EPA is dedicated to Denise Johnson and features the band’s final recordings with Denise, where they used up their final days recording time with a day jamming in the studio with no fixed agenda, the result is something very special.
EPC is dedicated to Andrew Weatherall. All four tracks on ACR:EPC are collaborations. Emperor Machine is a collaboration with Andy Meecham, also known as Emperor Machine, YOYOGRIP is a collaboration with Maria Uzor from Sink Ya Teeth and Jacknife Lee and Music Control is a collaboration with Chris Massey who remixed Dirty Boy in 2019. The track Guv’nor is inspired by longtime ACR friend Andrew Weatherall and is a collaboration in spirit.
EPR is the last of a trilogy. Recorded with the internal brief of anything goes, ACR complete their trilogy of Eps with these four tracks, the mesmerising $ouls In The City is made up of Part 2 and Part 1, in that order, followed by the insanely catchy Night People, Big Boy Pants which was named after Joe Biden when he won the US election as it was mixed on the same day and the final track Downtime Vibes, which is a hypnotic piece of repetitive rhythms built up around a set of chimes that Jez found in the back of his car.
Wonderland (Jam 6)
Keep It Together (Jam 5)
Down And Dirty (Jam 2)
Feel No Fear (Jam 1)
Emperor Machine (ACR Vs The Emperor Machine)
YOYOGRIP (Long) Featuring Maria Uzor And Jacknife Lee
Musik Kontrol (ACR Vs Massey)
$ouls In The City Part 2 & 1
Big Boy Pants
01 Bliss Waves (14:56)
02 Haze Cascade (11:00)
03 Oceanic Boundlessness (23:23)
Their 2nd EP, Big Attraction, was released in February 2017, kicking off a stellar year for these young punks. Growing buzz around their blistering live show made the band a hot tip at Bigsound in Brisbane, while the band was added to festival lineups including Meredith and CherryRock17. The band and were invited to join the Cosmic Psychos on their forthcoming November/December tour and capped off the year with a sellout NYE show at the legendary Tote in their home town of Melbourne.
STAFF COMMENTSBarry says: Amyl And The Sniffers have been a force to be reckoned with on the Australian punk scene (and indeed over here), and this early document of their first two EP's are an absolutely essential purchase. Every bit as incendiary and uncompromising as their LP's, an essential purchase.
1 I'm Not A Loser
3 Mole (Sniff Sniff)
4 Balaclava Lover Boogie
6 70's Street Munchies
7 Pleasure Forever
8 Caltex Cowgirl
10 Stole My Pushbike
While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 2017’s Last Nite in Paradise, released on Goner Records. After drummer Bill Curry broke his arm, the Horrells redefined
Aquarian Blood, reemerging in early 2018 as the more intimate, mostly acoustic balladeers behind the staccato, fever dream sound of A Love That Leads to War. Like its immediate predecessor, Bending the Golden Hour was recorded at the Horrell's Midtown Memphis home. The band turned over 43 tracks to Goner co-owner Zac Ives, who handpicked 17 songs for the album.
The final result is shimmering and hopeful; as beautiful and sparse as a Rockwell Kent snowscape. Bending the Golden Hour begins ominously with “Channeling,” which sounds like an outtake from Paul Giovanni’s soundtrack to 1973’s pagan nightmare The Wicker Man. Then the band upshifts for “Time in the Rain,” a sweet duet set to a rigid snare beat. From there, Aquarian Blood zigs to country and zags to psychedelic folk, brooding on one song and soothing listeners with the next. And while the music, feel, and experience is different, Aquarian Blood naturally brings to mind some legendary musical partnerships: Richard and Linda Thompson, Lee Hazlewood and Nancy Sinatra, Johnny and June Carter Cash, Gram Parsons and Emmylou Harris; not to mention similarly-bent-but-beautiful luminaries like Roy Harper, Pentangle circa 1967 -1973, and Jackson C. Frank.
There’s a big middle ground, like folk-psych, or weirder country music,” he says, reeling off names like Skip Spence and Syd Barrett as stepping stones between the genres of punk and folk.
Inspirations for Bending the Golden Hour come from myriad sources that document the milestones and minutiae in a family’s full life. Some lyrics name a time or a place; others reflect the fleeting moments that elapse unnoticed. “Come Home,” which is sung by J.B. and his daughter Ava, was written the day Ava got her driver’s license. “Ava took the car out by herself afterwards, and I wrote the song immediately—she sang her part when she got home that evening,” J.B. recalls. Whether or not the listener knows the backstory, the song rings sentimental, with subtle, supportive instrumentation that underscores guitar and vocals. The bewitching “Rope and Hair,” on the other hand, is less sketched out, with lyrics that are simply a recitation of the talismen found on a silver sabertooth charm that J.B. purchased for Laurel at a Latin strip mall in southeast Memphis. That’s all to be said. “Sometimes when you know too much about what the song is about, it takes away the magic,” says J.B. “Alabama Daughter,” says Laurel, is about a place where a childhood friend lived called Castleberry Holler. “It was really rural, just a lot of shacks without electricity—the kind of place you didn’t go to unless you were invited,” she says. “Probable Gods” is a hazy reflection on the struggle of such a strange year. “It’s been very cathartic to put all of this into words and not have it live in my head,” J.B. says.
2. Time In The Rain
3. Bolted And Embossed
5. Til It Wasn’t Anymore
6. Spray Them All
7. Rope And Hair
8. Bending Time
9. Come Home
10. Covering The Past
11. Hate To Wake You
12. Alabama Daughter
13. Night Train
14. Count My Love
15. On The Divide
16. Probable Gods
17. Boredom Hours
A1. Connexion À Liège
B1. Missing Teeth
B3. In My Body
Full of an infectious energy with more horsepower than the South American farm that guitarist/vocalist Cami left aged just 18 to come to the UK to seek pop stardom (Argentinian horse farming’s loss is Alcopop!’s gain), Beach Riot are a slacker pop force to be reckoned with.
Beach Riot cite their influences as ice-cream, weird guitars, PJ Harvey, Mudhoney, 4am mozzarella sticks, dark comedy, dungeons and dragons, and Brighton beach hangover fry-ups. We totally get that.
“90s fuzz, big riffs and dreamy harmonies - what more could you want?” - LOUDER
“Great dynamics, tension and killer choruses” - MOJO
“Gritty indie-pop brilliance” -The iNewspaper
Good To Know (That I’m Still On Your Mind)
Medicate For Success
She’s A Hurricane
As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.
The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.
In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.
“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”
The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.
The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.
With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.
Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.
Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”
1. I'm Not Getting Excited - LIve
2. Great No One - Live
3. Whatever - Live
4. Mars, The God Of War - Live
5. Future Me Hates Me - Live
7. Jump Rope Gazers - Live
8. Uptown Girl - Live
9. Bird Talk
10. Happy Unhappy - Live
11. Out Of Sight - Live
12. Thank You
13. Don't Go Away - Live
14. Little Death - Live
15. Dying To Believe - Live
16. River Run - Live
Co-conspirators now feature both string-titans of longtime AT mainstay Victims Family: guitarist Ralph Spight (also Freak Accident) and wonder bassist Larry Boothroyd (also Triclops,Brubaker); plus drummer / metal percussionist Jason Willer (UK Subs, Nik Turner, Charger, The Mob). Why on a 7” and not on the LP? The high speed “driving tests” Biafra always uses to find the best rockin’ song order for his albums (since the Dead Kennedydays of Fresh Fruit!) meant going “lean, mean (and louder!)” for the LP version, and two more songs in the middle for the CDs and download. These are not outtakes or “bonus tracks”. Theymake quite a strong 45 on their own. So play often! Play loud! And don’t let “Winning is the Only Thing” cloud your judgement! Like it still does a certain clown who used to be president. From Dead Kennedys to Lard to the now-classic albums with the Melvins, DOA, NoMeansNo, Mojo Nixon; and of course, The Guantanamo School Of Medicine, there is no better primal scream therapy than Jello Biafra song
1. No More Selfies
2. The Ghost Of Vince Lombardi
This EP showed a deeper and more focussed musical direction from the pair: abandoning their 90s house rivaval and adopting a more sophisticated and technology driven aesthetic. Highly electronic and with enough thrust for the big stages, it begam to form what would become the incredible Bicep live show - now famous across the world for its rich, highly kinetic feel and futuristic vibe.
A2: Courtside Drama
B2: The Game
“When everything went to shit with the Covid pandemic, we realised that if we wanted to continue playing live shows we’d have to drastically change the sound and really roll down the amps,” lead singer Thomas Haywood explains.
“We played a few shows at a local hotspot for the modern beatniks of Manchester called the Rose & Monkey Hotel. Musically, it’s the most enjoyment I’ve ever gotten out of playing a collection of songs. The whole thing became a project of ours, and we gradually began increasing the depth of the pieces by bringing in keys and other various parts.
“These songs, these arrangements, became our way of getting back to our audience and once again revelling in the communion that we feel when we play on stage. This record was recorded in one take at Parr St. Studios in Liverpool, a place we’ve wanted to work out of for some time. Listening back, as far as keepsakes or souvenirs go… it feels pretty special.”
1) I Want Gold
2) I Can't Breathe Blues
3) The Writer
4) From Nothing To Abundance
5) Black Glass
6) Something Wicked This Way Comes
7) Lunatic (With A Loaded Gun)
8) Where No Man Comes
9) Circle Song
10) Mule Track
He has appeared regularly on quality labels as diverse as Lumberjacks In Hell, Hed Kandi, LARGE and naturally, his own vital imprint Peng.
Andy's latest long player for Tangential Music is a collaboration with LA artists Irantzu Pujadas and Brad Kent under the name Blue Dream.
Aptly titled: 'A Trip To LA' the album is a deliciously louche and laidback twelve tracker of pure LA heat. The project began as many great ones do, without a plan. Visiting Brad's studio to check out his huge vintage analogue synth collection in search of new sounds for The Rurals, they got to thinking...and jamming. With Brad on the dusty old drum machines, Irantzu on the microphone and Andy in synthesiser heaven, Blue Dream was born.
Their first and equally good album 'California Dreaming' was released on Peng in early 2019 and now we are here with a second round of perfectly realised dream-like grooves. Think of the sun-facing vibes of Shuggie Otis, Eddie Chacon, Bobby Caldwell or Roy Ayers at his most relaxed and add a passionate knowledge and experienced grasp of electronic forms. They make this seem easy goddammit.
'I Wanted To See You' sounds like Khruangbin with a 303, 'You Want Me Back' with its mid-tempo shuffling groove, saucy squidge bass line and seductive soul house vocal is pure daytime at Houghton Festival happiness, like Crazy P in the hot tub.
At no point are we required to sweat. Lie down if you must, stand up and sway if you're ready. This could be lovers music or just for you alone. Irantzu's vocals throughout are whispers and purrs, evocations of humid love drenched in reverb and easy living. Sunset music.
The singles 'I Wanna Go Home' and 'Sandwich Dub' don't deviate far from the endless feeling of hazy cinematic sunshine, one a sultry plea for intimacy, the other a heavily dubbed-out slice of musique franÃ§aise amour.
'Trip To LA' with a vocal more than suggestive of the Balearic classic 'Sueno Latino', spare guitar chords and a prodding repetitive bass line creates a feeling of slinky bliss.
Every track is full of sensual melodies and the space required to be truly funky. Press play and invite a bit of California magic in...
1. Theme Song
2. I Wanna Go Home
3. The Kiss
4. You Want Me Back
5. Lonnie's Street
6. Sandwich Dub
7. Taking It To The Top
8. Blue Moon
10. I Wanted To See You
11. X Express
12. Trip To La
It’s the mid 1800s in Ireland, and a local poet from Limerick by the name of Robert Dwyer Joyce has written a ballad called ‘The Wind That Shakes The Barley’:
A bullet pierced my true love’s side
In life’s young spring so early
And on my breast in blood she died
While soft winds shook the barley
The recurring imagery of the barley standing tall amidst the breeze was meant to symbolise the resilience of Irish people amidst oppressive British rule. In 2006, the song title and its theme served as the inspiration for a powerful and heartbreaking film starring Cillian Murphy. Now, in 2021, Peter Broderick pays homage once again, weaving this motif into his latest EP, The Wind That Shakes The Bramble.
Following on from his 2020 album, Blackberry, Broderick shares some additional work from the same sessions, as well as a beautiful two-part rework from Bing & Ruth (4AD) and the new 22-minute title track . . . an expansive and meditative ambient odyssey . . . a balm for the baffling chaos of the current era.
Broderick’s obsession with and devotion to the Blackberry plant go well beyond his music. Last year, along with the release of the new album, he shared an eight-part video series (Blackberry Diaries) in which he demonstrated all the different uses of this incredible, ubiquitous plant . . . everything from Blackberry jam to weaving baskets and hats with the Bramble vines . . . from making tea of out the young leaves to making artwork with late-season berries past their prime.
He draws attention to the fact that the Blackberry plant itself is an incredible symbol of resilience. It weaves itself all through our countrysides, playing an important role in holding the soil together, and also makes its way into our cities, proliferating even in such hyper urban environments as London. And while most modern people have lost the ability to identify the wild plants growing around us, the Blackberry remains a commonly foraged plant all around the globe. It’s as if the more domesticated we become and the more our technology separates us from the natural.
1. Some People Don’t Have Gonads
2. A Year Without Summer
3. What Happened To Your Heart (Bing & Ruth Rework - Part I)
4. What Happened To Your Heart (Bing & Ruth Rework - Part II)
The acclaim of the original album has elevated the artists (including Ibrahim Ferrer, Rubén González & Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, and has contributed to popularising Cuba’s rich musical heritage. Produced by Ry Cooder for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this will go down as one of the landmark recordings of the 20th century.
In 2020 when the world was forced to hit pause on live in-person gigs, Tim Burgess found an ingenious way to bring people together by inviting artists and bands, from Paul McCartney and New Order to Michael Kiwanuka and Kylie, to host real-time album playbacks via Twitter. Relive 100 of the most memorable listening parties here with stories from bands and fans, rarely seen backstage images, and unique insider info from those who created these iconic albums.
"Hey Twitter, let's all say a big thanks to Tim for these brilliant events this year! We really needed them. So much great music being talked about.'" - Sir Paul McCartney
"Twitter being used for something really positive." - Mary Beard
The last twelve months have been a time of deep introspection for the trio, who have been holed up together in Berlin, living, writing and recording in the same house. Stranded far from their loved ones, and with their joyful live shows on hold, they've playfully dubbed it 'Casa de Cassia'. The stillness and focus is worlds apart from their life as a band until now. In their airy top-floor studio, dislocated from all that's familiar, Cassia have found real fulfilment in writing about the every-day: no more covering up.
'Magnifier', and its sister record, February's 'Powerlines' EP, are the first releases that Cassia have made, start to finish, without anyone else in the room. "We've worked with amazing engineers and producers in the past," acknowledges Rob, "but this time it feels entirely ours. It sounds exactly how we want it to sound." Stay tuned for more new music and information on its release to follow.
2. Right There
2. Gotta Get Through Til Monday
"If All I Ever Wanted Was All I Ever Needed" is his strikingly pure, heart-wide-open debut album. Opening with the Tracey Chapman-esque, "Higher Ground" it's obvious from the start there's a warm and healing magic to Jon's voice; the mere sounding of the record certain to rekindle forgotten memories of happy times like flames around a campfire.
Jon's guitar and voice seem unseperable throughout; symbiotically elevating each other beyond their instrument's solo limitations. And his vocal range - wow! - I mean, Jon where were you hiding such an angelic falsetto?! Like golden honey flowing over polished leather, the slight gravly inflections like proplis in this sonic royal jelly.
Accompanying Jon, a beautifully intimate team of backing muscians and vocalists (all credited on the record's sleeve) which add finedrawn, unforced dynamics to this otherwise one-man operation which in parts drifts in to Mazzy Star-esque depths of emotion.
If you're looking for a charismatic and heart warming troubadour to keep you company over the coming Autumn months then look no further! Highly recommended by us all here at Piccadilly Records.
Jon has played alongside John Renbourn, Blind Boy Paxton, Michael Chapman, Ralph McTell, Jon Gomm, Wizz Jones, Dylan LeBlanc, Chance McCoy and shared a stage and billing with many more, including Foss Patterson and Danny Thompson of John Martyn's band at venues as varied as New York's Bitter End Club, and Liverpool's Echo Arena.
STAFF COMMENTSMatt says: Whispering sweet nothings like warm treacle across a rich tapestry of English Americana; the only drinking partner you need this Autumn! Manchester's Jon Coley is an absolute joy on the ears. Debut album from this star destined for supernova status.
Sympathy For Juda
Sweeter State Of Mind
Can't Blame A Boy For Trying
Last Words On A Caged Mocking-Bird
In The Night Time
Beat Up Inside
Watch The World Burn
You Can't Make It Rain
The Easy Life
Only Call Me When You're Ready
Bigger Than Both Of Us
Blue Eyes, Whiskey And Wine
Now the sound from the university town of Tübingen can begin its triumphal procession around the entire globe. Therefore Sonar Kollektiv enlisted no other than the International Pony member and furious solo entertainer Erobique to contribute a remix of "Paradise".
As is his want, Erobique managed to turn the album track into a world-class banger. "Paradise" is now a summer hit, warm-up classic and radio ear-worm at the same time. He put so much soul into his version that some might think this version comes straight from a lost modern soul 45.
What more could you ask for?
A1. Paradise (Erobique Remix)
B1. Paradise (Erobique Remix Instrumental)
STAFF COMMENTSBarry says: Antiphonals is a wonderful juxtaposition of gothic gloom and slowly morphing drones, somewhere along the lines of a classical, short-form Sunn0))). It's beautifully dense and immediate, experimental but deeply listenable. Impeccable.
A1 - Chorus Scene - 2:47
A2 - Magdalena - 10:19
A3 - First Cadence - 5:57
A4 - Gradual Of Image - 3:09
B1 - Border Of Mind - 5:53
B2 - Abeyant - 7:12
B3 - Rushes Recede - 6:35
B4 - Doubled Flutes - 2:19
A sure fire party starter! BDK sets it off with killer rhymes over an up tempo prime time disco groove. DBS provides the perfect disco rhythm for an all time great to rock any disco tech.
On a slower tip in that 80's Afro Cosmic Italian vibe. RKM let's the rhythm hit 'em over a chugging beat.
A. Rok The Disco Tech
B. Ritmo Italo
Carnival Rhumba - Inc. Prins Thomas Edit & Overdub
A1. Carnival Rhumba (Prins Thomas Edit & Overdub)
B1. Carnival Rhumba (Prins Thomas Edit & Overdub Dub)
B2. Carnival Rhumba (original 1987 Version - Vinyl Remaster)
The new album is the follow up to the acclaimed 2018 release BlackOut Summer and will provide a welcome musical shot in the arm for fans who have anxiously waited three years for new music from Dusted.
‘The album's process began with Borcherdt finding a long forgotten favourite song, coming back to him in a dream. ‘’That same morning, I found a demo of it, along with countless others, on an old laptop,’’ said Borcherdt. ‘’It was a joyful moment, hearing long lost songs as if I was never part of them. I was a third-party listener thus allowing them to be innocent and unjudged. I added a handful of the favourites to a current set list, which became the inspiration to go into the studio, to lay everything down, live off the floor, simply to preserve them, to keep them from being forgotten again.'
Dusted’s 2012 album ‘’Total Dust’’ was selected for the Polaris Prize Long List in 2013. The support from filmmaker Jean-Marc Vallee earned Dusted two songs in his most recent film Demolition and a cameo role in Wild. With Holy Fuck, Borcherdt has been making music for 15 years and has released 5 albums. Holy Fuck has seen their music played on major TV shows like Breaking Bad and Mr Robot as well as ranking over 200K monthly listeners on Spotify and accumulating over 5 million career streams to date. Borcherdt has been releasing solo music since 2002. Previously to Holy Fuck, he was part of By Divine Right whose past band members count Feist and Broken Social Scene’s Brendan Canning.
1) Not Offering
3) Cedar Tree
4) The Don’t Know You
5) Little More Time
6) Mountain Top
7) Bide My Time
8) Wash My Hands Away
10) Recovery Cone
Edrix Puzzle & The Diabolical Liberties
Double Drop Vol. 2
On the A-Side, and hot on the heels of the "Dub Protection & The Sportswear Mystics" cassette, The Diabolical Liberties present their "Birds Of Paradise" EP. This EP all but sold-out and follows the dynamite success of the duo’s debut long player “High Protection & The Sportswear Mystics” and it’s follow-up hype cassette of dubbed out versions (as well as a series of self-released and long sold-out white labels that included collaborations with Nyasha (a moniker of Nubya Garcia) and a super limited On The Corner 10” dubplate.)
On the flip, having debuted on last year’s sold out "Door To The Cosmos" LP, Edrix Puzzle are back with a stonking new EP "Rise To Eris". A modern spiritual jazz number with traditional set up, enhanced slightly with some up-to-date electronix, production and tinkering. There's nods to Adrian Sherwood's merger of reggae and industrial whilst remaining bouyant and light hearted enough for mainstream appeal. Exploring themes and energies in the territory of noir instrumental jazz the cinematic energy is unpinned with driving breaks and psyche fusion meanderings into the extra terrestrial landscapes akin to "Mwandishi" era Herbie Hancock.
A1. The Diabolical Liberties - Everything’S Possible Until It’S Not
A2. The Diabolical Liberties - Birds Of Paradise
A3. The Diabolical Liberties - Getting Off The World
A4. The Diabolical Liberties - Mostly Indoors
A5. The Diabolical Liberties - Herman Chugs On
A6. The Diabolical Liberties - Pacify My Night Bus
B1. Edrix Puzzle - Rise To Eris
B2. Edrix Puzzle - Lapetus
B3. Edrix Puzzle - Eris Fall
Exploring the unique sonic affordances of a singular instrument,
»Observation of Breath« is not only devoted to the durability of sound but also to its density. That it marks his debut on Hallow Ground after having shaped its sound by mastering most of the label’s releases in recent years is just as fitting then as its release following albums by Kali Malone and FUJI|||||||||||TA, whose innovative work with organ instruments have facilitated a rediscovery of their possibilities.English’s compositions however are neither directly indebted nor responding to these musicians. His exploration of the organ’s many facets started a decade ago when the composer was given access to an instrument built in 1889 that is presently housed at The Old Museum in Brisbane.
After it had already played a crucial role on his seminal albums »Wilderness Of Mirrors« and »Cruel Optimism,« last year’s self-released »Lassitude« was the first record that English entirely composed and recorded with that instrument. »During the soft lockdowns, I spent many days playing to an empty concert hall, recording the pieces that became ›Lassitude‹ and then, this album,« says English in regards to an unfortunate situation that fortunately provided him with time and space—two major themes but also key qualities of the four new compositions. In this sense, he goes on, »Observation of Breath« resolves a number of the questions originally raised by »Lassitude.«
1) A Torso (10:01)
2) A Binding (06:05)
3) And A Twist (02:42)
4) Observation Of Breath (20:44)
Originally released in May 1984, the album spent almost six months on the official UK album chart peaking at number 14 and spawned the UK Top 40 hit, Each and Every One. The label wanted further singles but the duo preferred the album to grow by word of mouth. 'Eden' achieved gold album status in the UK and has gone on to sell more than 500,000 copies worldwide.
Ben Watt and Tracey Thorn met at the University of Hull in 1981; they formed Everything But The Girl initially as a side-project, as both had already established themselves on the UK independent music scene as teenagers - Tracey with her lo-fi minimal girl group, Marine Girls (later name-checked as one of Kurt Cobain's favourite bands); Ben as a young guitarist and singer-songwriter, collaborating with alt-folk icon Robert Wyatt on his debut EP.
In the summer of 1983 the pair - having each gone on to to release debut solo albums - decided to pool their new songs for 'Eden'. It was recorded with producer Robin Millar (chosen for his work with Weekend and The Pale Fountains) at his Power Plant Studios in Willesden, North West London.
"All the songs were written on guitar in Hull in early 1983. We were living in one room with a shared kitchen on Pearson Park," recalls Tracey. "Power Plant seemed very glamorous by comparison. Sade was recording downstairs. We were upstairs."
The sessions featured a band handpicked by Ben and Tracey: Working Week's Simon Booth on second guitar, This Heat’s Charles Hayward on drums, and South American musicians Chucho Merchan (double bass) and Bosco D’Oliveira (percussion) plus a clutch of top horn players from the English jazz scene. The line-up was part friends from London, part musicians Ben admired from trips to the Bull's Head jazz room with his dad when growing up, in particular Peter King (alto sax).
"We were intent on being non-rock," says Ben. "No clichés. No snare drums, no solid body electric guitars or electric bass. We wanted soft horns, Gretsch guitars, no fuss, a lightness of touch. We were into pop, latin, torch songs, sharp lyrics."
The album was released on the newly-formed imprint Blanco Y Negro (co-run by Mike Alway and Rough Trade's Geoff Travis) through Warner, and signalled Everything But The Girl’s move from an independent - Cherry Red - to a major label.
The artwork by Marine Girls band member Jane Fox was delivered as a three-dimensional collage of hand-drawn art and torn paper. Warner (who were marketing and distributing the record) didn’t really know what to do with it. The original version didn’t even have the name of the band on it. In the end it was photographed and printed on ‘reverse-board stock’ - unusual for a major release at the time.
Each And Every One
The Spice Of Life
Frost And Fire
I Must Confess
Produced by The Felice Brothers and mixed by Mike Mogis. The record ranges over a variety of topics and themes, including isolation, the world of dreams and delusions, environmental collapse, and the inward and outward chaos of modern life.
Jazz On The Autobahn
All The Way Down
Be At Rest
Land Of Yesterdays
Blow Him Apart
We Shall Live Again
Floodlights are Louis Parsons (vocals / guitar), Ashlee Kehoe (guitar / vocals / harmonica), Joe Draffen (bass) and Archie Shannon (drums). Floodlights make honest, catchy rock music that melds ‘80s alternative rock with ‘90s New Zealand jangle-pop.
‘The More I Am’ grasps the idea of continually greeting everyday happenings with cynicism and negativity, and how that can lead to a tinted view of life. It is an energetic beginning to the release, with the addition of baritone saxophone that creates a post-punk energy while still obtaining a warmly familiar Floodlights’ sound.
'Overflowing Cup' is a narrative, exploring the way in which perspectives and opinions developed over a lifetime can impact your ability to see things from another point of view.
The 7” follows the band's debut album ‘From a View’, which came out just shy of one year ago on Spunk Records and Woo Me!
"Six tracks across a little over 20 minutes means ‘Liminal’ is a record that gallops rather than canters. Not so much bridging the gap between psych and post-punk, as occupying the murky waters beneath said bridge, each track on offer differs aesthetically somewhat from the next, something that maintains the record’s pace, even with some tracks getting caught in their own distinct hypnotic grooves." - Dave Beech, DIY
2. Mackerel's Funky Mission
3. 23rd March
5. Just Another Sad Song
6. Falling Out
Produced with fellow London-born, LA-based producer Vegyn, it treads the radioactive, post-hip-hop badlands where genres, identity and culture blur and interact.
John has confessed that the album's content is incredibly personal and poignant, opening up her heart and soul to the listener whilst keeping up a streetwise, asphalt-hardened front, the product of a world and society in which weaknesses can be exploited by the greedy and malevolent.
It's striking, instantly arresting and rather quite special. An intimate and seductive journey that you'll want to play from start to finish every time.
1. If Anything
4. Trelawny Waters
9. Green Elephants Freestyle
10. Some Other Thing
11. On Formulation
12. No More Left Like It’s Death
Since his debut single ‘Crosses’ back in 2003, both he and his music have remained dependably quiet and unassuming. Local Valley calmly exhibits his singular ability to communicate with such modesty and power. Beginning with the sun-dappled ‘El Invento’, the first song he’s recorded in Spanish (the native tongue of his Argentinian heritage), and ending with the intimate yet rhapsodic ‘Honey Honey’. Along the way it engages in his signature melodic and metrical hypnotism, showcasing his remarkable fingerpicking skills, while there’s further evidence of his love for music from around the world (he references an inspiring jam session in Gothenburg with Niger artist Bombino) and for the first time, the introduction of a drum machine on a few songs, further widening José´s musical spectrum.
The record, full of his trademark bittersweet pastoralism, includes what González considers “my most accomplished songs to date”. While continuing his tradition of reinterpreting songs by other artists, with ‘Line Of Fire' he picks one written for Junip, the band he formed with friends in 1998. That the original version has now been streamed some 60 million times suggest it, like other songs he’s covered, is now part of the songwriting canon.
Local Valley, González cheerfully acknowledges, “is similar to my other solo albums in sound and spirit, a natural continuation of the styles I’ve been adding through the years both solo and with Junip. I set out to write songs in the same vein: short, melodic and rhythmical, a mixture of classic folk singer songwriting and songs with influences from Latin America and Africa. It’s more outward looking than my earlier works, but no less personal. On the contrary, I feel more comfortable than ever saying that this album reflects me and my thoughts right now.”
A1. El Invento
A3. The Void
A5. Head On
A6. Valle Local
B1. Lasso In
B2. Lilla G
B5. Line Of Fire
B6. En Stund På Jorden
B7. Honey Honey
Vigorous, scintillating and life-affirming, this 13-song album sees Brown reach a milestone birthday, as explored in 'Can You Kanreki?’ - the Japanese concept of second childhood and re-birth. Then there are the trademark political and social vignettes, such as the title song of the album 'Revolt Against An Age Of Plenty' – railing against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – a scathing attack on the lack of openness, honesty and humility of our political leaders.
Brown featured on the legendary and influential C86 NME cassette as singer and bassist with Manchester agit-post-punk trio bIG*fLAME, and recorded nine John Peel sessions for BBC Radio One in the 1980’s with bIG*fLAME (4), The Great Leap Forward (2), A Witness (2) and Inca Babies (1).
Formed by Brown following the disbandment of bIG*fLAME in 1986, The Great Leap Forward is essentially a solo project in which Brown writes all songs and lyrics, and plays / programs all instruments on recordings.
The style and sound is more melodic and accessible than bIG*fLAME, but still with overtly political lyrics and a socialist / humanist ethos: incisive political and social commentary layered over sharp yet melodic guitar pop – and with a touch of electro and humour thrown in for good measure…
Stuart Maconie, writing for NME, summed up the band's sound: "First there's the jagged guitar melodics, sweet but never tacky. Then there's the ferocious rhythmic drive. But best of all there's the stylish and witty use of found voices...snatches and snippets of speech and propaganda that are integral to the songs."
Little wonder that as with McCarthy, The Great Leap Forward were loved by a young James Dean Bradfield.
Brown writes- “This album is the culmination of four year's writing, and it has a much more varied approach than previous releases. Whereas previously I've concentrated on a political approach, this album takes a wider view of the world. Of course I still provide the trademark political and social vignettes - how could I not - such as the title song of the album 'Revolt Against An Age Of Plenty' – named after a collection of works by the English writer Jack Common in which I rail against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – with what I think is a scathing attack on the lack of openness, honesty and humility of our political leaders.
1) Songs To Die For
2) Things That Make Me Happy
3) Revolt Against An Age Of Plenty
4) Losing Faith In The Wall
5) Giving Back Is Good For You
6) DEBRA 2021
7) Words On Fire
8) Can You Kanreki?
9) A Life More Ordinary
10) It’s A Wonderful Life
11) My World Is Not My Own Anymore
12) When Our Kingdom Comes 1
13) Songs To Die To Reprise
1. Sister I Need Wine
2. Fair Touching
3. Want One?
4. Skills Like This
5. The Enemy
6. Chasing Heather Crazy
9. Twilight Campfighter
1. How's My Drinking?
2. Glad Girls
3. The Brides Have Hit Glass
4. Run Wild
5. Pivotal Film
6. Fine To See You
Ahead of the release of his debut album in 2022, adopted Mancunian Peter Alexander Jobson brings us this rather wonderful four track EP.
"I have been writing and recording my debut album for 50 years. It is now complete."
“When men do great things everyone knows it takes them a very long time”.
STAFF COMMENTSAndy says: Imagine the plaintive beauty of Bill Fay, but with a wicked sense of humour. Or Richard Hawley's classicist vibes but topped with a barstool storyteller. Then you'll get some idea of the sound of PAJ. There's a real poise and deep sense of bruised beauty on display here. It's magnificent.
1. Holiday (Live)
2. Just ‘Cause I'm Dead
3. Please Please Please
1. Get A Hold Of You
2. More Than Memories
3. Love Remedy
6. Breaking Up
8. Burning Fire
9. Terrorize It
10. Bumps In The Night
13. Color Me Blue
At its most intense moments, In Place of Real Insight bestows the kind of rowdiness that elevated hardcore base buried deep within the unconscious of their music—it comes out most vividly when Geoff Farina and Vitt trade throat-searing shouts and bite-sized barks on “New Martini.” So many lesser bands with two guitarists and a copy of In on the Kill Taker at their disposal felt the need to try their hand at being Fugazi, Karate evaded such pratfalls, though Goddard’s compact, quicksilver basswork and Gavin McCarthy’s fractured drumming on the bridge for “New New” contain the same rhythmic electricity that the D.C. legends wielded so well. For the most part, Karate used their larger palette to intensify their already alluring musical sensibilities.
Farina and Vitt’s gentle guitars nearly mirror each other as they carry the drawn-out tension of “The New Hangout Condition” to its equanimous conclusion, though Karate wouldn’t hold that mood for long; they made quick work of disrupting such peacefulness with the needling disquiet that opens “On Cutting,” a rare track that cast a spotlight on Vitt’s understated vocals. Karate emboldened the quiet moments of In Place of Real Insight with the same forcefulness of its archly punk cuts, effectively allowing the tenderness that blankets “Today Or Tomorrow” to coexist alongside their rough-hewn material. Karate made sense of seemingly polarizing styles, and In Place of Real Insight is arguably their best album because they allowed such disparate parts to co-mingle. In a subversive music community oscillating between radical polemics and hair-splitting musical orthodoxy, Karate were a question mark—one that exhibited the scene’s best instincts, because they sounded like few others.
1. This, Plus Slow Song
2. New Martini
3. Wake Up, Decide
4. It's 98 Stop
5. New New
6. The New Hangout Condition
7. On Cutting
8. Die Die
9. Today Or Tomorrow
'Alright' kicks things off, a huge anthemic soulful piano led disco stomper that will undoubtedly be a real highlight in your DJ set. This is some peak time feel good music for the dancefloor, London even gets a shout-out! 'Stars' is our B-side, and it's beamed right in from the cosmos into our eardrums, it has it all from cosmic synth melodies to ultra heavy drums and beyond! Get lost in space to this one, you won't regret it.
Both cuts here definitely bring it, and as always - they sound amazing. File under 'must cop'.
In true Kon fashion, these tracks have been respectfully remixed by Kon from source, and they won't stick around for long. Don't sleep!
‘Flow Goes The Universe’ was recorded in Tokyo, Osaka, New York City and the English Lake District at various studio sessions and live concerts and subsequently compiled and augmented by ‘infinite guitarist’ Michael Brook, noted for his collaborations with Brian Eno, Nusrat Fateh Ali Khan, Robert Fripp and David Sylvian.
A suite of luminous ambient pieces that stands amongst Laraaji’s very best work.
Cut as a double album by Stefan Betke (aka Pole) for maximum fidelity and housed in a gatefold sleeve re-designed by David Coppenhall from his original projection-based designs.
Liner note interview with Laraaji conducted by Andrew Parks.
Includes digital download card.
A Cave In England
1. Deep Shadows
3. Who Are You Trying To Fool
4. Sweep It Out In The Shed
5. What Should I Do
6. Lean Lanky Daddy
7. I Got To Have You
8. The Smile On Your Face
9. Who Are You Trying To Fool (Instrumental Version)
Standing proudly out on it's own, with a reckless production aesthetic full of time switches, miss/re-sampled vocal snips and meticulous, precision drum engineering. For a unique blast of technically engineered club-focussed brilliance which is loads of fun to boot, look no further!
A2. Guanti Estivi
An old soul with original ideas, tapping into the eternal reservoir of Sam Cooke to Ice Cube, Otis Redding to Chuck D, Curtis Mayfield to KRS-One. Over the course of 17 tracks, Solemn hurls sharp darts at counterfeits trying to crack his religion, the onslaught of time, and prevaricating rappers—all while paying homage to those who paved the road for him. He bounces off the beats like a trampoline placed in a speakeasy, doubling up on the vocals, burrowing into dense cryptic tangles of slang and then stretching them out with melodic ease. With dazzling cinematic mise en scene, L’Orange crafts a world that sounds like an old-time medicine show dropped into 90s Brooklyn, with Solemn summoning the holy spirit of Big L. Cymbals crash, drums pound, fuzzy guitars ride out, a bronze rain of horns cascade.
This is gorgeous celestial dust, high-powered fuel with every syllable meticulously ordained. Marlowe cracked the case, but how they did it can only become clear under deeper investigation.
2. Cold Open
3. Lost Arts
4. Eddy Appetite’s House Of Definitely Legal Oddities
5. Things We Summon
6. Honest Living
7. Tall Tales
9. Tales From The East
10. Fred Sanford
11. Not So Paranoid After All
12. Magnificent Slim’s Friendly Tip Off
13. The Basement
15. Palm Readers
16. Gone Believer
18. The Places We Stay
If there’s one goal MarthaGunn want to achieve with their music, it’s connection. Whether it’s Abi giving a voice to her contemporaries via her Songwriters Circle on Instagram live, where she invites her favourite songwriters for a Q&A about their process, guests including Another Sky, Katy J Pearson, Willie J Healey, Flyte and Buzzard Buzzard Buzzard, or setting up a virtual tour in light of having shows cancelled and playing a special live set including a locally sourced cover - her and her band want to remind people that they’re not alone and that, at end of the day, we’re all human and we all have that in common.
“I want to connect with people. The beautiful thing about songs is that you don’t have to know someone, but you can connect with them through the same song without saying anything. I want this album to be able to help people in some way, and give people courage to leave a situation they know isn’t right for them, or for the other person. To go after the person they love and to know no matter how bad things may seem, it’s just a chapter. Things always get better.”
2. Caught Up & Confused
3. Giving In
4. It’s Over
5. Raising Hell
1. Lost In The Moment
2. Minute Of My Time
3. I Had To Let Go
4. Holding The Fire
5. See You Again
6. The Nights Are Long
Persona unveils the murderer’s row that is the Mello roster of 2015. Oddisee, Apollo Brown, yU, L'Orange, Red Pill, Open Mike Eagle, Rapper Big Pooh, Quelle Chris. The stars of the present teamed with timeless innovators like Phonte (Little Brother), Blockhead, Ras Kass, Gift of Gab (Blackalicious), Oh No, Masta Ace, and Bilal Salaam. The result is something that binds current greats with the pioneers who paved the asphalt. It’s both a historical moment and hard as hell. If most compilations are nothing more than a loosely thrown together collection of songs, Persona boasts meticulous focus. “Requiem” finds Phonte and Oddisee indicting American racism and Xenophobia with fury and precision. On “Homicide,” yU and Nottz leave blood dripping all over the canvas. There’s “Celebrity Reduction Prayer,” where Open Mike Eagle lampoons our Hollywood obsession, our overzealous idol worship over Oddisee’s warm Wonder keyboards.
But there’s ultimately no need to do the track-by-track breakdown. This is an anthology in the most traditional well-curated sense. Turn here if you want to find the best hip-hop artists of their generation in raw and unfiltered form. The bars are brimstone; the beats force your neck to swivel. Through all the discontent, rays of hope begin to emerge. If you remember the feeling you got when you first heard Soundbombing, stop searching. The slang has changed, the style remains indelible, the latest personas have emerged. The new sound is here.
1. Word To The Wise
4. Dark Comedy Late Show
6. Circles Around Circles
7. No Future
8. American Religion
9. You First
10. Hustle Off
11. Sometimes I Feel
14. All I See Is You
An album that speaks directly to the times we live in, Going Going Gone sees Mild High Club blending the psychedelic pop of earlier albums Skiptracing and Timeline with influences from around the world, especially Brazilian avant-garde music from the ‘70s and ‘80s.
Songs from Skiptracing and Timeline have hundreds of millions of streams. Mild High Club recently had viral success with single ‘Homage’ on TikTok, with over 50k videos posted and millions of likes. An active Reddit community dedicated to the band boasts thousands of members.
The band has played at such iconic festivals and venues as Coachella, Le Bataclan in Paris, and Brixton Academy in London. In 2017, they released an album with King Gizzard and the Lizard Wizard, Sketches from Brunswick East.
STAFF COMMENTSBarry says: Mild High Club return for their newest outing, mixing the hazy indie guitars and swooning progressions of yesteryear but with a more crystalline, loungy production aesthetic. As wonderfully evocative as their previous outings, but even more beautifully varied.
1. Kluges I
2. Dionysian State
3. Trash Heap
4. Taste Tomorrow
5. A New High (feat. Winter)
6. It's Over Again
1. Kluges II
2. I Don't Mind The Wait
3. Dawn Patrol
5. Me Myself And Dollar Hell
6. Holding On To Me
Inspiration for many of the songs themes, as well as the title Circles, came from Ralph Waldo Emerson's 1841 essay by the same name, on the symbol and nature of "the flying Perfect." From the opening lines: "The eye is the first circle; the horizon which it forms is the second; and throughout nature this primary figure is repeated without end." And so it goes. Rust never sleeps.
STAFF COMMENTSAndy says: Do you like The Stooges and Suicide and driving, hypnotic grooves? Then you will love Moon Duo's beautiful third album proper. Now on glorious green vinyl.
A2. I Can See
A4. I Been Gone
B1. Dance Pt. 3
B2. Free Action
B4. Rolling Out
That’s most clear on the dreamy organ and skipping riff of the title track, which recalls the Velvet Underground, or the handclaps and swinging organ bloops over the potent shredding and guttural riff delivered by Johnson in When You Cut. Throughout, Mazes is the sound of Moon Duo carving out their own identity, looking to the horizon, and moving forward.
Ripley says that, as a guitarist and songwriter, delineating between Moon Duo and Wooden Shijps “happens naturally. I focus on one project at a time, and the way the two bands operate is very different. And there are certain limitations that Moon Duo is forced to accept, not having a drummer for example, and I really like that. I like the creative challenge of working with limitations. Having done so much home recording cultivates that. Working with one other person is much different from working with four.”
This meant a vastly different recording process to Moon Duo’s first two EPs, which were recorded fast and at home. Mazes was a more drawn-out process, involving proper recording studios for the first time including the trip to Berlin to mix and re-record certain parts and the track ‘Run Around’. “The working title was Die Blumen [the flowers], so going into the mix sessions we kind of felt like it was becoming our ‘Berlin record’, but in the end it retained the stamp of San Francisco and we liked Mazes title better anyway.” And ultimately, Mazes is a definably American record, recorded against the backdrop of the Johnson and Yamada’s move from the Californian coast to the heights of Colorado. “I think a lot of our music has something to do with the mythology of the road,” muses Moon Duo’s Sanae Yamada. And if Mazes is a quest, a journey through American landscape and music, Johnson concludes that its key is “finding one's place in the world; moving forward, and the different paths one takes moving through life, trying to reach various goals, literally moving; love; pain; change. Or just getting by, and making sense of things”.
STAFF COMMENTSAndy says: Stripped to a two-piece and featuring keyboards and a drum machine, there's still plenty of roving Ripley guitar lines to keep the Shijps-heads happy on this, their second album.
He is a visionary who will go down as history as one of the most important artists of all time. But what's so striking about Kendrick Lamar, aside from his impressive accolades, is how he's effectively established himself as a formidable opponent of oppression, a force for change. Through his confessional poetics, his politically charged anthems, and his radical performances, Lamar has become a beacon of light for many people in America.
Written by veteran journalist and music critic Marcus J. Moore, this is the first biography of Kendrick Lamar. It's the definitive account of his coming-of-age as an artist, his resurrection of jazz, his profound impact on a racially fraught America, and his emergence as the bona fide King of Rap.
The book traces not only Lamar's powerful impact on music but also on our current society, especially under the weight of police brutality, divisive politics, and social injustice. With exclusive interviews with his family, friends, and record producers, this book is the must-read for any fan. The Butterfly Effect is the extraordinary, triumphant story of a modern lyrical prophet and an American icon who has given hope to those buckling under the weight of systemic oppression, reminding everyone that through it all, "we gon' be alright".
Do you have a spare $225? Neither do we, but that seems to be the average out-of-reach price for an original vinyl copy of Cure For Pain these days. Oddly, the LP has only been available as a vintage limited run Brazilian pressing. Featuring the essential songs “Buena,” “Sheila,” “Candy,” and the moving title-track “Cure For Pain,” this is the album’s first-ever US vinyl issue. Modern Classics’ Cure For Pain features lovingly re-mastered audio, 180-gram wax, deluxe “tip-on” gatefold jacket with original album art, and liner notes insert containing interviews with surviving band members.
Tragically, Morphine honcho Sandman passed away on-stage at an Italian gig with the group in 1999, leaving their devoted audience with five engaging albums and a lifetime of musical memories. Today, the group is hailed as one of the great band’s of the last 25 years and was recently profiled in the feature-length documentary Cure For Pain: The Mark Sandman Story (2011). Light In The Attic are extremely proud to help spread Morphine’s Cure For Pain, a longtime personal favorite. We hope you enjoy the album’s dream-like state on black virgin vinyl. So turn the power on, set the mood, and get ready to feel alright. To quote Cure For Pain, “Let’s Take A Trip Together.”
180-gram LP housed in expanded gatefold jacket with 4-pg insert featuring interviews with surviving band members.
'Yasiin Gaye. The Return: Side Two' gives us 18 new mash-ups of Mos Def and Marvin Gaye classics.
“World What World” is the band’s eighth album and third for Trouble In Mind Records. “World What World” is the newest chapter of the group’s continued explorations and efforts to refine their sound. The lyrics of “World What World”s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener “I Wanna See The Sun” and “Final Sunset” lay out what’s in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties.
The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through “Then The Moon” when the tune’s lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic “Haunted Eyes” - beckoning you with a mournful sidelong glance. Side Two opens with “Staggering With A Lantern”, an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group’s guitarists. The sticky lyrical hooks and sideways jangle of “Way Back To The World” and “The Last City”s midnight-hour, mellow singe come next, before concluding “World What World”s journey with “Flock of Swans”. The song is the perfect closer and culmination of the album’s mission statement. The subjects that populate Greene’s songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, fighters, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section’s otherworldly chemistry and Battalene’s masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.
1. I Wanna See The Sun
2. Final Sunset
3. Then The Moon
4. Haunted Eyes
5. Staggering With A Lantern
6. Way Back To The World
7. The Last City
8. Flock Of Swans
Other notable stand-out tracks include ‘Wait’, a stripped-back track which takes an intimate look at how you make mistakes to develop a relationship, and ‘Postcards’, highlighting a gorgeous vocal interplay of NAO and serpentwithfeet, who features alongside her on the track. For ‘Good Luck’, R&B crooner Lucky Daye jumped on board.
She says: “Life isn’t perfect; we still go through ups and downs, but it can be beautiful as a whole. I do think it’s a hopeful album, in an honest way – it’s not shiny or all ‘isn’t this great!’ and ‘party party party.’ But it’s hopeful in that through every rough patch, every dark patch or struggle we always come out again. That’s what life is. You keep going. But most of all you try and step into a place of gratitude so that you can see life in all of its beauty.”
STAFF COMMENTSBarry says: A silky smooth mix between soaring synth pop and grooving R&B, wonderfully bringing together Nao's gorgeous vocals and a distinctly modern mash-up of styles into a cohesive and jubilant whole.
1. And Then Life Was Beautiful
2. Messy Love
3. Glad That You’re Gone
4. Antidote (feat. Adekunle Gold)
5. Burn Out
7. Good Luck (feat. Lucky Daye)
8. Nothing’s For Sure
9. Woman (feat. Lianne La Havas)
10. Better Friend
11. Postcards (feat. Serpentwithfeet)
12. Little Giants
13. Amazing Grace
After the critical acclaim of Real High (2017), Gonzalez began her PhD in Musicology at UCLA in 2018. At the same time, her twelve year marriage and creative partnership with Grammy Award-winning producer Cole M.G.N. dissolved, leaving her homeless and adrift. Though in a state of grief, her studies renewed her focus.
Working with only a Moog sequencer and keyboard, Gonzalez improvised along to rhythmic grooves while singing in hushed undertones, which she then meticulously produced into a collection of intimate off-pop masterpieces. "No Sun" manifests a future out of songs of sorrow, as a part of Gonzalez’s quest to reclaim her subjectivity.
Occupying a liminal space between Arthur Russell’s whispered intimacies, Tirzah’s R&B poeticism, and Kraftwerk’s rigid electronics, "No Sun" traverses new soundscapes through the eyes of an uncompromising female auteur.
Before I Go
Show Me What You’re Made Of
To Feel It
When There Is No Sun
Like trudging through viscous air, "I Lost All My Data" is a blissed-out barrage of sub-bass that nods to a long-lasting passion for sound system culture.
Uploading turbo-charged wubs with molten glass melodies, the debut EP of Giovanni Bonelli (aka Notte Infinita) is a welcomed update for UK style broken-techno conventions. Booting-up with its title track, the record quadrisects the fabric of digital music, each cut a sonic reprogramming of its predecessor. "Slippery Tuff" references off-kilter club, while on the flip, "Ecstatic Dub (Roller Mix)" climaxes in an ultra-sensory faux-organic whorl. Unplugging the whole thang, "Oxygen" manipulates post-dubstep textures, into a data-roused jungle tunnel.
Deciphering glitched-out signal processing and harmonic warps, "I Lost All My Data" is the software upgrade that every system needs
Support from Bambounou, Madam X, Special Guest DJ, Opium Hum/Michail Stangl (Boiler Room), Lurka, Bruce, orson (version)
A1. I Lost All My Data
A2. Slippery Tuff
B1. Ecstatic Dub (Roller Mix)
Stiring up a storm through her "If U Want It" 12", plus some tasty collaborations with the likes of Clams Casino, Blood Orange, Galcher Lustwerk and Nosaj Thing, the Ninja Tune-signed genius lays out her sonic identity in an edgy, attitude-filled LP which is both hi-tek and emotion-filled.
Stylistically, Jin seems to digest booty bass and ghetto house, combine it with some of the modern lo-fi house aesthetics and give it her own uniquely S. Korean sugary icing. Some of her drum patterns recall early DJ Rush or Green Velvet, while at other times lo-fi pioneers like Seinfeld and DJ Boring are clearly an influence. It's her deadpan, cool ass delivery that really seals the deal though. Taking influence from Chicago drill, post-punk and pop and somehow gelling it all together into something sincerely her own.
It's a beautifully modern LP which looses none of its soul from being entirely electronic. A future star in the making. Recommended.
STAFF COMMENTSBarry says: The wonderful 'Before I Die' sees Park Hye Jin renewing her take on oft-minimal footwork influenced house. It's a sleek and breezy affair, with the more propulsive moments being tempered with her heavily reverbed, hypnotic vocals forging a brilliant combination of drive and nuanced, lo-fi percussion.
Let’s Sing Let’s Dance
I Need You
Before I Die
Good Morning Good Night
Me Trust Me
Where Did I Go
Never Give Up
Can I Get Your Number
Whatchu Doin Later
Sex With ME (DEFG)
Where Are You Think
Hey, Hey, Hey
I Jus Wanna Be Happy
A1. Bumpy's Lament
B1. Electric Boogie
Logo T-Shirt - Autumn 21: Spearmint / Guava
Pie Eye Collective is the solo project of sound scientist and explorer Matthew Gordon.
While at its heart electronica, Gordon creates an organic collage of influences and evocative noises, even drawing from jazz and soul music. Time signatures and rhythms, sometimes hard to pin down, only lead to a more hypnotic sense of being afloat in a sea of harmonics and strangely familiar musical memories.
It is music that wants you to completely free yourself and let it move through you.
A4. Flibbers Feat. Hector Plimmer
B2. In Habit
B3. Hymn Feat. Mettashiba
The ‘Screamadelica’ double-vinyl picture disc featuring the album’s iconic artwork pressed onto vinyl. This represents the first ever official ‘Screamadelica’ picture disc.
STAFF COMMENTSAndy says: Who doesn't love a picture disc? It helps, of course if the record in question is a bona fide classic and also features artwork which defined a whole era but twisted it into something deep and beautiful. Looks amazing, sounds even better.
Movin' On Up
Slip Inside This House
Don't Fight It, Feel It
Higher Than The Sun
I'm Comin' Down
Higher Than The Sun (A Dub Symphony In Two Parts)
Shine Like Stars
The Caterpillar Club asks and answers a stunning array of existential questions: can we reinvent ourselves? Embrace forgiveness? Does the past want a piece of the future?
"The Caterpillar Club reads like a pulsing DJ set, dropping you into a psychedelic story of birth and death, family, sanity, and sampling. With twisted humour, Mark Rae captures a man propelled from crisis to crisis - existential and medical - in this wildly paced and beautifully observed story about a couple's quest to build a future while being followed by echoes of the past" - Caitlin Ferrara
STAFF COMMENTSPatrick says: From the very first page, Rae's lyrical prose and eye for the more fascinating aspects of everyday life is a treat to read. HIGHLY recommended!
‘What We Call Life’ is Jordan Rakei’s most vulnerable and intimate album to date. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the ‘positive psychology’ movement. These themes manifest on songs like lead single “Family”, which Rakei says is “the most personal” he’s ever been with his lyrics. “I wanted to hit my vulnerability barrier and be really honest. It’s about my parents’ divorce in my mid-teens but still having love for them no matter what,” he explains.
Artwork was created by Canadian-born, Los Angeles-based visual artist Justin Tyler Close (who has worked previously with the likes of Laura Marling), who resonated with the themes on Rakei’s album. The image was created in a remote photo shoot, with Rakei sending images over the internet that were projected onto a sheet and photographed by Close. The melancholic images reflect the title of the record, a question that Rakei would sometimes ask himself during a period of his childhood in which he suffered a great deal of anxiety: Is this what we call life? Rather than accepting defeat, the title is today a commentary on the more happy, confident, and assured person and artist that Jordan Rakei is today
STAFF COMMENTSMillie says: Jordan Rakei fourth album is highly anticipated here at Piccadilly, the album explores themes worn close to Rakei’s sleeve. Personal and moving, the track ‘Family’ is so beautiful and soulful.
A2. Send My Love
B1. What We Call Life
B5. The Flood
'Upon renovating our arctic chateau here in the desolate north, we came across an old sea chest containing an abundance of rare B-sides, exclusives & even some previously unreleased tracks.'
The first clutch of these tracks is available here on limited & number 2xLP and it's a rather spectacular affair. Drfiting dreamily from electronic textures into their driving, expansive, cinematic vision and occassionally drafting in some pop angel for a casual vocal utterance.
For long term fans, this is thorough excavation of this cult and iconic duo. Boosted with extra online content and with more volumes to comes, it's nice to relive the weightless bliss and electronic pop decadance this Finnish act injected into the world.
1. Rising Urge
2. I Wanna Know
3. In The End
5. Across The Graveyard
7. I Just Don’t Understand You
8. Ice Machine
9. Shores Of Easy
10. Were You Ever Wanted?
A love affair between Stretford street soul and Motor City beatdown, "Make This Right" combines seductive pads, a stepped, Detroitian b-line (reminscent of Recloose) and Poppy Lovescene's highly emotive vocal part given touches of flange and chorus in just the right places. It's an obviousl marrige of influences between industrial cities either side of the Atlantic that put music at the heart of everything.
In true, maxi-12" style we get a tasty dub on the flip - tuned woodblocks and fizzy hats driving this stripped back late nite jam that smoulders on in any low-ceiling basement. Finally, for the DJs, a nice beatapella to tease in elements of the OG or just to utilize in tha mix!
Heavy heat from these Manchester top cats. Miss at your peril!
STAFF COMMENTSMatt says: A match made in heaven as two upper ring Manchester stalwarts collaborate together on in a Detroitian-street-soul fashion. Already garnering bare hype on the airwave, don't miss yer chance to grab a vinyl copy of this future hit.
A1 - Make This Right
B1 - Make This Right (Dub)
B2 - Make This Right (Beatapella)
The album opens up with the pessimistic "Moanin’", its gorgeous, blazing sax solo pulled back and forth like it was being played through a possessed tape recorder. Baneful bass pulsates over dozens of maniacal vocal samples on "Suicidal Ideation", an absolutely mesmerizing collage of beauty and terror with a runtime of nine minutes. Moody guitar plucks cry over an intricate bed of micropercussion and erratic low-end blasts on the title track, one of the more sombre moments of the album. At the halfway mark, the record takes a dark, twisted turn, as "Disorientation" well, disorients, with its thick layers of untraceable alien sounds unfolding and contracting back into themselves. Thick layers of time-stretched textures and bewildering rhythms meet masterfully placed snares on "Intergalactic Battle", featuring Teklife’s DJ Paypal. On "Drivin’ Me Insane", Jana and collaborator Nancy Fortune stretch three words back and forth and inside-out over the course of three minutes, using every last gasp and sibilance possible. The album closes with Paypal making his second appearance. "Just a Taste" is an encore featuring many of the fundamental sonics that make up the LP, haunting horns and paranoid voices struggle to speak over fluctuating low-end harmonics.
An established veteran from the world of ghetto house and juke who cut her teeth on Dance Mania records in the late nineties, Jana has the stripes, so to call her an outsider would be fictitious, yet she is a true unicorn within the history of that realm and becomes more and more alienated from formulas and trends on each new record she creates. "Painful Enlightenment" is full of dense, intricate abstractions, paired with rapidly moving structures and is unlikely to sound the same twice, as every listen exposes new layers of its vibrant, transcendental details.
02/ Suicidal Ideation
01/ Painful Enlightenment
02/ Mynd Fuc
03/ Intergalactic Battle (ft. DJ Paypal)
01/ Drivin' Me Insane (ft. Nancy Fortune)
03/ Just A Taste (ft. DJ Paypal)
Marvin Hamlisch was not yet 30 when he wrote those words for the mouth of Barbra Streisand. Even then, Hamlisch was acutely aware that as a narrator of our own stories, the human memory is at best unreliable and at worst mendacious. That same awareness resonates through every bar, beat and breath of I've Been Trying To Tell You, the tenth studio album by Saint Etienne.
The album is made largely from samples and sounds drawn from the turn of the new century, a period that was topped and tailed by Labour's election victory and the terrorist attack on the Twin Towers. “It's about memory,” Bob explains, “and how it can fog and play tricks on you. Specifically, it's about the late Nineties, and current nostalgia for the Nineties.”
Formed in Croydon in 1990 by music journalist Bob Stanley with childhood friend Pete Wiggs, and soon joined by singer Sarah Cracknell, Saint Etienne arose within the context of the indie- dance movement of that era but created a unique sound which – albeit accidentally – paved the way for what would later become known as Britpop.
Their earliest albums – 1991 debut Foxbase Alpha and its 1993 successor So Tough – tapped into the collective consciousness by using an accretion of disparate elements - Long Wave football commentary, a snatch of Four Tops vocals or a sample of Dusty Springfield strings, some dialogue from Billy Liar, a melody from a long-forgotten perfume ad – to create a richly evocative memory-world which was specifically British, even when the component parts themselves were not.
The resulting emotion, of course, is bittersweet. Saint Etienne's music has always captured the feeling that the Portuguese call saudade, the Welsh call hiraeth and the Germans call sehnsucht: a combination of homesickness and longing, a melancholy yearning for a time, a place, a person or a mood that can never be revisited.
It's what the Scottish comedian Brian Limond was driving at with the heartbreaking Limmy's Show sketch in which he visits a travel agent and shows them a blurred colour photograph of himself and his friends on a teenage holiday in the Ayrshire resort of Millport. “Can you tell me how I get there?”, Limmy asks the confused agent, who initially tries to sell him a ticket to Millport. “No, not the place,” Limmy replies. “The feeling.” Saint Etienne's 2002 single “Action” expresses a similar desire: “Cos I've been searching for all the people I used to turn to, and all the people who knew the answer... Let's get the feeling again...”
Another constant in Saint Etienne's music has been their understanding of the power of dreams. There's a strand of pop which stretches from The Beach Boys' SMiLE through Saint Etienne to The Avalanches' Since I Left You and beyond which defies the reductive term 'dreampop', and instead evokes the genuine sensation of dreaming: blissful, yes, but also unsettling and disorienting. Saint Etienne's early career masterpiece “Avenue” conjured that realm for seven minutes, and I've Been Trying To Tell You inhabits it entirely. The album ties together these two Saint Etienne threads – memory and dreams – and tells us directly something which has always been implicit in Bob, Pete and Sarah's work: that memory is a dream.
“I spent a lot of last year thinking about optimism for the future,” says Bob, “and the almost total lack of it at the moment. That got me thinking about the last time there was a general optimism in the country and I thought about May 1997, the window between then and September 2001, which it's easy to look back on as some kind of innocent golden age, even if it didn't feel like one at the time. In reality, of course, there was good and there was bad.... Primary schools and art galleries and hospitals were built versus we bombed Belgrade and introduced PFI!”
Reflecting upon that era, and upon the collective (mis)remembrance of it, led to this new Saint Etienne album. “We thought, if you used samples from the late Nineties - the supposedly promising bit between Labour winning the election and September 11th - what would the music be and what could you do with it? Modern nostalgia culture often draws on corporate American Nineties mall culture, but what about British BBC radio culture? Could those sources be used to actually sound like the era, but through the fog of memory?”
Two decades on, a combination of False Memory Syndrome and collective amnesia has grown up around those early New Labour years. The first Blair administration is nowadays viewed variously as a lost golden age, or a period of naïvete, delusion and folly, and a million different shades in between. “YouTube has so many nostalgic clips of slowed-down grainy footage of shopping malls,” says Bob, “often tagged 'liminal spaces' or something like that, post-Burial, post-Mark Fisher, with vaporwave-like music made by people younger than me who see the Eighties and Nineties as a simpler time. I find this fascinating. What you choose to remember or choose to forget... ASBOs and paediatricians getting death threats in Wales... those bits get forgotten.”
Even at the time, a complacent illusion about the Nineties had taken hold, filtered down from Francis Fukuyama's The End Of History, that benign liberal democracy had triumphed forever and there were no struggles left to be fought. And, even at the time, an equal and opposite sense of disillusion had taken hold of Bob Stanley. On the first anniversary of Blair's election victory, Bob went to the Granita restaurant in Islington, where Blair and Brown had famously struck their power-sharing deal, and felt a sense of emptiness which he later described in the first verse of “Heart Failed In The Back Of A Taxi”: “Took a trip down Granita way/Had to go on the 1st of May/Didn't have much to celebrate...”
Saint Etienne have always understood that pop music is the nearest thing we have to time travel, the closest we can get to breathing the air of a different time. On this album, they take that theory to its logical conclusion. I've Been Trying To Tell You uses sounds and samples from 1997 to 2001, evoking the folk memory of the period by using and twisting recordings from the time, re- working them into new songs. “They're all by people you'd have heard on daytime Radio 1 or 2 at the time,” Bob clarifies, “not Boards of Canada or anything.” Opening track “Music Again”, for example, begins with some gorgeously poignant electric harpsichord from a long-forgotten R&B hit.
For the first time, Saint Etienne didn't record together in a studio. The album was completed remotely, in Hove (Pete), Oxford (Sarah) and Bradford (Bob, in collaboration with film and TV composer Gus Bousfield, who contributes to a number of tracks). Communication was handled via Zoom meetings and emails. “We had the idea for the album before the pandemic, and it was surprisingly straightforward.” The results are exceptional. “I'm really excited about the way the album has turned out,” says Bob. “It feels like something brand new.”
I've Been Trying To Tell You has an internal unity, its heartbeat always at the low end of mid- tempo/high end of downtempo, landing at the approximate pace of Tricky's Pre-Millennium Tension (an album released on the very cusp of the era in question). This helps sustain the dream-state.
That hypnagogic sensation is enhanced here and there by the eerie sound of seagulls and garden birds. It's like falling asleep listening to Minnie Riperton's “Lovin' You” and coming a- dreamwake in Kew. This, it turns out, is another turn-of-the-millennium reference. “In the early series of Big Brother,” Bob explains, “when Channel 4 used to broadcast live from the house in the daytime, they'd dip out the sound whenever the housemates talked about real life people, or swore or whatever, and they'd replace the sound with quite avant-sounding field recordings of birdsong.”
The lyrics, too, obey the fractured logic of dreams. Sarah Cracknell sings in short phrases - “here it comes again”, “never had a way to go”, “ruby dust”, “a love like this again” - looped and repeated, rather than a traditional verse-chorus-verse structure. “They are all snatched phrases that could have been used at the time,” Bob explains, “from news items, or songs, or magazines.” The album's centrepiece is arguably “Little K”, the fourth track of eight, a six-minute oneiric ocean which ends with the sound of lazily lapping waves. The words that filter through the haze are ones which define the album: “No reason to pretend. In my reverie, the mind will carry me...”
The reverie has interludes with no words at all, at least not sung. “Blue Kite”, made from backwards strings and synths and bassy beats from the room next door, is entirely instrumental, as is “I Remember It Well” apart from snatches of mysterious voices which evoke childhood holidays. Some tracks, like some dreams, are simply too strange for analysis: the inscrutably- titled “Penlop” (a Tibetan term which translates loosely as 'governor') has a refrain which appears to run “I don't really know you/But I'd like to show you/Chester town/We went all around...”
The accompanying film, which premieres at the NFT in the first week of September and will also be available as a DVD with the album, came about when Bob Stanley contacted Alasdair McLellan after the latter had used Saint Etienne's “Nothing Can Stop Us” in a Marc Jacobs commercial. They met a few times, pre-pandemic, in a cafe under Shipley clocktower. “Alasdair understood the album straight off,” says Bob. “We talked about youth, and the A1, and British identity, and memories of the recent past. He's really made a beautiful film, and it perfectly complements the album. Alasdair's film also taps in to the way we think of our youth, and sense of place, and where we come from.”
McLellan's film – a still from which adorns the album sleeve - is a slow-motion travelogue that takes in “a lifetime's worth” of locations, including Felixstowe, Blackpool, Portmeirion, Avebury, Southampton, Doncaster, Grangemouth, as well as London. It its vignettes, we see a couple breaking up on a Westminster bench, a man skimming stones across the water from an oil terminal, a ballet dancer rehearsing, a raver dancing in the headlights of a Ford Cortina, youths playing in a Yorkshire waterfall, teams meeting in caffs. The album dovetails immaculately with the visuals. When we do hear anyone speak, it's only to recite lyrics from classic Saint Etienne songs, all taken from the Nineties.
The dreamlike mood of the album, and the film, is a statement in itself: namely that memory is a largely fictionalised product of the human mind, rather than a reliable record. I've Been Trying To Tell You – the album, and the film – sifts through those Hamlischian misty watercolour memories of the way we were, and poses the question: was it all just a dream? Saint Etienne have always known the answer. They've been trying to tell you.
Simon Price, 2021
STAFF COMMENTSBarry says: While Saint Etienne are well known for pulling together a host of influences into their own particular clever brand of indie, their latest outing is perhaps the most confidently nostalgic tribute yet, crafted from found sounds and snippets of samples from the early 00's, leading to an evocative and wonderfully realised triumph.
1. Music Again
2. Pond House
4. Little K
5. Blue Kite
6. I Remember It Well
8. Broad River
A1. Feeling Good
A2. Ready Or Not (feat The Fugees)
A3. Doo Wop (That Thing)
A4. To Zion (feat Carlos Santana)
B1. Fu-Gee-La (feat The Fugees)
B2. The Sweetest Thing (feat John Forte)
B3. Take It Easy
B4. Peace Of Mind
C1. Lost Ones
C2. Killing Me Softly
C3. If I Ruled The World (feat Nas)
C4. How Many Mics (feat The Fugees)
D1. So High (feat John Legend)
D2. Care For What
D3. Angel Of The Morning
D4. The Miseducation Of Eunice Waymon
D5. Fu-Gee-La (Refugee Camp Remix - Bonus Track)
Light in the Attic is proud to present the next installment of the Nancy Sinatra Archival Series with a deluxe reissue of Nancy’s first album, Boots.
The 1966 debut million-selling debut LP, introduced the sassy, blonde, go-go booted icon. Built around her Lee Hazlewood-penned hits, “These Boots Are Made for Walkin’” and “So Long, Babe,” the folk-rock era milestone album features songs by The Beatles, The Rolling Stones, Bob Dylan, Hazlewood and more. The catchy and jangly pop hooks performed by the famed Los Angeles session musicians, The Wrecking Crew and Billy Strange’s innovative arrangements provided the perfect sound to help Nancy capture the attention of the world. The new reissue includes two bonus tracks recorded during the album sessions, the non-album b-side “The City Never Sleeps At Night” and the previously unreleased “For Some.”
Remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin, the reissue is complemented by a new Q&A interview with Nancy and GRAMMY®-nominated reissue co-producer Hunter Lea.
The CD edition is housed in a digipak and features a 28-page booklet, while each vinyl set is presented in an expanded gatefold jacket (featuring a 20-page booklet)
As Tears Go By
I Move Around
It Ain't Me Babe
These Boots Are Made For Walkin'
In My Room
Flowers On The Wall
If He'd Love Me
Run For Your Life
The City Never Sleeps At Night (Bonus Track)
For Some (Bonus Track)
After Mike Huckaby´s tragic death nsyde had decided to postpone the release in humble respect of the mourning time for this outstanding musician, human and soul. To pay tribute to Mike Huckaby´s high sonic standards, his work its presented in the highest quality, full sided, 45rpm, 180 gram, clear Vinyl, in a limited quantity. This remix is amongst Mike Huckaby´s best productions.It touches the classic soulfulness of a Larry Heard piano and blissful vocals combined with clear hints of Basic Channel´s eternal electrifcationing waves of sound. This is a perfect testament to Mike Huckaby´s unparalleled knowledge and wide musical range, and not only those who knew him will feel his clear presence while listening to this beauty. House Nation under a Groove.
STAFF COMMENTSMatt says: The house music community was left mourning when Mike Huckaby died last year. Although no longer with us his spirit will continue to guide dancefloors and record boxes for some time to come. Here his remix of Skymark gets hi-fidelity, no-expense-spared treatment.
Easy Saturday Night (Mike Huckaby Remix)
At the time they were listening to a lot of post punk and were struck with the partnership of drums and bass as propulsive instruments. The trio started writing songs around that idea - with the rhythm as a brace to hang their decorations. Sonically, Smoke Bellow are inspired by disparate sources. The heyday of Compass Point studios' famed rhythm section of Sly and Robbie sustained them for months. Others included good old VU, ESG, guitar hero Zani Diabate, The Raincoats (especially their under-appreciated second album, Odyshape), the frenetic sound collisions of the Flying Lizards, the ever warm blanket of Yo La Tengo, the evolving repetition of Stereolab, the understated genius of Asa Osborne, as well as Philip Glass and Steve Reich. The David Byrne/ Robert Wilson "Knee plays" reminded them of the joy of the spoken word set to music. Lyrically, Best & McHugh drew from life in Baltimore, from isolation (again), memories of life in Melbourne, their friends and each other. "We wanted to talk about resilience and resistance." Says Best. Recording and mixing took place between a remote cabin in the Smoky Mountains and Tempo House in Baltimore with Jared Paolini. "Maybe Something" includes cello from Owen Gardner (Horse Lords). Words on "Night Light" by Daniel Stephensen.
1. Fee Fee
4. Night Light
5. Furry Computer 2
6. Fuck On
7. Maybe Something
8. Wrong Size
9. Take The Line For A Walk
Source Crossfire rounds up Sofa’s 1997 album Grey (the only full-length from Constellation’s early years yet to be given vinyl reissue treatment) along with selections from the band’s two prior self-released cassettes. What began as a straightforward Grey vinyl re-issue project soon evolved into an opportunity for something just a little more considered than “album plus-bonus-tracks”. Record #1 reimagines Grey with vinyl in mind, newly sequenced to create distinct loud/fast and soft/slow sides. Record #2 mirrors this, with four tracks of louder
(and mostly faster) pitch-black material on Side One and three signature examples of the band's sombre early balladry on Side Two all culled from the Town Unsafe and Record cassette material from 1995.
Anchored by the raw metronomics and pummelling syncopation of Keith Marchand (drums) and Scott Clarkson (bass), Sofa was one of the city's tightest and most kinetic bands, always seeking uncharted pathways in the cracks between established punk/rock sub-domains. The bi-amped SG Firebrand of guitarist Ian Ilavsky relied on 2 rudimentary pedals (distortion; overdrive), combining with the singspeak of vocalist/lyricist Brad Todd to paint a twitchy, frenetic sonic foreground of controlled chaos. The band was also known for its heterodox and unapologetic slow-tempo alter ego, with Marchand playing behind the beat in jazz tinged torchsong swingtime and Clarkson weaving deft melodious lead lines on bass, as Todd switched gears from rapid-fire glossolalia to gentle baritone croon.
Jace Lasek (The Besnard Lakes, Breakglass Studios) and Harris Newman (Greymarket Mastering) teamed up with Constellation co-founder (and Sofa guitarist) Ian Ilavsky to give all these cuts some thorough remastering attention. Sofa recorded everything live off the floor, and in the case of the cassette material, an entirely live mix direct to two-track with rudimentary effects dialed into the signal path and zero post-production. Grey was similarly tracked in a weekend, with minimal overdubs and effects, and using only analog tape compression. The remastering treatments work solely from the original stereo mixes but nonetheless bring this largely unsung band’s music to renewed life.
Source Crossfire aptly names the unique mix of genres and influences distilled in Sofa’s cauldron a special treat for fans from the era, for those who've discovered Sofa since, and for anyone interested in the fertile crosscurrents of UK + US post-punk, post-hardcore, slowcore, goth, indie and art rock that spawned such a diverse slate of unsung bands with distinct energies, personalities, and hybrid sonic identities across so many local scenes at the dawn of the 1990s.
4. The Fence
9. Medicine Hat
11. City Of Laughter
12. Just A Walk
14. Radio One
15. So Around
16. String Of Lights
OK, here it is folks, the undeniably infectious saccharin-laced future-proof jam that is "Lemonade" by Sophie. Love it or hate it, I guarantee you won't be able to get these sickeningly sweet hooks outta your head after just one listen! "Lemonade" will surely be looked at in years to come as a sonic symbol of post-modern, digital culture as we search for that ADHD-proof 'hit' riddled with novelty and stimulation. I think Pitchfork put it best with '"Lemonade" is a bouquet of ephemera, and we shouldn't be surprised that Sophie hid a firecracker in the bundle.’ At around four minutes long, this radio-friendly piece of crazed production is the crucial point in which bass music hit the masses, and watch it start a fire all over the internet and radio over the next month or so. On the flip "Hard" is even more frenzied, deploying rattling percussion, glistening motifs and machine-gun drum programming while a quick-fire female vocal talks about difficulties getting by for the modern club girl. With a massive future-rave breakdown towards the end, it’s another synthesized moment of legal-high goodness wrapped up in a succinct, concise, well executed package. Massive.
60k+ and counting Soundcloud plays over the first 24 hours
Currently charting #2 on Billboard’s ‘Emerging Artists’ chart
'You'll not hear anything else like this today' Zane Lowe BBC R1 show premiere (covered by Huw Stephens) (@ 47m15s)
‘SOPHIE's Lemonade is the most bonkers track we've heard all year’ Guardian
‘song of the day’ Diplo on Twitter
‘one of the best things I’ve heard all year’ Stereogum
‘"Lemonade" is a bouquet of ephemera, and we shouldn't be surprised that Sophie hid a firecracker in the bundle.’ Pitchfork
‘impossibly infectious’ Gorilla vs Bear
STAFF COMMENTSMatt says: Available once again. The first four Sophie EPs have become cult artefacts of leftfield-dance-pop. Last chance saloon if you missed 'em the first & second time!
Suitably smokers-friendly for the iconic !K7 label, the album creeps through shadowy soundscapes punctuated by wild breakbeats and guided by some lost, shamanic instrumental language spoken through dazzling arrays of strings, raptous reeds, sparkly synth work and mountainous bass.
Polyrhythmic throughout, with a keen grip of movement and repetition, it's at times Can-esque, at others reminescent of Floating Points' spiraling electro-jazz epics. Deployed with a focussed intensity, whilst still remaining unhurried and free-flowing, the tracks seek to elevate the listener into clouds of shimmering, electro-boosted, dreamy jazz - and it's absolutely wonderful!
A1: In Readiness
A2: Tree Of Life
A4: Don't Ask Feat. MC Altaf
B1: Can't Say That To You
B2: Little Ships
B4: 1759 (Outro)
'SpeizBanger' on side A is one of those timeless songs that are hard to be described, but we are pretty sure this is what an imaginary demo by random members of BadBadNotGood and Khruangbin, recorded in a smokey Budapest home studio would sound like.
'BreakBottle' on the flip starts off as a more conventional live groove until the ethereal synths and guitar harmonies come in, from then it sounds like the fictional demo described above.
The single is limited to 300 copies
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.
1. The First Time
2. The First Time (Instrumental)
A2. Where Pathways Meet
A3. That’s How I Feel
B1. Twin Stars Of Thence
B2. There Are Other World (They Have Not Told You Of)
Recorded in 2010 at the Good House, an old church in upstate New York, with fellow Animal Collective band member Deakin.
‘Down There’ is a world of nine songs from Avey Tare. His first official solo full length carries you through a murky world of sound, an alien death world of soul grooves that is both honest and otherworldly.
Take a ride on this haunted boat and let yourself be guided through deep sloshy rhythms, waterlogged bass and moonlit breaks in the canopy that reveal a crisp crystalline pop buzz.
Glass Bottom Boat
Ghost Of Books
Heather In The Hospital
One side sees the mysterious mastermind take on some tropical boogie heat via ‘Hello You Yeah’ with the flip a cosmic disco warper in the form of ‘Just Be Yourself’. The sunkissed lilt, trilling synths and 'Hallelujah' chorus of the A-side is a summery sing-a-long which should make a lot of sense next to Neil Diablo's "High Emotion" while the rocking guitar, campish vocals and precision sleaze of the flip (originally a Nightlife Unlimited cut fact fans) has DJ Harvey written all over it. Two irresistible cuts that will be whipping crowds into a frenzy the world over.
A1 - Hello You Yeah
B1 - Just Be Yourself
Reminscent of classic beatdown and Detroit house such as Amp Fiddlr, Recloose, Moodymann etc; but kicking that bit harder on the speakers due to Voorn's speaker-rattling techno background!
There's per-LENTY to go at here folks. A double disc janut of electro-jazz-funk-deep-house fusion which is primed for play in both nightclubs, living rooms, souped up Seirra Cosworths and sun-blushed Tiki bars alike.
This man is a musical genius! Up there with Carl Craig and Moritz Von Oswald with his sheer profeciency in both production and musicality. And he's relentless - this releases comes segued in between a flurry of techno releases, all of which are killer - as this 30 year+ musical veteren marches on with no intention of slowing down in later life!
Absolutely killer album that's delightfully long, satisfying and made with love and passion. Like a 5-course meal at your favourite restaurant you'll want to devour it from start to finish. Highly recommended.
STAFF COMMENTSBarry says: A selection of deep, rich house classic from Voorn here, with the grooving basslines and vocals perfectly coalescing together into a wild and fiery soulful house treasure.
A1. Orlando Voorn - I'm About To Whip Somebody's Ass (Revolution)
A2. Orlando Voorn - Freak Of My Desire
B1. Orlando Voorn - Gotta Get Up
B2. B2 - Orlando Voorn Feat. E1 Ten & Mary Griffin - Oh Lord (Urban Coalition Mix)
C1. Orlando Voorn - Leave Or Stay
C2 . Orlando Voorn - The Love Sisters
C3. Orlando Voorn - Un Common
D1. Orlando Voorn - The Master
D2. Orlando Voorn Feat Slikk Tim - The Funk Brothers
D3 . Orlando Voorn Feat Belou Sunday - I Love You
For 'Solar Müsli' though, Niklas takes centre stage with a debut solo LP informed by kosmische, jazz, Afrobeat and ambient, but placed in a universe of its own. This is not formalism at work, but an exhilarating, freely flowing album which started out as an exercise in improvised percussion and developed into a multidimensional journey, at times both introverted and ebullient. Stitched through with snippets of spoken word by some of his nearest and dearest, this wildly psychedelic listen is a journey through the nebulous realm of electronic jazz, both emotive and escapist.
A1. Der Glaeserne Tag
A2. Durch Den Spalt
A3. Lo Spettro
A4. Wo Es War
B2. Solar Musli
B3. Am Rande
These walks, along with the comfort found in work and routine, helped alleviate the universal cloud of anxiety that swept the first part of the year, and soon Andrew found that his daybreak strolls were seeping into the music he was creating. Slowly, a collection of luminous, inventive and largely instrumental music was taking shape.
The ten compositions that make up Balgay Hill: Morning In Magnolia present themselves as hymns to early morning light, the optimism at the start of the day, and the simple joy that can be found close to home exploring an inner-city park. As with last year's Fugitive Light And Themes Of Consolation and Scottish Album Of The Year Award shortlisted The Paralian (2019), trumpet and flugelhorn are handled by fellow Tayside musician Rachel Simpson, who's delivery blends muted swells and punctuated patterns.
The hallmarks of Wasylyk’s multi-dimensional approach to composing, performing and producing glow soft throughout the arrangements. His timeless, yet entirely individual, melodies remain potent and apparent. A warped tape loop cycles over a Fender Rhodes motif - elegiac strings underlined by the thud of analogue drum machine. Textures shift and shade like dawn glimmering through the branches of a sycamore. Infused with field recordings made on his morning rambles; finches flutter in the high green canopy, a dog walker shuffles in fallen leaves, the faint hum of lawnmower and passing passenger-less bus. Elsewhere, a wood pigeon clatters through a blossom tree, migratory geese call above Mills Observatory and the heavy summer rain rattles down on empty streets.
Balgay Hill: Morning In Magnolia is as much a daydream rubric through solitude as it is meditative map. An invite to untold stories and images that take flight in the listener’s mind. Here, Andrew Wasylyk offers another cohesive, unique, and transcendental journey through ambient, library and jazz.
1. Blossomlessness #2
2. Through The Rose Window
3. Magpie Spring
4. Sun Caught Cloud Like The Belly Of A Cat
5. Avril Hydrangeas
6. Western Necropolis
7. The Ghost Who Never Arrived
8. Observatory In Bloom
9. Smiling School For Calvinists
10. The Morning Of Magnolia Light
Oh my God. This is mindblowing. Like Wow. Incredible. Amazing. Breathtaking. Super wow. And wow again. And another wow. Jesus Christ wow. Like bloody hell wow. I really cannot believe it wow. Fuck me wow. Wow wow wow.
Unreleased until now and super duper wow. Like British pastoral jam with killer drums, bass and percussion. Just dying for some huge hip hop producer to come and piss all over it, in a good way. This record is the hidden monster, the one killer OST no one saw or heard.
Film is from 1970. Unreleased music is just fucking wow.
Three new tracks which are destined to become certified future wedding classics whilst perfectly capable of holding their own across the Adriatic festival network next Summer.
Lines like 'I've killed the groove now there's blood on my tie' could only really be sung by someone as large as Rick Astley. But there's a contemporary feel to the tracks which isn't a million miles away from what Jungle are doing at the moment. Big, resplendent guitar lines; powerful falsetto vox and warm, electronic disco production give these three songs huge mainstream appeal.
This is a bit of a coup we have to say. God knows if there's more material due from this pair - might just be a sneaky one-off project - whatever it is, we highly recommended bagging yourself a piece of this oddball slice of Balearic gold!
STAFF COMMENTSMartin says: It's not "Never Gonna Give You Up", but this blink-and-you'll-miss it from the late 80s pop icon should keep Balearic aficionados nodding approvingly as they sip their pina coladas from the poolside.
A2. Blood On My Tie
B1. The Waves
Approaching the release of their third joint album in late 2015, it's time to test the waters with Paint Me in a Corner b/w Where Are You Now. Neither of the tracks carries much of a humour element. The first one points its pounding existential finger towards us all, urging us to break the chains of normality, while the beautiful melancholia of the second track rocks the listener in a mid-tempo groove paradise.
These two tracks might be just the thing to kick you in the chest with enough soul in order to get out of the house. Maybe even dance by yourself in a desolate corner of the bar.
1. Paint Me In A Corner
2. Where Are You Now
1. Icee Shop / Entrées
3. Charles Barkley
5. Slam Dunk Contest (feat. Pharoahe Monch)
6. Brrt Simpson (feat. Left Lane Didon)
7. Reign Man
9. The Dunking Dutchman
10. Long Time Coming
11. Disney World
12. Lost Smile
14. 90 From The Line Remix (Šarūnas Marčiulionis)
The album was written and recorded over three years, as Kardos-Fein and Eisinger watched developers raze many of their favourite NYC venues. Rather than disappearing into the rubble of the city they love, How The Garden Grows grew out of that chaos. “It’s nearly impossible to compare them to any other band,” wrote Meredith Graves for the Village Voice in 2016. Having gained lasting acclaim for their debut LP Process, the follow-up EP Time Management (both released on GODMODE), and their bewildering, inspirational live show, YVETTE’s near-decade as a band coalesces with this LP. They’ve performed alongside The Rapture, Sleigh Bells, Lydia Lunch, Liars, HEALTH, Liturgy, Factory Floor, Xiu Xiu, A Place To Bury Strangers, Oneida, Metz, DIIV, The Soft Moon, Priests, Dan Deacon, Pissed Jeans, and Thurston Moore. This is YVETTE’s sophomore full-length. Their debut album Process (released on Godmode/Tough Love in 2013) received an 8.1 on Pitchfork, in addition to plenty of other strong coverage. Photographer Tim Saccenti (Lana Del Rey, Run the Jewels, Eminem, Flying Lotus) took some amazing press photos of Noah. Noah co-wrote some songs with Moses Sumney for his 2020 album græ. Press Quotes - "...Yvette managed to recast a music rooted in nihilism and agitation into something approachable and transfixing." Pitchfork // “Yvette channel all the moody intensity and musical discipline of Wire and This Heat, which pushes all the right buttons” Jonathan Galkin of DFA Records for NME // "a noise band with a bit of pop sensibility" Shamir // "Yvette are a noise-rock duo from Brooklyn who manage to turn drilling sounds and drones, the hum and clatter of machinery, into riveting entertainment." The Guardian
01 B61 5:19
02 Contact High 2:07
03 Warm UP 2:44
04 Besides 2:53
05 For A Moment 2:56
06 Close Quarters 6:14
07 Smoke In Your Eyes 2:31
08 Best Intentions 3:20
09 Translucent 2:24
10 Intermission 7:40
Although musically completely different, they have one thing in common: they provide the perfect vibes for any late summer party from sunset till sunrise.
After starting off with up-and-coming producer, WaTa's timeless house burner, things get a bit more laid back with 'Historico' an honest and entertaining tribute to the early days of Italo disco, delivered by producer duo Pleasure Voyage.
Budabeats staple M.W.D. continues with a mid-tempo deep groover that builds elegantly and does not let go; the title says it all: 'Jazz808'.
Oneeyedman is another exciting and versatile figure of today's Budapest scene, his closing track is a satisfying slice of deep house with acidic bass, spaced out synths and just the right portion of cowbells.
Limited to 300 copies worldwide.
A1. WaTa - Feel Ya
A2. Pleasure Voyage - Historico (Italo Disco)
B1. W.M.D - Jazz808
B2. Oneeyedman - Windblind
The photo we chose for this cover somehow could be seen as an allegory of the sounds we feature on the label. It depicts Algerian composer Ahmed Malek at an ice cream bar during his stay in Japan for the World Expo in Osaka, 1970. He later said that his visit to Japan and especially the manga culture left a distinctive mark on the way he created his own compositions. With this in mind, it feels as a suiting visual representation for the music on this compilation.
Accordingly, the compilation you are holding in your hands offers a much wider range of music than just funk influenced sounds. Sure, it brings back Fadoul, who we have already dedicated a full length album to. He was the mystical Moroccan singer who - influenced by the sounds of James Brown- created his own musical vision full of energy but also still very intimate. Another artist we have featured before is Ahmed Malek, the grand Algerian soundtrack composer, whose music is largely connected by a distinct feeling of melancholic beauty or Hamid Al Shaeri, the Egyptian hit producer whose track "Ayonha" was probably the most widely appre-ciated track off our first compilation. But we have also learned that this format of a compilation can serve as a medium to introduce artists to our audience, who we are planning to dedicate full length releases to in the near future, such as Ibrahim Hesnawi. Hesnawi is the father of reggae music in Libya - a genre still widely popular in Libya - and whose presence in the country is commonly connected to the rhyth- mic similarities of reggae with some form of Libyan folkloric music. Nahib Alhoush is another Libyan artist, whose musical output we will spotlight in the near future. In the 1970s, he was the co-founder of Free Music, one of the first Libyan bands introducing western influences into their music. After the band stopped performing together he started an at least equally successful solo career under his own name. When I got into Arabic music around five or six years ago, I knew pretty much nothing about it. Realistically, I still know very, very little about it and I'm by no means an expert. I just had the opportunity to visit the region frequently, trying to learn about music I might like. Most of the bands, I happen to enjoy, were fairly obscure and therefore a lot of the music on this compilation seems to be largely forgotten. After sharing many of the old records and tapes online through mixes, I have realized that there is a huge disparity between the interest in the music on the one hand and its availability on the other.
All tracks on this compilation are fully licensed, most directly from the artist or in the case of artists, who are deceased licensed from the artist's family. There are two exceptions: Hamid Al Shaeri's track was licensed from SLAM! as the label is still active under the name Sonar. Zohra's "Badala Zamana" from the great Belgian label MTMU, who has reissued this track under license from the producer on 7" format before. As a European label dealing with non-western artists we try to be aware of the responsibilities that derive within the making, regarded from a post-colonial point of view by demanding on ourselves not to reproduce exploitative economic patterns. We split all of the profits from our releases equally with the artists without deducting any costs that are not directly related to the release (e.g. we pay for our research to find an artist as well as all travel costs from our share of the profit). Our agreements are licensed deals with limited terms after which the rights fall back to the artist or the artist's family. The master rights stay with the artists, we just license them. We do not include publishing rights in our deals. We think it is important in today's reissue market, where too many shady business transactions happen, to be transparent about our licensing policies. We are always available for any questions, requests as well as more detailed information.
1. Douaa - Haditouni
2. Magdy El Hussainy - Music De Carneva
3. Fadoul - Ahl Jedba
4. Sal Davis - Sultan Qaboos Song
5. Munir Khauli - Heik Ha Nishtghil
6. Ouiness - Zina
7. Najib Al Housh - Ya Aen Daly
8. Zohra - Badala Zamana
9. Ahmed Malek - Casbah
10. Aït Meslayene - El Fen
11. Hamid El Shaeri - Reet
12. Hamid El Shaeri - Tendme
13. Tony Benn Feghaly - Free Blow
Duke started making music when he was 13 years old, and by the time he was 18 he had opened the Pamoja Records studio. He's joined on the compilation by a talented cast of young local talent: 20 year old Pirato MC, 19 year old Dogo Kibo, 20 year old MC Kuke, Dogo Lizzy, MC Dinho, MC Kidene and MCZO, the versatile rapper who accompanied Duke on a selection of global tour dates. The music is fresh and unpredictable, switching beats every few bars and rattling through hyper-local dance styles with jagged, joyful ease. But it's the MCs that push "Sounds of Pamoja '' to the next level, capitalizing on the vitality of Dar es Salaam's musical landscape as they trade bars, switch flows and somehow keep up with Duke's lightning-fast productions. It's breathtakingly unique dance music that recalls the youthful spirit of Detroit techno or footwork, with rapid body movement, social combustion and tongue twisting lyrical one upmanship guiding the rudder.
1 Pigo La Moyo - Dogo Kibo
2 Nakupenda - Dogo Lizzy
3 Angekuwepo - Dogo Lizzy
4 Kamatia Chini - MC Dinho
5 Il Jini Song Wapi - MC Kono
6 Kwa Ajiri Yao - MC Kuke
7 Sherehe - MC Kuke
8 Ganja - MC Pilato Ft Mczo
9 Mama Ashura - MC Pilato
10 Wamenichoma - MC Pilato
11 Ushauri Wa Bure - Mczo
Kicking off with Miserlou by the legendary Dick Dale And His Del Tones. Of course you know this one from Pulp Fiction. Put there are other gems here including Peter Gunn by Duane Eddy and tracks by Johnny & The Hurricanes, The Tornadoes and The Frantics.
So what are you waiting for? Grab your board and head for the coast!
A1. Dick Dale And His Del Tones - Miserlou
A2. The Chantays - Pipeline
A3. Duane Eddy - Peter Gunn
A4. The Mar-Kets - Surfin'
A5. The Scarlets - Stampede
A6. Don And The Galaxies - Avalanche
A7. The Frantics - The Whip
A8. The Frogmen - Underwater
A9. The Packabeats - Gypsy Beat
B1. The Tornadoes - Bustin' Surfboards
B2. The Sentinals - Latin'la
B3. The Bel-Airs - Volcanic Action
B4. Johnny & The Hurricanes - Sandstorm
B5. The Gamblers - Moon Dawg!
B6. The Fabulous Playboys - Cheater Stomp
B7. The Rhythm Rockers - Get It On
B8. Kenny & The Ho-Daddies - Surf Dance
B9. The Hunters - Teen Scene
Also includes (Ghost) Riders In The Sky by Ramrods,, Tomahawk by The Cheyennes and Guitar Boogie Shuffle by the legendary Bert Weedon.
Grab your wetsuit (this is England - the sea is freezing!) and head for the breakers!
A1. The Beach Boys - Surfin' Safari
A2. The Ventures - Walk, Don't Run
A3. The Revels Feat. Barbara Adkins - Church Key
A4. The Pharaohs - Dennis The Menace
A5. Ramrods - (Ghost) Riders In The Sky
A6. The Jesters - The Jester Jump
A7. The Astronauts - Come Along Baby
A8. Bert Weedon - Guitar Boogie Shuffle
A9. Santo & Johnny - Sleep Walk
B1. The Champs - Lowdown
B2. The Fireballs - Vaquero
B3. The Cheyennes - Tomahawk
B4. Brian Bentley & The Bachelors - Caramba
B5. Ray Ethier - President's Walk
B6. The Vampires - Clap Trap
B7. The Rockets Band - Countdown
B8. The Rockin' Rebels - Wild Weekend
B9. The Feenades - Theme From Leningrad
Hang five dudes!
A1. The Challengers - Bulldog
A2. The Lively Ones - Guitarget
A3. Billy Vaughn - Wheels
A4. The Noblemen - Dragon Walk
A5. The Piltdown Men - The Great Imposter
A6. Keith Zeller And The Starliners - Yellow Bird
A7. The Twisters - Count Down 1-2-3
A8. The Atmospheres - The Fickle Chicken
A9. Rhet Stoller - Chariot
B1. Link Wray & The Wraymen - Rumble
B2. Bruce Johnston - Do The Surfer Stomp Pt. 2
B3. The Jetstreams - Bongo Rock
B4. Nero & The Gladiators - Entry Of The Gladiators
B5. The Surfmen - El Toro
B6. Sandy Nelson - Let There Be Drums
B7. The Rockin' R's - Nameless
B8. Jan Davis - Sabre Dance
B9. The Wailers – Shanghaied
Originally pressed on vinyl in very small quantities, these 19 records were issued between 1970 - 1983. Many of the tracks included in this compilation were never commercially released but given away by the artists to family and friends instead. There are no genre boundaries so expect to hear funk, soul, disco, boogie and jazz funk. What is common, however, is talent, groove, drive and passion.
Collecting rare records and DJing for over 15 years, she’s also been a regular DJ and dancer at soul, boogie, house and UK jazz dance parties. Alena is a frequent guest at European soul weekenders. She was lucky to grow up listening to her parents’ ever-expanding record collection (lots of classical music, 70s prog rock, and jazz). King Crimson, Genesis, Black Sabbath, Chic, Miles Davis, Stevie Wonder, Jimi Hendrix, Nina Simone, George Gershwin, as well as Sergei Rachmaninoff, all had strong influences on her.
As always with ZR compilations a lot of time and effort has been spent on creating these masters from the original vinyl, cleaning them up, removing all the clicks and pops resulting in the cleanest sounding copy possible.
STAFF COMMENTSMatt says: An imperative series for collectors of rare groove, boogie and disco music, volume 9 adds a nice twist from Alena Arpels who may we have contributed the rarest tracks yet to the series.
1. Spellboun' - Dance Your Blues (part II)
2. EKG - Give Me Love
3. Eugene Blacknell - Holding On
4. MVP Cloudburst - Specialty Item
5. Pleze - Disco 2000
6. Jeff Burns - Flashback
7. La Voyage - All Nite Affair
8. Executive Jam - I'm Into Your Love
9. Fire Water - Twilight
10. Frederick - Move On
1. McNasty - Say, Raise Your Hand & Say McNasty
2. Basic Sounds Of Pittsburgh - Down Beat (Gimme Some Chitt'lins)
3. Chash Money - Seeking
4. Body Heat - Forget Yourself
5. Horizon - Give It Up
6. Rideout - Spend Some Time With Me
7. Jackson-Lee - Space Ghost (part I & II)
8. Sharon Revoal - Reaching For Our Star
9. Reflections - Reflex
A1. Jon Dixon - Riverside
A2. Darrin Abrams - Detroit Ur My Star
B1. Rick Wade - Terrific D
B2. Mike Clark - In My Arms
C1. Kai Alce - Morning
C2. Kyle Hall - Pico
D1. Eddie Fowlkes - Hold Me Down
D2. Santonio - Echols Visionary
6 NEW ITEMS
154 NEW ITEMS
Tue 21st - 2:53
Tue 21st - 10:00
Mon 20th - 9:29
Fri 17th - 3:34