                                                                          Whitmer Thomas

                                                                                                                          Songs From The Golden One

                                                                                                                            When asked to describe himself, Whitmer Thomas—comic, musician, skateboarder, infamous Blink182 fan—will tell you, “I’m always gonna be the one whose mom called him ‘the Golden One,’ right before she died.” This is where his debut HBO comedy special, The Golden One, finds Whitmer: age thirty, investigating this sense (curse?) of destiny-as-identity. It’s been thirteen years since he left Alabama for LA, becoming a linchpin for LA’s young, independent comedy scene with Power Violence, the monthly show he hosted with friends. But he became haunted by the question: had he already peaked, just like his mom, singer in a local band with big ambitions that never made it out of the Flora-Bama Lounge in Gulf Shores? Rather than shy away from all that messy self-mythology, Whitmer tapped the source of it all through writing this one-man show featuring his own original music. Songs from The Golden One, a companion album of songs from the special, features Whitmer’s darkwave bangers, synthesizing relatable content: millennial anxieties, therapy-speak jokes, and the annals of his own childhood tragedies.

                                                                                                                            Songs from The Golden One feature ten cuts of borderline-John Maus cosplay with spasms of pop-punk absurdity. Thomas uses the gothy, nasal vocal drone as a tool of comic detachment to cover the funny-’cause-its-true territory of awkward sex, crippling insecurity, the shame of ambition, and the long tail of abandonment traumas. Each song is a capsule of initial therapy breakthroughs: those realization zingers where suddenly it all makes sense how each fucked variable from then makes up the weird shit of now. When you see it all for what it is, it looks like some sick, clever joke from the universe, driving you desperate to revise the comedy so that if you have to be reality’s punchline, at least you can write the jokes. Original tracks from the special include the shimmering, synthy euphoria of “Eat You Out,” a glorious admission to performance anxiety and the ol’ magician’s cloak of cunnilingus move. There’s “The Codependent Enabler,” a whole jungle gym of toxic relationship rationale where “I can only get it up if you are down,” and the sadboy sobriety anthem “Partied to Death,” about when you’re young in LA and you have to tell people that you’re not “Cali sober for wellness,” you’re sober because your mom actually died from addiction. At first pass, Whitmer’s special and album make a relevant, hilarious articulation of one tragic childhood, of the messiness of masculinity, of the timeless qualms of being broke with a dream in Los Angeles, and the humiliation inherent in having “a dream” at all. But in flashes of unexpected weirdo wisdom, Whitmer weaves a deeper story of a person finding reconciliation and forgiveness while finding his own self and voice. He faces his darkness with darkwave, writing the story of his objectively insane youth through a Venn diagram of cool guy music, goofy dude jokes, and sensitive boy reflections that hit in a way that feels bigger than the sum of its parts. Whitmer will say that he made The Golden One out of desperation, but there’s something about it that feels a lot more like destiny. 

                                                                                                                            TRACK LISTING

                                                                                                                            1. Hurts To Be Alive
                                                                                                                            2. Dumb In Love
                                                                                                                            3. Brother Is Bigger
                                                                                                                            4. Partied To Death
                                                                                                                            5. The Codependent Enabler
                                                                                                                            6. Eat You Out
                                                                                                                            7. Dancing With My Dad
                                                                                                                            8. Hopes And Dreams
                                                                                                                            9. The Golden One
                                                                                                                            10. He's Hot

                                                                                                                            Whitmer Thomas

                                                                                                                            The Older I Get, The Funnier I Was

                                                                                                                              The Older I Get the Funnier I Was, musician/comedian Whitmer Thomas’s follow-up to his 2020 HBO special The Golden One, and his 2022 Can't Believe You're Happy Here EP, moves between pop punk, electro, and the influence of the singer-songwriters he grew up listening to in early childhood. It conjures the ennui of Bright Eyes, the barefaced storytelling of John Prine, the overstuffed lists of Fred Thomas, and the lackadaisical humor of Colleen Green.

                                                                                                                              TRACK LISTING

                                                                                                                              01. Most Likely
                                                                                                                              02. Rigamarole
                                                                                                                              03. Everything That Feels Good Is Bad
                                                                                                                              04. Big Truck
                                                                                                                              05. Pop Fly
                                                                                                                              06. Cooler When I’m Sick
                                                                                                                              07. Pinwheel
                                                                                                                              08. Stick Around
                                                                                                                              09. South Florida
                                                                                                                              10. Navel Gazey
                                                                                                                              11. Bushwhacked

                                                                                                                              William Tyler & The Impossible Truth

                                                                                                                              Secret Stratosphere

                                                                                                                                Recorded live at Yellowhammer Brewing in Huntsville, Alabama, in May 2021, Secret Stratosphere finds William Tyler and fellow psychedelic dreamers The Impossible Truth refashioning prime cuts from the Nashville guitarist's rich catalog, casting new light onto once-familiar songs. Featuring the crackling combo of Jack Lawrence (Raconteurs, Dead Weather), Brian Kotzur (Silver Jews, Country Westerns), and Luke Schneider (solo, Margo Price), the quartet stretch the dynamics of Tyler's compositions to their fullest interdimensional potential, exposing a deep undercurrent of kosmische and post-rock influences (with the right amount of grit from the nitrous corner of the Dead Lot). In teasing these influences out on favorites and new songs alike he cheekily calls closer "Area Code 601" a "Hawkwind meets Charlie Daniels Band number" before sending the crowd home on a previously unreleased stunner that lives somewhere between mind-expanding prog and beer commercial–backing Southern rock Secret Stratosphere confirms William Tyler's place as one of our most brilliant guitarists, bandleaders, and composers.

                                                                                                                                TRACK LISTING

                                                                                                                                01 Our Lady Of The Desert
                                                                                                                                02 Highway Anxiety Radioactivity
                                                                                                                                03 Whole New Dude
                                                                                                                                04 I'm Gonna Live Forever (If It Kills Me)
                                                                                                                                05 Gone Clear
                                                                                                                                06 We Can't Go Home Again
                                                                                                                                07 Area Code 601

                                                                                                                                William Tyler

                                                                                                                                Goes West

                                                                                                                                  Some words from M.C. Taylor of Hiss Golden Messenger:

                                                                                                                                  "I met William Tyler on a train going south out of London. He had a nervous and cryptic and welcoming aura and was the first Nashville native (there is such a thing) that I’d ever met. We both carried more than we could manage on that trip, and I realized later that his bags were full of books. Books about psychology, philosophy, the Civil War, and astrology. Books—I realize now as I write this—about measuring and deciphering the boundaries of kindness and cruelty. William and I bonded early in our relationship over Barry Hannah, a hellraising writer from Mississippi who practically reinvented the way that words could be assembled on a page. Like Hannah, William Tyler knows the South—as a crucible of American histories and cultures, an entity capable of expansive beauty and incomprehensible violence, often in the same beat.. In the music of William Tyler, the South is not apart from America; the South is America condensed. And like Hannah—and this part is important—William moved to California, where Goes West was written.

                                                                                                                                  William’s new record, Goes West, is the best music that he’s ever made. I’m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then—no alcohol, no drugs, no evil thoughts—and was astonished at the emotional clarity that the album held. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists."

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Barry says: William Tyler definitely has an ear for a progression. Pitch-perfect guitar athletics, tempered by warming Americana vibes help to make what could easily have been a confusing ball of sound into a multi-layered, and beautifully textured tapestry. Undoubtably one of the greatest folk / Americana artists out there today. Superb

                                                                                                                                  TRACK LISTING

                                                                                                                                  1. Alpine Star
                                                                                                                                  2. Fail Safe
                                                                                                                                  3. Not In Our Stars
                                                                                                                                  4. Call Me When I’m Breathing Again
                                                                                                                                  5. Eventual Surrender
                                                                                                                                  6. Rebecca
                                                                                                                                  7. Venus In Aquarius
                                                                                                                                  8. Virginia Is For Loners
                                                                                                                                  9. Man In A Hurry 
                                                                                                                                  10. Our Lady Of The Desert (features Bill Frisell)

                                                                                                                                  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. 

                                                                                                                                    W-X

                                                                                                                                    W-X

                                                                                                                                      “I think of this record as kind of a ‘Tim Presley reads his book on tape,’ the story of life in Los Angeles flowing like the low moisture river that it is. The start is uphill, long and slow, and you ponder when you will be spat out onto the straight away. By the time ‘Clean It Glen’ kicks in, your hands are sweating, and then you are there and it is glassy and wonderfully repetitive, repetitive, repetitive. Lights are flashing, cars are passing. There is synthesized wild life here - blips that are winged, crackles that are slithering through the digital grass. Echo ripples across a chrome topped body of water. You catch a glimpse of yourself in a store-that-sells-something window. “Beats are the staccato lines on the road being eaten by the undercarriage of the vehicle that whips through this world. Guitars are trash and debris; acid. A headphone record at its primal best, far out and geographically odd. Every time I play this someone asks, ‘what the hell is this?’ I say, ‘W-X, dig in. Best to listen to it in its entirety.’ A vast 20-course experience served on twin platters; a carnival; a far cry from White Fence and yet still the scent lingers on the fingers. He told me I would hate this repeatedly and I replied that it is my favorite masterpiece of his (of which there are many). This record looks through to the matrix of Tim’s songsmith genius, don’t forget to blink. “For fans of early Soft Machine, The Fall, The Tronics, general clutter, disarray and Faust.” - John Dwyer.

                                                                                                                                      Waajeed’s 2022 long player, "Memoirs of Hi-Tech Jazz", was an aural love letter to his hometown of Detroit; an amalgam of the city’s history, coalescing the personal, political and, of course, musical past.

                                                                                                                                      From the Motown soul assembly line to J Dilla’s musically dense hip-hop to The Stooges’ proto-punk to the birth of techno, the music of the Motor City has spread across the globe inspiring countless artists who in turn went on to create their own forms and genres.

                                                                                                                                      Emulating this movement and transmutation, the "Memoirs of Hi-Tech Jazz Remixes "12” sees artists from three continents repurpose elements from across the LP, transforming them into productions stamped with their own trademark styles whilst retaining the spirit of each original:

                                                                                                                                      The UK’s Mark Broom loops sections of "Right Now" while speeding up the BPM for a classic UK-style techno remix. Ghana-born Yazzus takes on "The Ballad of Robert O’Bryant" adding a surprising number of twists and turns for a five-and-a-half-minute piece. Australians Jensen Interceptor and Assembler Code close the 12” out with their take on the album’s title and opening track neatly closing the loop, bringing us full circle to the start of the LP.



                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Matt says: Techno heads got plenty of get excited about here as three producers get to grips with tracks off Waajeed's seminal LP. Hard to pick a favourite but the uplifting glow and tribal energy of that Yazzus remix certainly has me bum shuffling in my seat this afternoon.

                                                                                                                                      TRACK LISTING

                                                                                                                                      A1. Right Now (Mark Broom Remix)
                                                                                                                                      B1. The Ballad Of Robert O'Bryant (Yazzus Remix)
                                                                                                                                      B2. Memoirs Of Hi-Tech Jazz Ft. Black Nix (Jensen Interceptor X Assembler Code Remix) 

                                                                                                                                      Waak Waak Djungi

                                                                                                                                      Waak Waak Ga Min Min

                                                                                                                                        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".

                                                                                                                                        TRACK LISTING

                                                                                                                                        A1. Rainbow Serpent
                                                                                                                                        A2. Djambaku
                                                                                                                                        A3. White Cockatoo
                                                                                                                                        B1. Mother, I'm Going
                                                                                                                                        B2. Gandi Bawong
                                                                                                                                        B2. Black Crow

                                                                                                                                        Allan Wachs

                                                                                                                                        Mountain Roads & City Streets

                                                                                                                                          Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs’ own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs’ tales of brief affairs, invisible dogs, and getting lost in a changing America.

                                                                                                                                          TRACK LISTING

                                                                                                                                          SIDE A

                                                                                                                                          1. Adventures Of The Invisible Dog
                                                                                                                                          2. Least Of My Strangers
                                                                                                                                          3. Anna Lena
                                                                                                                                          4. Pretty Face
                                                                                                                                          5. Dancer

                                                                                                                                          SIDE B

                                                                                                                                          6. Mountain Man Breakdown
                                                                                                                                          7. The Lord Will Provide
                                                                                                                                          8. Travelin’ Light
                                                                                                                                          9. Mountain Roads
                                                                                                                                          10. Northwest Passage

                                                                                                                                          Waco Brothers

                                                                                                                                          Men That God Forgot

                                                                                                                                            The Waco Brothers was formed by Jon Langford of the Mekons. The group grew out of Langford's wish to play more country-influenced music as the Mekons concentrated more on a punk sound.

                                                                                                                                            Shaking off the plague days like a snake sheds its skin the Waco Brothers stumble out of the empty, burning desert with a fierce thirst and an epic new album: The Men That God Forgot. It's the first collection of original Waco tunes since 2016's Going Down In History and comes to you via their own label Plenty Tuff Records.

                                                                                                                                            Every night is still Friday night for the Waco Brothers but these new songs lace that reckless exuberance with a more sober awareness of the tsunami of cynical corruption & materialism that infects our everyday existence. "Best That Money Can Buy" rips its verses from what's left of honest journalism while "In The Dark" provides a requiem for functioning democracy AND boasts the best twin-lead guitar solo since Thin Lizzy. The album ends with "Nowhere To Run" a deceptively gentle dance number (inspired by a night on the Outlaw Country Cruise where the Wacos backed up their hero Lee "Scratch" Perry) that presents the struggle for social and economic justice as neverending. "George Walks With Jesus" is a song about George Jones walking with Jesus.

                                                                                                                                            The Men That God Forgot is the 10th Waco Brothers full length album & was recorded with Mike Hagler at Kingsize Soundlabs in Chicago in 2022. The cinematic brass parts were arranged and performed by longtime collaborator Max Crawford with Dave Smith. Other Waco Cousins appearing are Barkley Mckay on piano and organ, Patty Vega on jingling tambourine and Andre Michot of the Lost Bayou Ramblers on accordion.

                                                                                                                                            TRACK LISTING

                                                                                                                                            1. The Men That God Forgot
                                                                                                                                            2. This Town
                                                                                                                                            3. In The Dark
                                                                                                                                            4. Best That Money Can Buy
                                                                                                                                            5. Blowin' My Top
                                                                                                                                            6. Mud River Slide
                                                                                                                                            7. Go Away
                                                                                                                                            8. I Smile Through My Tears
                                                                                                                                            9. If Your Heart Isn't In It
                                                                                                                                            10. Teenage Kicks
                                                                                                                                            11. End Of The Night
                                                                                                                                            12. George Walked With Jesus
                                                                                                                                            13. Backstage At The Boneyard
                                                                                                                                            14. So Long General Mouton
                                                                                                                                            15. Nowhere To Run

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

                                                                                                                                            Abi Wade

                                                                                                                                            Beautifully Astray

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

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

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

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

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

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

                                                                                                                                              TRACK LISTING

                                                                                                                                              1. A Bit Like Love
                                                                                                                                              2. Reasonable Doubt
                                                                                                                                              3. Laws And Mankind
                                                                                                                                              4. Hawk In Your Side
                                                                                                                                              5. Lucia
                                                                                                                                              6. Wanted
                                                                                                                                              7. Gold Abyss
                                                                                                                                              8. Obsession
                                                                                                                                              9. Vandalising
                                                                                                                                              10. We Are In Sight

                                                                                                                                              Ian Wade

                                                                                                                                              1984: The Year Pop Went Queer

                                                                                                                                                In 1984, pop came out of the closet - even if not all of the artists felt that they could - and, in the process, charted the course of the rest of the decade. In 1984: The Year Pop Went Queer, writer and musician Ian Wade charts where these artists, including Queen, George Michael, David Bowie, Pet Shop Boys, Frankie Goes to Hollywood and Madonna - who all enjoyed chart success in 1984 - were during that epoch-making year. It studies the impact these groundbreaking musicians had before, during and after on the gay community and popular culture, and it demonstrates how they were able to break down barriers, raise consciousness and set in motion the first nascent ripples in a pond that are still being felt today. As a backdrop, it explores the strides made in the name of the cause and how the wider surrounding culture reacted with equal parts glee, bafflement and disgust.

                                                                                                                                                The Waeve

                                                                                                                                                The Waeve

                                                                                                                                                  The Waeve - composed of Graham Coxon and Rose Elinor Dougall – release their eponymous debut album on Transgressive Records. Produced by The Waeve and James Ford (Arctic Monkeys, Florence & The Machine, Foals, Haim) and recorded in London earlier this year, ‘The Waeve’ is a collection of 10 new tracks from songwriters Graham Coxon and Rose Elinor Dougall. Joining creative forces in The WAEVE gave the duo the opportunity to push past their instrumental comfort zones. Many tracks feature Graham on saxophone, one of the first instruments he played as a young musician back in the 80s. First single ‘Can I Call You’ starts as a ballad then morphs into a krautrock-style motorik number with a sprawling Coxon guitar solo. ‘All Along’ features Graham on cittern, a medieval folk lute. Rose plays piano and an ARP 2000 modular synth. The heavy weather all over ‘The Waeve’ recalls the blustery folk rock of Sandy Denny or John & Beverly Martyn, while tracks such as ‘Kill Me Again‘ and ‘Over and Over’ recall the 70s rock of Kevin Ayers or Van der Graaf Generator, almost industrial in places.

                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                  Barry says: Featuring the both brilliant Rose Elinor Dougall and Graham Coxon, The Waeve was always going to be an interesting project. As it turns out, they manage to pull together influence from all over the psychedelic and rock spectrum, even folk in parts without it sounding fractured or jarring. A beautifully vibrant and enjoyably surprising listen.

                                                                                                                                                  TRACK LISTING

                                                                                                                                                  1. Can I Call You
                                                                                                                                                  2. Kill Me Again
                                                                                                                                                  3. Over And Over
                                                                                                                                                  4. Sleepwalking
                                                                                                                                                  5. Drowning
                                                                                                                                                  6. Someone Up There
                                                                                                                                                  7. All Along
                                                                                                                                                  8. Undine
                                                                                                                                                  9. Alone And Free
                                                                                                                                                  10. You’re All I Want To Know

                                                                                                                                                  wAFF makes a triumphant return to Hot Creations after a seven-year hiatus with his three-track, groove-driven ‘Slapfunk EP’.

                                                                                                                                                  Since his first outing back in 2012, wAFF has been an integral part of the Hot Creations family, remixing various releases and dropping a total of four EPs - the last being ‘Sick Pleasure’ in 2016, which still stands today as a highlight in the label’s extensive catalogue. Marking a long-awaited return to Jamie Nature imprint over that period further establishing him as a leading name, he arrives fresh from his third Paradise show of the season ready to ignite dancefloors with a trio of irresistible beats on ‘Slapfunk’.

                                                                                                                                                  Title track ‘Slapfunk’ opens the release with shifting stabs, warping bass patterns and fizzing lead synths, steadily progressing into a menacing club-focused workout. Continuing his signature style, ‘Questions’ showcases a blend of pulsating beats synchronised with a warped vocal topline that enhances the allure. Finally, ‘Next Game’ delivers a punchy trip loaded with subtle minimal-leaning influences, combining chopped vocal snippets with slick, stripped-back percussion.

                                                                                                                                                  TRACK LISTING

                                                                                                                                                  A1. Slapfunk 
                                                                                                                                                  B1. Questions 
                                                                                                                                                  B2. Next Game 

                                                                                                                                                  Wagamama Riso (XL Middleton Remix)

                                                                                                                                                  Milk Talk

                                                                                                                                                  Japanese vocalist Q.i & producer Hair Kid, originally from New Jersey and now also based in Japan, are the duo known as Milk Talk. Their off-kilter brand of synth funk sits somewhere between modern funk & city pop but is sure to please fans of vaporwave, future funk, disco & deep house as well. Their recently-released album is still an elusive find outside of Japan but “Wagamama Riso,” a digital-only loosie released during the early days of the pandemic, has now been unleashed in physical form on Los Angeles-based MoFunk Records. MoFunk's head, XL Middleton, remixes the track and adds his own retro-electro/R&B flair to the leftfield boogie feel of the original version. Both versions on a single 7” make this a top choice for anyone who loves their funk loaded with analog synthesizer action.

                                                                                                                                                  Milk Talk's self-titled debut album was released recently in Japan and has added greatly to the buzz surrounding the group. However, the difficulty of procuring physical copies of their LP outside of Japan will surely make this 7” a desirable piece of add to any DJ or record collector's stash. Milk Talk was also recently featured on the Soul Clap Records compilation “New Directions In Funk Vol. 1,” curated by XL Middleton.

                                                                                                                                                  TRACK LISTING

                                                                                                                                                  A1. Wagamama Riso (XL Middleton Remix)
                                                                                                                                                  B1. Wagamama Riso (Original Milk Talk Version)

                                                                                                                                                  Mirel Wagner

                                                                                                                                                  When The Cellar Children See The Light Of Day

                                                                                                                                                    There is a defiant air of unflinching bravery in Mirel Wagner’s carefully chosen words and the skeletal chords of her acoustic guitar. Her songs are like smooth, polished pebbles, thrown into a cold bottomless pond, drops of life that set the darkness rippling.

                                                                                                                                                    Squeezing the last drop of life from a worn out genre, her acoustic balladry is as far as you'll get from clichéd coffee house folk. It has more to do with the primeval darkness of Swans than the folksy bonhomie of Bob Dylan.

                                                                                                                                                    Her background couldn't be more normal: a relatively sheltered childhood in one of the better-off suburbs of Helsinki, teenage years spent rummaging around the blues section of her local library, fumbling around with her brother’s acoustic guitar. She is wary of speaking of her Ethiopian origins (Wagner was adopted at 1½ years of age) and sees herself as Finnish. Her art is all the more astonishing considering this cultural context, all the more shocking in its strangeness because it stems from something so normal.

                                                                                                                                                    ‘When The Cellar Children See The Light Of Day’ was recorded at Shark Reef Studios in Hailuoto by electronic music producer Vladislav Delay (Luomo, Uusitalo). Delay fleshes out Wagner’s sound, adding subtle production touches that give her songs a newfound vastness and gravity, while keeping the winning formula that garnered critical acclaim for her self-titled debut.

                                                                                                                                                    The new album also features Academy and Grammy award winning Scottish composer Craig Armstrong.

                                                                                                                                                    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.“

                                                                                                                                                      TRACK LISTING

                                                                                                                                                      1. Directions To The Can 
                                                                                                                                                      2. JFK (Gregor Schwellenbach Movement)

                                                                                                                                                      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.

                                                                                                                                                        Wailing Souls

                                                                                                                                                        Inchpinchers

                                                                                                                                                          Produced by Henry ‘Junjo’ Lawes & backed by the Roots Radics, Inchpinchers is a brilliant amalgamation of roots sensibilities & sound system rhythms.

                                                                                                                                                          TRACK LISTING

                                                                                                                                                          1. Inchpinchers
                                                                                                                                                          2. Mass Charley Ground
                                                                                                                                                          3. Tom Sprang
                                                                                                                                                          4. Don't Get Lost
                                                                                                                                                          5. Baby Come Rock
                                                                                                                                                          6. Things And Time
                                                                                                                                                          7. Modern Slavery
                                                                                                                                                          8. Ghetto Of Kingston Town
                                                                                                                                                          9. Oh What A Lie
                                                                                                                                                          10. Infidels

                                                                                                                                                          Wailing Souls

                                                                                                                                                          Stormy Night - 2023 Reissue

                                                                                                                                                            Classic late 80s digi-roots set from the legendary Wailing Souls produced by King Jammy "Stormy Night" takes its place in a long line of classic wailing souls albums for Greensleeves stretching from '81's "Fire House Rock" to the recent Alborosie produced "Back A Yard"

                                                                                                                                                            Includes the hit single "Dog Bite" re-mastered and re-sequenced with new cover art.

                                                                                                                                                            TRACK LISTING

                                                                                                                                                            Spread Propaganda
                                                                                                                                                            Dog Bite
                                                                                                                                                            What Is What
                                                                                                                                                            Mr Fire Coal Man
                                                                                                                                                            You're My Days
                                                                                                                                                            Stormy Night
                                                                                                                                                            Move On
                                                                                                                                                            What Ya Gonna Do
                                                                                                                                                            She Pleases Me
                                                                                                                                                            Where Do I Stand

                                                                                                                                                            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").

                                                                                                                                                              TRACK LISTING

                                                                                                                                                              1. Cigarettes And Chocolate Milk
                                                                                                                                                              2. Greek Song
                                                                                                                                                              3. Poses
                                                                                                                                                              4. Shadows
                                                                                                                                                              5. California
                                                                                                                                                              6. The Tower Of Learning
                                                                                                                                                              7. Grey Gardens
                                                                                                                                                              8. Rebel Prince
                                                                                                                                                              9. The Consort
                                                                                                                                                              10. One Man Guy
                                                                                                                                                              11. Evil Angel
                                                                                                                                                              12. In A Graveyard


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