indie

WEEK STARTING 14 May

Genre pick of the week Cover of Daddy's Home by St. Vincent.

St. Vincent

Daddy's Home

    Fifth studio album by the American musician, produced by pop producer and long-term collaborator Jack Antonoff and featuring the single 'Pay Your Way in Pain'. 'I was inspired by the classic records of the '70s. Stevie, Sly, Stones, Steely Dan, Chords, Groove. The days when sophisticated harmony and rhythm didn't sound heady - they just sounded, and felt good. Lots of guitar. But warm sounds, not distortion and chaos. Hopefully a turn nobody will see coming' - Annie Clark.

    TRACK LISTING

    CD Tracklisting:
    01. Pay Your Way In Pain
    02. Down And Out Downtown
    03. Daddy’s Home
    04. Live In The Dream
    05. The Melting Of The Sun
    06. Humming Interlude 1
    07. The Laughing Man
    08. Down
    09. Humming Interlude 2
    10. Somebody Like Me
    11. My Baby Wants A Baby
    12. …At The Holiday Party
    13. Candy Darling
    14. Humming Interlude 3

    Vinyl Tracklisting:
    The Interlude Tracks Are Not Credited On The Vinyl, Although The Interludes Do Still Appear On The Disc Itself
    01. Pay Your Way In Pain
    02. Down And Out Downtown
    03. Daddy’s Home
    04. Live In The Dream
    05. The Melting Of The Sun
    06. The Laughing Man
    07. Down
    08. Somebody Like Me
    09. My Baby Wants A Baby
    10. …At The Holiday Party
    11. Candy Darling

    Two years on from the release of their remarkable debut album, 'New Moon', Almunia return with a second full-length of chugging psychedelic dub-disco, shimmering acoustic grooves and spine-tingling Italian Balearica. Decidedly less heady than its predecessor, 'Pulsar' impresses with its glistening guitars, touchy-feely textures, ocean-blue chords and otherworldly atmospherics. Along the way, there are tracks that variously sound like Cos/Mes jamming with Pet Metheny (‘The Magician’), the Idjuts locking horns with Mudd (‘Ode To Mum’), classic Scandolearica (the Lindstrom & Prins Thomas-ish ‘Pulsar’), Peter Green on valium (‘Views From A Blue Train’) and a lost Fleetwood Mac track (‘Secret Marriage’). Featuring brilliant new artwork by Mark Warrington this is an essential summer album.

    TRACK LISTING

    1. The Awakening
    2. Wrapped In Your Hair
    3. Ode To Mom
    4. Views From A Blue Train
    5. Follow What You Are
    6. The Magician
    7. Secret Marriage
    8. Pulsar

    John Andrews & The Yawns

    Cookbook

      “John Andrews is picking flowers from each corner of his life and presenting you with an unusual bouquet. His imaginary band ‘The Yawns’ are back! Third time’s a charm. In hockey terms, they call it a ‘hat trick’ and you know who’s always wearing a ratty old hat? John Andrews. Three years in the making and we have Cookbook, the third, and most colorful record from your favorite New Hampshire based craftsman. “Unknowing folks usually assume he lives in New York City or Los Angeles but confer with John for five minutes and if he’s in the right mood he’ll talk your ear off about the granite state and the old, seedy colonial barn where he’s tracked his records with his weird and wonderful friends. “Take a listen to his previous effort, 2017’s Bad Posture. It was the grassroot slacker’s pie in the sky. His head was stuck in the past. He probably excessively listened to ‘Cripple Creek Ferry’ and he most likely wasn’t keeping up with household chores. Time moves on, but just look at him now! All grown up yet likely still feeling those growing pains. After a few more years of traveling we now have Cookbook, fresh out the oven…phew! About nine or ten new tracks, but who’s really counting? “The lyrics are simple and endearing, inspired by mid-century love songs. His inspirations are all across the board. If his subconscious was a bootleg taper, life would be the show. “At any rate, it doesn’t sound like a record made in New Hampshire, but make no mistake, this is a dyed-in-the-wool Yawns record, refreshingly straightforward yet full of character. It’s less of a crowded honky tonk, and more of an empty, poignant speakeasy. You can finally relax indoors after a weary day out in the cold. Have you ever seen that painting of dogs playing poker? It might as well be what they were listening to as the bulldog pushed his chips forward.” —John’s mom

      TRACK LISTING

      1. New California Blue
      2. River Of Doubt
      3. Ain't That Right?
      4. Try
      5. Song For The Gonz
      6. Early Hours Of The Morning
      7. Easy Going
      8. Johnny's Cookbook
      9. Keep On Dreamin
      10. Thankyou

      Beat Happening

      Crashing Through

        Formed in Olympia, Washington in 1982 by Calvin Johnson, Heather Lewis and Bret Lunsford. This 4 track single was originally released in 1987 on 53rd & 3rd records and appears here for the first time on 7”.

        TRACK LISTING

        Side A
        Crashing Through

        Side B
        The This Many Boyfriends Club

        Side C
        Look Around

        Side D
        That Girl

        Andy Bell

        See My Friends EP

          The two tracks from Andy Bell’s debut solo single reworked by Pye Corner Audio, with the original tracks remastered by Heba Kadry.

          TRACK LISTING

          1.The Commune (Pye Corner Audio Remix)
          2.Plastic Bag (Pye Corner Audio Remix)
          3.The Commune
          4.Plastic Bag

          Matt Berry

          The Blue Elephant

            In his tenth year with Acid Jazz, the ever-prolific Matt Berry has crafted a psych masterpiece. Once again proving his artistic progression and ambition knows no bounds

            Recorded during the summer of 2020, ‘Blue Elephant’ is testament to Matt’s exceptional musicianship, production skills and songwriting prowess with every instrument played by Matt including, guitars, bass, a variety of keyboards and synthesizers (piano, Wurlitzer, mellotron, Moog, Hammond, Vox and Farfisa organs), with the exception of drums – supplied by Craig Blundell, on arguably his best album to date. 

            This music soundtracks an album that explores themes surrounding today’s close scrutiny in all its bewildering, objectifying and unnerving experiences. Very much a conceptual and, therefore, continuous long-player, the album’s infectious grooves come to the fore on standout tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’, the three-part ‘Blues Inside Me’, which encompasses a psych journey through a late ‘60s and early glam filter mixed with the propulsive ‘Like Stone’.

            TRACK LISTING

            1. Aboard
            2. Summer Sun
            3. Safe Passage
            4. Now Disappear
            5. Alone
            6. Invisible
            7. Blues Inside Me
            8. I Cannot Speak
            9. The Blue Elephant
            10. Life Unknown
            11. Safer Passage
            12. Like Stone
            13. Story Told
            14. Forget Me
            15. Now Disappear (Again)

            The Black Keys

            Delta Kream

              The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

              Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

              Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard [John Lee] Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

              The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

              TRACK LISTING

              1. Crawling Kingsnake
              2. Louise
              3. Poor Boy A Long Way From Home
              4. Stay All Night
              5. Going Down South
              6. Coal Black Mattie
              7. Do The Romp
              8. Sad Days, Lonely Nights
              9. Walk With Me
              10. Mellow Peaches
              11. Come On And Go With Me

              Phoebe Bridgers

              Copycat Killer

                Copycat Killer is a 12” featuring 4 exclusive new versions of songs from Phoebe Bridgers’ wildly acclaimed Punisher album. Collaborating with arranger Rob Moose (Sufjan Stevens, The National, Bon Iver, Vampire Weekend, Jay-Z), these are brand new orchestral arrangements of the songs Kyoto, Savior Complex, Chinese Satellite and Punisher, all given a luscious revamp that is sure to delight any fans of Phoebe’s album and serve as perfect gateway for new listeners into what makes her one of the most special artists of 2020 and beyond.

                TRACK LISTING

                SIDE A:
                1. Kyoto (Copycat Killer Version)
                2. Savior Complex (Copycat Killer Version)
                SIDE B:
                3. Chinese Satellite (Copycat Killer Version)
                4. Punisher (Copycat Killer Version)

                Buffet Lunch

                The Power Of Rocks

                  BUFFET LUNCH are a Scottish group who make it their mission to craft satisfyingly imperfect pop songs filled with imagery and humour.The group’s elementary parts are Perry O’Bray (Vocals/Keys/Guitar), Neil Robinson (Bass), John Muir (Lead Guitar) & Luke Moran (Drums), united by a shared love of music on the ABBA-to-Beefheart axis.

                  These four ricochet between Glasgow and Edinburgh, creating music that bristles with DIY spirit and upbeat wonkiness. Their tracks are vigorous excursions, meandering into clattersome terrain as often as hiking up into the breezy, melodious foothills.The desire to lead the listener along a curious tale helps tie things together, showcasing a lyrical playfulness that pins down their puzzle of sound.

                  Having been an active band for a few years, playing regularly north of the border with like-minds such as Irma Vep, Robert Sotelo and Kaputt, Buffet Lunch spent early 2020 working on the follow-up to their two EPs on Permanent Slump.The fruits from such labour bore out as the band’s debut album ‘ThePower of Rocks’, out may 7th on Upset The Rhythm.

                  ‘ThePower of Rocks’ was recorded in a Crofters cottage/studio on the banks of Upper Loch Fyne in Argyll, over four nights and five days at the beginning of March 2020, before Covid-19 made itself such an ongoing concern. Back then four people could occupy the same space and make music, lunch and dinner together. Days fell into a pattern of long sessions and long meals.The album came together as a luminous mix of Buffet Lunch’s live chestnuts, some sparky recent songs and some new material entirely written and recorded in situ. All tracks were recorded by Neil Robinson acting as the in-house engineer.

                  As the seriousness of the virus and talk of national lockdowns developed - there was a feeling of anticipation more than fear in the air, but being holed up in cottage in a wild corner of Scotland surrounded by snowy mountains still took on an apocalyptic feel, albeit an apocalypse where the band were safe and overdubbing vocals. After leaving the cottage, reality (as it must) set in and finishing the album became a more remote task.

                  Over the following months, an extended period of listening awarded the recordings a deeper realisation, as they bounced between band members computers. Perry also started writing on his Casio keyboard and collaborated on a couple of songs (‘Ten Times’ & ‘Ashley’s New Haircut’) with Jayne Dent (of electronic music project Me Lost Me), drawing on her ethereal singing voice as a counterpoint to his own more ‘spoken’ vocals on the album. These gauzy, dreamlike tracks were then sent to other members of Buffet Lunch to add their respective parts, creating evocative new dimensions to close each half of the album with.

                  The Power of Rocks’ rattles along like a short-story collection, exploring a variety of narratives. When it comes to the music itself, Perry describes their approach as “see what happens” but admits to a preference for simple synth melodies, plenty of percussion, and prickly guitar-parts. ‘Red Apple’ opens the album with a dizzy swagger, guitars and keyboard notes swirling in forays whilst its lyric tackles notions of social bravado. ‘Orange Peel’ follows equally serpentine with its blattering tune and jagged, yet jolly melodic twists.The themes across the album are wide-ranging and personal, from irritation with out of touch politicians (‘Pebbledash’), to love letters to seaside living (‘Bladderwrack’), to even the frailty and confusion of old age (‘Said Bernie’, ‘It Helps to Know’). Title track ‘ThePower of Rocks’ is an ode to the power of nature sunk within a rolling wave of cheery jangle. “Do you believe in the power of rocks when the sun is too hot on your face?” sings Perry as the song zigzags with consequence. ‘He Wore Two Hats’ sports similarly bop-worthy riffs and addictive nods as it deals with its story of savvy man who’d bitten off more than he could chew.

                  Buffet Lunch’s debut album accomplishes a lot in its brief 38 minutes. It stuns and startles, intrigues and entwines, drawing the listener further into its characterful world. When asked about any intent posed with this debut record Perry confides that “we hope people can hear the joy the band had making the album and the curiosity and frustration that went into the writing. There was no process or design, but there is detail, and deliberateness in our wish to explore and create.” It’s this attentive focus alongside a keen sense of humour that really sets Buffet Lunch apart, with ideas darting wilfully to and from the poignant truths at hand.


                  TRACK LISTING

                  01. Red Apple
                  02. Orange Peel
                  03. Pebbledash
                  04.ThePower Of Rocks
                  05. Bladderwrack
                  06. Ten Times
                  07. Looking At Liz Talent’s Chair
                  08. Said Bernie
                  09. Helps To Know (Time Moves)
                  10. He Wore Two Hats
                  11. Ashley’s New Haircut

                  Anna Calvi

                  Anna Calvi (10th Anniversary Edition)

                    Anna Calvi will release a 10-year Anniversary edition of her self-titled debut album via Domino. An astonishingly confident record; ‘Anna Calvi’ showcases the unique strengths of her songwriting, singing and virtuoso guitar-playing, all jumping out of the speaker together. Calvi drew on the ghosts of Nina Simone and Maria Callas for influence to create a stunningly modern sound.

                    To date, Anna Calvi has released three studio albums (‘Anna Calvi’, ‘One Breath’ and ‘Hunter’), a collaborative EP with David Byrne (‘Strange Weather’) and the most recent ‘Hunted’, a seven-track reworking of ‘Hunter’. Additionally, Calvi wrote and performed the score for Season 5 of BBC One’s Peaky Blinders and wrote the music for the opera The Sandman, directed by Robert Wilson.

                    Anna is the first solo artist to achieve three consecutive Mercury Prize nominations and has also received a Brit Award nomination. Throughout her career, Calvi has worked with Brian Eno, Marianne Faithfull, Charlotte Gainsbourg, Joe Talbot (IDLES), Dave Okumu (The Invisible), Johnny Flynn, Adrian Utley (Portishead) and Courtney Barnett.

                    The LP, which includes the likes of ‘Desire’, ‘Blackout’, ‘Rider To The Sea’ and ‘Suzanne And I’, is reissued for the first time, available to independent retailers on deluxe red vinyl. It also features brand new cover artwork and an 8-page booklet containing previously unseen photographs, plus digital download code.

                    TRACK LISTING

                    1. Rider To The Sea
                    2. No More Words
                    3. Desire
                    4. Suzanne And I
                    5. First We Kiss
                    6. The Devil
                    7. Blackout
                    9. I’ll Be Your Man
                    10. Morning Light
                    11. Love Won’t Be Leaving

                    The Chills

                    Scatterbrain

                      New studio album from the Dunedin (NZ) songsmiths helmed by the enigmatic Martin Phillipps with artwork by Trees’ David Costa. Dunedin’s finest, The Chills release their seventh studio album ‘Scatterbrain’, a glorious self-examination of Martin Phillipps’ songwriting hot (ish) on the heels of the hugely successful ‘Snowbound’ (2018) and the critically-acclaimed movie ‘The Chills: The Triumph And Tragedy Of Martin Phillipps’ a year later. “It’s about artistic integrity, self-realisation, self-acceptance and a reflection on mortality.” The Guardian Now in 2021, Phillipps is now taking stock of things – everything. Yes, everything.

                      The result is this triumphant new Chills’ album ‘Scatterbrain’, a thought-provoking and evocative take from a man who has lived through good times and bad. A mature and honest reflection on life, destiny and the fate of our times delivered in beautiful melodies with Phillipps’ trademarked incisive turn of phrase. Viewed from the perspective of a man understanding his age and indeed his own mortality, the new album takes a mature look at matters arising with a side order of perspective. ‘Scatterbrain’ is a life passing before your ears as uncertainty increases and fake news rumbles on; during which aliens invade, Phillipps scales the walls beyond abandon as he probes the minutiae of worlds within worlds and the hourglass fills. A landmark album from one of the great modern song writers, it’s pure pop music for the new normal and we can’t wait to see how it ends…

                      TRACK LISTING

                      Side A

                      A1 Monolith
                      A2 Hourglass
                      A3 Destiny
                      A4 Caught In My Eye
                      A5 You're Immortal

                      Side B

                      B1 Little Alien
                      B2 Safe And Sound
                      B3 Worlds Within Worlds
                      B4 Scatterbrain
                      B5 The Walls Beyond Abandon

                      Current Joys

                      Voyager

                        Voyager rattles with the live-wire feeling that’s thrummed through all of Rattigan’s previous releases: quavering, scream-itself-hoarse vocals and self-interrogation via song. But here, that bristling, sentimental rock ‘n’ roll cacophony is overlaid with a soundtrack orchestra guiding it along. It’s an odyssey, a grand-sounding journey of self-discovery spread across sixteen tracks. Part ekphrasis, part personal, it’s Rattigan learning new ways to understand his own feelings and identity while inspired by the highly-stylized, striking storytelling of filmmakers like Alfred Hitchcock, Lars Von Trier, Terrence Malick, Agnès Varda, and Andrei Tarkovsky.

                        Voyager, Rattigan’s most mature release to date, is an evolution built on Current Joys’ prolific output since 2013. A Nevada native, Rattigan began Current Joys in Reno, before moving to New York after school and busting his ass working as a production assistant in the film/TV industry. He relocated to Los Angeles in 2016, and the songs that make up Voyager began coming together shortly after. Each piece of Current Joys’ previous discography is wholly built and envisioned by Rattigan, self-recorded and quickly released, quivering with a lonely intensity. Within six months of beginning the project, Current Joys had already released its debut, Wild Heart; by 2018, the sixth Current Joys full length and visual album, A Different Age, was out. All the while, Current Joys’ profile quickly and quietly ascended, selling out venues like LA’s El Rey along with European tours, simultaneously amassing millions of streams of the catalog, and a dedicated following.

                        On Voyager, Rattigan eschews lo-fi home recordings for a full band and recording sessions at Stinson Beach Studios. As a vocalist/drummer in his other band Surf Curse, Rattigan had finally opened up to the possibility of working in a professional studio. But while the audiences and songwriting/recording approaches changed and continue to evolve for Current Joys, the inspiration Rattigan draws from cinema remains a guiding force. Frequently he uses film as a jumping off point for songwriting. Lead single “Amateur” and its video reflects his affinity for the cinematic. The track is piano-heavy, a slow-build of tension, flitting with prettiness. The self-directed video features Rattigan in costume, chaotically driving a retro car.


                        Rattigan, who stays up all night to perfect the sequencing of his records once they’re recorded, doesn’t set out with a typical aesthetic in mind – instead, it just happens. Performing is his catharsis. Which feels palpable on Voyager; there’s fragments of hours spent watching movies, as well as stories from his own life; there’s overly-caffeinated car rides blasting the Pixies’ Surfer Rosa; there’s inspiration taken from the crooning presence of frontmen like Jeff Buckley, Chris Isaak, and Nick Cave, as evidenced on Rattigan’s cover of the Boys Next Door’s “Shivers.” And there’s the simple, ecstatic energy of getting a bunch of friends in the studio.

                        It’s all held together by the fervor of Rattigan’s creative process. He believes in the premonitory power of music, and he latches onto the song ideas that strike him in the moment, propelled by an abstract existentialism or burst of feeling more than anything else. It imbues Voyager with an intensity and intimacy – with the sense that you’re getting to hear, all at once, the disparate parts that make a project – or person – into a sprawling, cinematic whole.

                        TRACK LISTING

                        1. Dancer In The Dark
                        2. American Honey
                        3. Naked
                        4. Altered States
                        5. Breaking The Waves
                        6. Big Star
                        7. Amateur
                        8. Rebecca
                        9. Shivers
                        10. Something Real
                        11. Money Making Machine
                        12. Voyager Pt. 1
                        13. Calypso
                        14. The Spirit Or The Curse
                        15. Vagabond
                        16. Voyager Pt. 2

                        Cut Copy

                        Freeze, Melt

                          As you could possibly guess from the title, 'Freeze, Melt' is a more restrained affair than recent Cut Copy releases. You could never accuse the Melbourne outfit of resting on their stylistic laurels, covering New Order-esque melancholic pop, hazy summer synth jams, filtered funk, acid house and stadium bangers across their five previous long players. After relocating to Copenhagen, removed from his studio, safe space and record collection, Dan Whitford took inspiration from the minimalism and cool of his Scandinavian surroundings, as well as the immersive sparsity of Four Tet, Floating Points and Terry Riley. Despite this detour into the ambient realm, this remains a Cut Copy LP, so there are still hooks, grooves and playful motifs shimmering amid the restraint - the 'Melt' to the 'Freeze' I guess.

                          STAFF COMMENTS

                          says: Freeze, Melt is every bit the Cut Copy LP you'd expect, with huge synths and melodic vocals leading the way through a perfectly sequenced set of downbeat percussives, huge melodies and soulful grooves.

                          TRACK LISTING

                          1. Cold Water
                          2. Like Breaking Glass
                          3. Love Is All We Share
                          4. Stop, Horizon
                          5. Running In The Grass
                          6. A Perfect Day
                          7. Rain
                          8. In Transit

                          Dodie

                          Build A Problem

                            At just 25, dodie has already done a lot of living. Some of that has played out online as she made a name for herself as a singer and writer, amassing millions of fans with her disarmingly honest videos and affecting, intimate singing style. She has scored two top-ten EPs, headlined and sold out London’s Roundhouse, and the Hollywood Palladium and New York’s Terminal 5, and become an ambassador for Depersonalisation charity Unreal. It’s hard to believe she has yet to release her debut album.

                            “Build a problem” is a line from ‘Hate Myself’, one of many standout songs on the record. She found herself with a bit of a problem because she’d already named her previous EP, 2019’s top 5 Human, and the songs she found herself writing for the album really added up to the same idea; the flawed, emotionally erratic, wondrously complex conundrum that is being alive - and Human was taken. But this line seemed to add up to a similar concept; the moments and actions in life that build within us all problems that we don’t even realise we have until we look back and go, “Ohhhh, that’s where that came from.” dodie, whose past is still infiltrating her present and her future, explores all of this and more on her musically ambitious and dreamily intimate record named - what else? - Build A Problem.

                            She wrote most of the songs on the album over the past two years. “I think I was going through a crisis actually,” she says now. “I was very unsure of who I was and I was trying to figure it out in music. So I think it’s quite unstable of an album - but it’s definitely honest.”

                            “I’d like people to come away from this album knowing what I can do,” she says. A single listen to Build A Problem shows she has matured into an exceptional musician, using ancient modes, writing complex string arrangements and imbuing each song with a sense of charming intimacy.

                            By her own admission, dodie may be a work in progress; problems have been built, mistakes have been made. But with Build A Problem, she’s proven that she is an artist for the ages.


                            STAFF COMMENTS

                            says: This beautiful collection reminds be of the bombastic joy and euphoric upbeat percussion of Jonsi's soundtrack work, tender vocals and uplifting celebratory major-key melodies. There are moments of less jubilance, but the overarching takehome is a brilliantly conceived and wonderfully uplifting whole.

                            TRACK LISTING

                            Standard LP / CD
                            1. Air So Sweet
                            2. Hate Myself
                            3. I Kissed Someone (It Wasn’t You)
                            4. Cool Girl
                            5. Special Girl
                            6. Rainbow
                            7. ?
                            8. Four Tequilas Down
                            9. .
                            10. Sorry
                            11. When
                            12. Before The Line
                            13. Guiltless (Bonus Track)
                            14. Boys Like You (Bonus Track)

                            Clear Double Vinyl Tracklisting
                            Disc 1

                            1. Air So Sweet
                            2. Hate Myself
                            3. I Kissed Someone (It Wasn't You)
                            4. Cool Girl
                            5. Special Girl
                            6. Rainbow
                            7. ?
                            8. Four Tequilas Down
                            9. .
                            10. Sorry
                            11. When
                            12. Before The Line
                            13. Guiltless (Bonus)
                            14. Boys Like You (Bonus)

                            Disc 2
                            1.Bored Like Me (Demo)
                            2. Let Go (Demo)
                            3. Bite Back (Demo)
                            4. One Last Time (Demo)
                            5. All My Daughters (Demo)
                            6. Anything (Demo)
                            7. Drawing The Blinds (Demo)
                            8. Don't Quite Belong (Demo)

                            Fu Manchu

                            Return To Earth

                              The third release in Fu Manchu’s 30th Anniversary vinyl reissue series, Return To Earth 91-93 Deluxe Edition, is the first ever update to this legendary compilation of the band’s earliest singles. These songs are the only ones recorded with the band’s original lead guitarist, Scott Votaw, as well as the only ones recorded as a three piece of the original core line-up of Scott Hill (vocals/guitar), Mark Abshire (bass) and Ruben Romano (drums). Return To Earth 91-93 Deluxe Edition features the 9 songs from the original release including the first version of fan favorite, “Ojo Rojo,” plus 2 newly discovered tracks that have never been heard before: “Ford-Natic” and an early version of “Shine It On,” which was later re-recorded for their debut album. All songs were remixed by Scott Hill along with the band’s current producing partner, Jim Monroe (Adolescents, Channel 3, Ignite) and remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on neon purple vinyl and the newly designed gatefold package includes never before seen photos of the band and flyers from their early shows. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster

                              TRACK LISTING

                              1.“Don’t Bother Knockin’ (If This Van’s Rockin’)”
                              2.“Ford-Natic”
                              3.“El Don”
                              4.“Pick-Up Summer”
                              5.“Ojo Rojo”
                              6.“Pinbuster”
                              7.“Senioritis”
                              8.“Shine It On”
                              9.“Simco”
                              10.“Space Sucker”
                              11.“Vankhana (Rollin’ Rooms)”

                              Fugazi

                              Fugazi - Reissue

                                Fugazi were formed from the ashes of legendary DC hardcore bands Minor Threat and Rites Of Spring. They played their first shows in 1987 and released this first mini album the following year. 
                                They took the energy and abrasiveness of their former bands and honed it into an intense and ulitmately hugely influential sound. 
                                This album along with it's follow up "Margin Walker" were both permanent fixtures on the shop stereo back then and had we done end of year charts at the time would most certainly have made it into the top 10.

                                Lisa Gerrard & Jules Maxwell

                                Burn

                                  Dead Can Dance members Lisa Gerrard and Jules Maxwell have teamed up under a new guise with James Chapman (MAPS) to create a studio album, titled ‘Burn’. The record began its journey more than seven years ago, when Lisa met Irish theatre composer Jules Maxwell before working together for the first time. ‘Burn’ is set for release on 7th May 2021 via Atlantic Curve. Speaking about the origins of the album, Lisa Gerrard explains, “It is with great pleasure that I share this collaboration with Jules Maxwell. Jules and I began our creative journey with Dead Can Dance. We realised that we could connect through improvisation and that musical exploration continues to evolve with this present work.”

                                  Although this record is a new release, its beginnings go all the way back to 2012 during that year’s Dead Can Dance world tour. Originally brought in as a live keyboard player, Jules Maxwell helped create a new song with Lisa Gerrard called ‘Rising Of The Moon’, which was performed as the final encore of each show. By the time the tour finished in Chile in 2013, a strong affinity had begun to develop between the two of them and further opportunities to collaborate with each other resulted over subsequent years. In 2015, when Maxwell was asked to submit songs for the Bulgarian choir The Mystery of the Bulgarian Voices (Le Mystère des Voix Bulgares), he approached Gerrard to co-write material and travelled to Australia to work with her in her home studio. The pair came away with four new songs for that release, as well as the building blocks for this new venture together. Jules describes the introduction to James Chapman. "About a year later, over dinner in Sofia after a concert by the Bulgarian women, my publisher suggested to me that I work with James Chapman on completing the BURN songs. James had established a sound with his band MAPS, which also had big horizons at its core, and it seemed like an intriguing proposition to me."

                                  With Chapman joining the duo as producer, ideas began to be generated freely and over time a distinct sound for their work began to emerge. Their focus was to create a sound that was both euphoric and compelling, more inventive than what they had worked on separately in the past. From gentle beginnings, each track builds and intensifies, creating a hypnotic experience to listen to from start to finish.

                                  With Lisa remaining in Australia, Jules adding his keys and percussion from France, and James bringing new light to the sound from England, the three were literally worlds apart, but those worlds fused in the music. Recently, Jules Maxwell also released his debut solo album ‘Songs From The Cultural Backwater’, Lisa Gerrard received a Grammy nomination and returned to Dead Can Dance to release the group’s critically praised ninth studio full-length ‘Dionysus’, and James Chapman released MAPS 4th full-length album ‘Colours. Reflect. Time. Loss’. Stylistically, the new album ‘Burn’ is a diverse mix of electronica, alternative, cinematic soundscape and world music with hints of early Vangelis. Accumulatively, this is a stunning departure for all three of them.

                                  TRACK LISTING

                                  SIDE A
                                  1. Heleali (The Sea Will Rise)
                                  2. Noyalain (Burn)
                                  3. Deshta (Forever)
                                  4. Aldavyeem (A Time To Dance)

                                  SIDE B
                                  1. Orion (The Weary Huntsman)
                                  2. Keson (Until My Strength Returns)
                                  3. Do So Yol (Gather The Wind)

                                  Grave Flowers Bongo Band

                                  Strength Of Spring

                                    Los Angeles’ Grave Flowers Bongo Band’s sophomore LP “Strength of Spring” is an inverted pyramid balanced on the headstock of an acoustic guitar, a rainbow painted in campfire smoke, an endless staircase circling into the clouds. That acoustic guitar, perfectly captured here by Ty Segall’s excellently sere and close mic’d production, plays skeleton to these conjurors woolly grooves, and singer Gabe Flores’ thousand-yard moan keeps us guessing as to exactly where this wildebeest is headed. He pinions these far out tunes, which burst generously with shit-hot guitar leads, Stoogeseque sax squalls, and a gaggle of great eight-armed drum fills, with a flinty wrist-flicking heartbeat as the band turns from whimsy to nimble riffery on a dime, following that pied-piper six string jangling down many lovely rabbit-holes of melody and exploration. It’s obvious these guys play together a lot (the lineup shares two members with acclaimed space rockers Hoover III to boot) and the telepathy on display here is synapse-snappy. Coursing throughout is that note-pad filling, lighter raising, undefinable black magic that feels so rare these days….

                                    TRACK LISTING

                                    1. Lazy River
                                    2. Sleepy Eyes
                                    3. Tomorrow
                                    4. Smile
                                    5. Inner Bongolia
                                    6. Animal Lord
                                    7. VATMM
                                    8. Outer Bongolia
                                    9. Down Man

                                    Hooveriii

                                    Water For The Frogs

                                      Having originally been born as a solo drum machine project by Bert Hoover, Hooveriii (pronounced "Hoover Three") has now evolved into it's true final form - a six member band adept at creating their own brand of psychedelic space rock. And after almost a decade in, the band is set to release their sophomore album and debut for The Reverberation Appreciation Society, Water For The Frogs. Influenced by Iggy’s The Idiot, Bowie’s Berlin records, and Soft Machine, the LP sees the band creating their own version of prog rock, circa 2021.

                                      In 2019, Hooveriii took their live show to Europe for the first time. Bert Hoover shares, “seeing all the old cities and beautiful landscapes while becoming closer as a band had a huge impact on this album. A lot of our favorite music came from the Krautrock scene in Germany from the late 60's-70's, and when we had a day off in Furth, Germany, we spent most of it writing the record,” he continues, “we were able to rehearse in an old German bunker that has been converted to rehearsal space. It definitely had a strange energy that helped give this album light.”

                                      TRACK LISTING

                                      SIDE A
                                      1. Cindy
                                      2. Control
                                      3. Hang Em' High
                                      4. Shooting Star

                                      SIDE B
                                      1. We're Both Lawyers
                                      2. Erasure
                                      3. Gone

                                      Iron & Wine

                                      Archive Series Volume No. 5: Tallahassee Recordings

                                        Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America’s most original and distinctive singer-songwriters.

                                        Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up.

                                        Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations.

                                        Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings – all captured in the house where they lived – have a “live in the room” feel akin to say Neil Young’s Harvest or Nick Drake’s Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time.

                                        These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called “In Your Own Time” was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the “Fuck Like A Dog” song and Ben shared it with more than a few folks during the golden era of mix cd’s. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now…

                                        Tallahassee is the foreword to your favorite book that you’ve somehow skipped over time and time again. It’s an alternative history mixed with some revisionist history told over the course of eleven songs. It’s also the debut record by Iron & Wine some twenty years after the fact. 

                                        TRACK LISTING

                                        Why Hate The Winter
                                        This Solemn Day
                                        Loaning Me Secrets
                                        John's Glass Eye
                                        Calm On The Valley
                                        Ex-Lover Lucy Jones
                                        Elizabeth
                                        Show Him The Ground
                                        Straight And Tall
                                        Cold Town
                                        Valentine

                                        Damien Jurado

                                        The Monster Who Hated Pennsylvania

                                          On The Monster Who Hated Pennsylvania, Damien Jurado gathers up ten stories of people determined not to be broken by their dire circumstances. 'The world is a liar, the stars are a must,' he sings over brushed drums, a circling bassline, and acoustic guitar on 'Helena,' which opens his 17th album, the first release from Damien's own Maraqopa Records. Dire circumstances have long been fixtures of Jurado's songs, which are filled with ghosts, killers, cruel lovers, and the occasional UFO cult or false messiah. But here, the scenes are earthy, drawn from ordinary but no less immense calamities: hurricanes moving toward town, strained connections, amnesiacs in the front yard.

                                          On The Monster Who Hated Pennsylvania, Jurado pulls the curtains shut, blocking out 'the light now embarrassed and afraid of the dark,' as he sings on 'Tom,' one of the album's haunting numbers, only to throw them open the exact moment sunshine needs to come flooding in.

                                          TRACK LISTING

                                          1. Helena
                                          2. Tom
                                          3. Dawn Pretend
                                          4. Song For Langston Birch
                                          5. Minnesota
                                          6. Johnny Caravella
                                          7. Joan
                                          8. Hiding Ghosts
                                          9. Jennifer
                                          10. Male Customer #1

                                          Kings Of The Valley

                                          Kings Of The Valley

                                            Kings of the Valley are finally ready with their selftitled debut album! Three long years have passed since the band released their first EP. Norway’s friendliest band serves critically acclaimed retro prog and catchy stoner rock. Kings of the Valley plays music characterized by intense guitar riffs, melodic bass, pulsating drums and vocal harmonies. The band’s expression has strong common features with seventies rock, psychedelic rock, good old prog rock and stylish stoner rock. Like the EP from 2017, the album was mainly recorded in Brygga Studio in Trondheim by super technician and wonder producer Pål Brekkås and keyboardist and guitar hero Øystein Megård. The gorgeous album cover is designed by art legend Robert Høyem. In 2017, The Wilhelmsen said “Holy cow, these guys can play!”. Ida Jenshus recently stated that Kings of the Valley is “by far the most pleasant rock band in Norway!”, while the drummer’s mother says: “Nice music, but I think it’s a bit noisy.” The debut Kings of the Valley is comprised of a handful of shorter and several lengthy tracks which move thematically and genre-wise within 60s and 70s prog-rock, psychedelic rock and 90s stoner rock in the same vein as King Crimson, Sleep and Motorpsycho. Kings of the Valley is out September 18th on Wonderful & Strange Records and available in Europe from Stickman Records.

                                            Lost Girls

                                            Menneskekollektivet

                                              Norwegian duo Lost Girls, artist and writer Jenny Hval and multi-instrumentalist Håvard Volden, release their first album after collaborating for more than ten years. Volden has been playing regularly in Hval's live band for more than a decade, and their duo project goes back to an acoustic collaborative album from 2012, using the moniker Nude on Sand. Instead of resurrecting the previous band, Hval and Volden opted for a fresh start for their 2018 EP Feeling, taking nomenclatural inspiration from the 2006 graphic novel by writer Alan Moore and comics artist Melinda Gebbie.

                                              For their first LP, Hval and Volden booked an actual studio (Øra studios, Trondheim, Norway), which they had never done before. Recording sessions took place in March 2020, even if they felt like the material wasn’t really ready for recording. This left a lot to improvisation, and so Menneskekollektivet was created in-between set structures and the energy of collective exploration.

                                              Perhaps this is what makes Menneskekollektivet unique: The quality of trying something, to see if the structures fit. In a way this is a more physical version of what Hval has been exploring lyrically over the past decade in her solo work. The title is Norwegian and translates to human collective, which adds to the feeling of a recording made as part of a strange, improvised performance project.

                                              The music flickers; between club beats and improvised guitar textures; between spoken word and melodic vocal textures; between abstract and harmonic synth lines. Throughout the piece, Volden’s guitar and Hval’s voice come across as equals, wandering, wondering, meandering. Sharing the space.

                                              The writing process began with short, more concise forms, but then Volden brought in experiments with seasick synth loops and drum machines, and the work went off on a longer durational tangent, inspired by chance and intuition. This allowed for an unfinished, raw feel, and the song structures and words were expanded and improvised in the studio. Hval says: “There are lots of late night ideas at work, begun as half-asleep, slack vocal takes on top of something really strange Håvard has sent me. We both record before we know what we’re actually doing.”


                                              TRACK LISTING

                                              1. Menneskekollektivet
                                              2. Losing Something
                                              3. Carried By Invisible Bodies

                                              4. Love, Lovers
                                              5. Real Life

                                              Kevin Low & Fiona Carlin

                                              The Gayfield Enterprise - Demo Tapes From 1986

                                                Comes with digital download code.

                                                These tracks were recorded by Kevin Low and Fiona Carlin in Kevin’s bedroom in Gayfield Square, Edinburgh, in 1986. Me and my dad, Kevin, dug out a huge bunch of his tapes over the lockdown (about 80 of the them at first). Some were…better than others, however, the Gayfield Square demos were the pick of the lot. Previously Kevin and Fiona were part of the Post Punk / indie band ‘Wild Indians’, whose first release “Stolen Courage” had come out in 1983 – released on Flexi Disc via the Edinburgh fanzine Deadbeat. Throughout the mid-1980s they performed across Edinburgh’s clubs, including at the Hoochie Coochie Club (name checked on track 7), where they played alongside bands and close friends Pop Wallpaper and Visitors. The band went on to release two 12” singles, “Love of My Life” in 1984 and “Penniless” in 1986.

                                                After the band broke up Kevin sold his guitar amp and 7inch collection, Fiona her saxophone and they went out and got themselves a Yamaha RX-5 drum machine, Yamaha QX7 sequencer and a Yamaha DX-100. These bedroom tracks are the fruits of their first venture with this hardware, combining their experimentation with synthetic sounds (mostly the DX-100’s famous pre-sets) with a post-punk vocal style.

                                                These eight tracks are also, in part, the fruit of the “Enterprise Allowance scheme” - a policy venture of Margaret Thatcher’s UK government that gave unemployment claimants access to an extra £40 to top up the basic dole money. Following Thatcher’s election victories in 1979 and 1983, the policy sought to reduce the figures of mass unemployment which hung over Britain well into the 1980s. This policy, according to Kevin, helped to keep up the credit payments. He notes that, “when Fiona and I turned up at the DHSS office with the sure-fire money-making plan of making a business as a ‘song-writing’ duo they signed us up. However, I still think they thought we said, sign writing as they were filling out the form.”

                                                Kevin and Fiona stopped making music together shortly after these tracks were recorded so unfortunately, they never saw the light of day…until now!

                                                Fiona went on to work in Film and Television sound. Kevin became a photographer, working mostly in theatre. He is now an artist/painter working in Glasgow.

                                                TRACK LISTING

                                                1. Change Of Heart
                                                2. Nothing Else Will Ever Be The Same
                                                3. Your Love
                                                4. Kylie
                                                5. Lonely When You Go
                                                6. Miracle Town
                                                7. Hoochie Coochie
                                                8. Locked Out Of Love

                                                Holly Macve

                                                Not The Girl

                                                  “My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

                                                  For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra [with Mercury Rev in 2017]. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

                                                  At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

                                                  Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax. “Lonely Road” closes the album on a note of becalmed resilience, its narrator looking “past the prison walls and into the garden”, ready to face whatever waits out there.

                                                  Other contributors included Fiona Brice (Placebo, John Grant), whose string arrangements helped Macve fulfil an ambition to blend ’70s Laurel Canyon sounds and the rougher edges of ’90s grunge with the melodic sweep of Scott Walker. Collin Dupuis (Lana del Rey, Angel Olsen) mixed the album in Nashville; CJ Hillman (Billy Bragg) plays pedal-steel, Emily Druce plays viola, and David Dyson/Phil Murphy play drums. The Arts Council helped with funding, and recording took place between Holly’s home studio, Retreat Studios in Ovingdean, Ryder-Jones’ YAWN studio in Liverpool, and Kore Studios in London.

                                                  Brave, brooding, and beautiful, Not The Girl is the sound of that confidence in full, spectacular bloom.

                                                  TRACK LISTING

                                                  1 Bird
                                                  2 Eye Of The Storm
                                                  3 Be My Friend
                                                  4 You Can Do Better
                                                  5 Daddy’s Gone
                                                  6 Little Lonely Heart
                                                  7 Sweet Marie
                                                  8 Who Am I
                                                  9 Not The Girl
                                                  10 Behind The Flowers
                                                  11 Lonely Road

                                                  Sarah Neufeld

                                                  Detritus

                                                    Composer and violinist Sarah Neufeld is a career-long touring and recording member of Arcade Fire. Her third solo LP ‘Detritus’, confronts anguish with beauty, turmoil with grace, gliding through the present like a dancer mid-motion, reaching through space 'til she's caught.

                                                    The album is wistful and emotive, and carries the listener on a journey of euphoric and complex looped violin dusted with mesmeric melody recall. Openers ‘Stories’ and ‘Unreflected’ lead with atmospheric ease, sombre soundscapes and distant, otherworldly vocals. ‘With Love And Blindness’ ups the tempo with remote, dreamlike rhythms that hypnotise and enthrall. ‘The Top’ is elated, but it highlights the isolated strings and poetic loneliness Neufeld is able to convey with them. ‘Tumble Down The Undecided’ and ‘Shed Your Heart’ are climatic in their delivery, full of cascading notes and delays before closer ‘Detritus’ exits with a state of calm, easing back into the shadows and taking with it the vivid textures and images crafted with infinite grace over the course of the album.

                                                    NOTES ABOUT DETRITUS
                                                    I composed this album within a larger body of work that was commissioned as a live soundtrack for Peggy Baker Dance Project’s Who We Are In The Dark.

                                                    Who We Are In The Dark is a collaboration originating in 2015 when Peggy Baker (legendary Canadian dancer and choreographer) and I were asked to perform a duet together at Fall For Dance North. Peggy chose to choreograph to my piece From Our Animal from my (then) upcoming second album, The Ridge.
                                                    Wanting to create something personal for her for this performance, I composed a prelude which began with the words “who we are in the dark”.

                                                    There was something utterly compelling about working and performing together.
                                                    Coming from different generations (Baker is now 68), we share a sense of intensity, curiosity, and ferocity.
                                                    Shortly after our debut performance together, Peggy commissioned me to collaborate with her on a full scale piece for her company. I began composing for this project in 2017, with the solo violin piece, The Top.
                                                    Peggy and I were exploring themes of darkness- her take often lived in the macro, universal elements, space, death, while my own exploration at the time was more close up- intimacy and the ego self. I think there was an invisible thread between us from our own experiences of loss and grief.
                                                    To say the least, this collaboration and the work we produced has held tremendous meaning for both of us.

                                                    Drummer and composer Jeremy Gara (Arcade Fire) joined the collaboration in 2018, adding percussive and harmonic depth to my solo compositions, as well as inputting his own signature style of ambient noise composition and heavy, gripping drumming into the live score.
                                                    The work premiered in February 2019 and toured internationally throughout the year, with our most recent performance in Den Hague at Holland Dance Festival in February 2020.

                                                    I began distilling the solo compositions into a smaller, album length body of work in the Summer of 2019, experimenting live with solo versions, adding more vocals, and incorporating foot pedal bass synth to my solo live capabilities. This body of work stood out for me, as a further push and refinement of the composition style I’ve been developing for the past 8 years, and as a marker of an intense and difficult passage in my own life.



                                                    TRACK LISTING

                                                    1. Stories
                                                    2. Unreflected
                                                    3. With Love And Blindness
                                                    4. The Top
                                                    5. Tumble Down The Undecided
                                                    6. Shed Your Dear Heart
                                                    7. Detritus

                                                    The Nightingales / Stewart Lee

                                                    Ten Bob Each Way / Use Your Loaf

                                                      This joint Nightingales / Stewart Lee 7" kickstarts a lengthy campaign of reissues by Robert Lloyd's combo, The Nightingales from Call Of The Void and Fire Records, in the wake of the acclaimed documentary from Fire Films, King Rocker. "Ten Bob Each Way" / "Use Your Loaf" is released in conjunction with the airing of the long-awaited Michael Cumming-directed, Stewart Lee-written film, King Rocker, which tells the tale of Robert's markedly unique four-decade career in music.

                                                      Stewart Lee and Nick Pynn recorded "Use Your Loaf" in the attic of Brighton's beloved mini music café, Jane Bom-Bane's and was originally recorded for a mooted Nightingales tribute album. "Ten Bob Each Way" is a brand-new Nightingales recording, their first since recording the "Four Against Fate" album. It was recorded at Woodbine Street Studios, whose in-house producer, John Rivers, worked previously with Swell Maps and The Specials, among many others. A tale of work drudgery related through the tedium of recurring jokes "handed down like diseases", "Use Your Loaf" is the favourite of many 'gales fans and was widely praised by Mark E. Smith as "typically brilliant". Originally recorded as a single by The Nightingales way back in 1982, for Cherry Red Records. It was subsequently re-recorded for their debut album, ‘Pigs On Purpose’, which will be almost simultaneously reissued in deluxe expanded form through Call Of The Void.

                                                      TRACK LISTING

                                                      Side A – The Nightingales - Ten Bob Each Way
                                                      Side AA – Stewart Lee W/ Nick Pynn - Use Your Loaf

                                                      The Nivens

                                                      Yesterday

                                                        Indie pop sensations The Nivens from Northumberland existed between 1987 to 1990. Recording for the excellent Woosh label, Their debut ‘Yesterday’ hit the indie top ten in January 1989.

                                                        TRACK LISTING

                                                        Side A
                                                        Yesterday

                                                        Side B
                                                        I Hope You’ll Always Be My Friend

                                                        In 2018, Sean Worsey, a successful lawyer in California, began to receive some rather surprising emails. These were not from prospective clients, or about current cases he was working on, but rather queries from record collectors. They wanted more details about a pair of obscure, largely forgotten records he’d made in the mid 1980s as part of a virtually unknown band called Passion Theatre.

                                                        To say he was surprised is an understatement. “People from around the world were emailing, calling and messaging us about the music, particularly a track called ‘Vacation Day’,” he says. “Our records were rare and gaining in value, mainly because there were not many manufactured at the time. By 2019, several individuals in the music industry had emailed me about licensing tracks.”

                                                        Space Talk eventually agreed with Sean to include ‘Vacation Day’ on Charles Bals’ second compilation, Retour Au Club Meduse. Impressed with the quality of the compilation Sean approached them again to discuss whether they would be interested in reissuing both of his old EP’s in full, an idea he’d been considering for a few months already.

                                                        The original studio tapes were long gone but a friend of Sean’s had some mint vinyl copies which made the trip from California to use as the master source, restored and mastered superbly by Technology Works in London. The striking original artwork from the two EP’s has been faithfully reworked into a gatefold double vinyl LP by designer Asger Behncke Jacobsen and features extensive interview/sleeve notes by Matt Anniss.

                                                        In the words of Sean Worsey - “One of the nicest things about the renewed interest in our music is that we can now enjoy it for what it is - back then we were a bit too worried about succeeding.” 

                                                        STAFF COMMENTS

                                                        says: I'm not sure this could be any more relevant to my interests; Painfully obscure 80s synthpop, heavy on the groove, angular, art-ish and kinda flouncy in a Balearic way. In other words, it's my dream record. Buy it now or regret it later!

                                                        TRACK LISTING

                                                        1. Strange Desire (EP1: Strange Desire EP)
                                                        2. International Love Affair
                                                        3. Menage A Trois
                                                        4. No For Answers
                                                        5. Mannequin (Fiesta Mix - EP2: Mannequin EP)
                                                        6. Vacation Day
                                                        7. In Love With A Mannequin

                                                        Rosali

                                                        No Medium

                                                          While the collection of songs on Philadelphia/Michigan musician Rosali’s electrifying third LP, No Medium, explores the often dark territory of loss, death, sexuality, self-sabotage, and addiction, there is a surprising lightness to its sonic being. 

                                                          Backed by members of the David Nance Group, Rosali (Long Hots, Wandering Shade, Monocot) wades through the emotional mire with infectious, earworm melodies led by her luminous voice. With their rich, raw instrumentation, these rock ballads sound like the resilience discovered in facing one’s darkest moments, the assurance of the calm and clarity that comes after the storm. As she sings on the second track, “Bones,” “Through the darkness of the field / I walk through without yielding / To the rest of the feelings / I’m carrying.” With her confident song craft, Rosali illustrates the ability to push through, moving toward something greater without being destroyed by the weight of trauma.

                                                          Engineered by James Shroeder and featuring Kevin Donahue (Simon Joyner), James Shroeder (Simon Joyner, DNG, Connor Oberst), David Nance, Noah Sterba, Colin Duckworth, and Daniel Knapp, the album was recorded in ten days and the raw immediacy of the music is palpable across these ten tracks. Added adornment was contributed by Philadelphia's Robbie Bennett (War on Drugs) on organ and keys, and Matt Barrick (The Walkmen, Jonathan Fire Eater, Muzz) makes a percussion cameo on “Whisper,”which was tracked at Philly’s Silent Partner Studio, where No Medium was mixed by Quentin Stoltzfus (Mazarin, Light Heat). The open creative collaboration elevated the songs, resulting in the exciting, vibrant sound of the album.

                                                          Rosali wrote the bulk of these songs in January of 2019 while on a self-imposed two week residency in the hills of South Carolina. Alone in an old farmhouse, she experienced supernatural events and faced her own demons in the deepest darkness. Perhaps as a result, there is a boldness that permeates the album, a daring vulnerability in both the lyrical themes and their musical accompaniment. Rosali says, “I approach guitar playing the same intuitive way I sing, which is profoundly spiritual for me. Where words fail, the guitar becomes the conduit for raw feelings, providing a direct connection to them. I’m constantly working on being fearless in my work, which means showing the rough side, the mistakes along with the triumphs.”

                                                          While writing No Medium, Rosali was inspired by harmonographs—swinging pendulums that create beautiful illustrations of the mathematics of music—considering how the mind, too, creates images through song. She imagined herself as the swinging pendulum—“a body suspended from a fixed point” (Encyclopedia Britannica), governed by the forces surrounding her. She thought about the pendulum’s relationship to time, movement, and even its use in divination practices. The album’s title, lifted from Charlotte Brontë’s, Jane Eyre, resonated with this vision: “I know no medium: I never in my life have known any medium in my dealings with positive, hard characters, antagonistic to my own, between absolute submission and determined revolt. I have always faithfully observed the one, up to the very moment of bursting, sometimes with volcanic vehemence, into the other.” With the multiple meanings of “medium”—as middle ground, a term for psychics, and as the material of artistic expression—No Medium felt like the appropriate name, describing how the self is shaped by the patterns of life .

                                                          The influences for the sound of No Medium reflect this pairing of assured vulnerability, in the stylistic coherence of Bob Dylan’s Desire, the tender delivery in Iain Matthews’ Journey From Gospel Oak, the strut and swagger of Bowie’s Hunky Dory, the ambition and beauty of Gene Clark’s No Other, and the playful catharsis of Harry Nilsson’s Nilsson Schmilsson. The Richard and Linda Thompson-esque album opener “Mouth,” places Rosali within both a physical and emotional space. “East of the river I was travelling on / watch me lie, undone / rest me in a forest, overgrown / until I am free of all that I’ve known,” she sings. There is movement, both within a cityscape, and in her outlook on love. Speaking of her thought process when writing the song, she says, “I imagine confidently walking away from the past, toward a new approach to love and intimacy to achieve a closer relationship with myself.”

                                                          In “Pour Over Ice,” Rosali explores her relationship with alcohol and her former reliance upon it as a social lubricant to quell her social anxiety, an energizer to keep moving, a means to cope and self-medicate, and most addictively, to lure out her wild side as a free flowing, good time girl. While drinking helped her through some shitty times, it eventually got the upper hand and became an insatiable hole within. She says, “The ‘you’ in the song is really me, talking to that component of myself struggling with drinking and self-sabotage, caught up in the cycle, and all the bad choices I made.” She sings, “Maybe I didn’t care enough / or can’t remember / chasing small pleasures / making fire from embers.” Rosali wanted her lead guitar on this track to simultaneously sound like a slow motion car crash propelling her through the day, and the sound of a gnawing hunger for something more.

                                                          Rosali’s alliance with the Omaha musicians that orbit David Nance Group (including Nance himself) came about while on a Long Hots / DNG tour in the summer of 2019. Great friendships formed and one night after playing in Detroit, Dave suggested they be her backing band. The pairing was effortless and natural, and in November of the same year, they were recording No Medium in a basement in Omaha. 


                                                          TRACK LISTING

                                                          1. Mouth
                                                          2. Bones
                                                          3. Pour Over Ice
                                                          4. Waited All Day
                                                          5. All This Lightening
                                                          6. Whisper
                                                          7. If Not For Now
                                                          8. Whatever Love
                                                          9. Your Shadow
                                                          10. Tender Heart

                                                          The Servants

                                                          She's Always Hiding

                                                            The Servants debut originally released in 1986 on Head Records is backed here with Loggerheads, that was recorded during the same session as the A side and a track that David Westlake has always wanted to appear on 7”. The second track on the B side is a previously unreleased version of the A side that was recorded in 1985. Produced by Adrian Borland, who also plays keyboards on the track.

                                                            TRACK LISTING

                                                            Side A
                                                            She’s Always Hiding

                                                            Side B
                                                            Loggerheads, She’s Always Hiding (1985)

                                                            Skinshape

                                                            Skinshape

                                                              Originally released in 2014 and available for the first time on CD. CD only bonus tracks ‘Surf Rider’ and ‘Rainy Dub’ Written, recorded, mixed and produced by Will Dorey, Skinshape’s self-titled debut album showcases the talents of the then 23 year old. Recorded in bedrooms, lounges and ‘The Arch’ studio in North London the trademark ‘Skinshape’ sound was already starting to emerge. Everything from psychedelia and rock to indie and dub is explored. A stunning debut for a now much loved artist.

                                                              TRACK LISTING

                                                              1 Live By The Day
                                                              2 The Place Upstream
                                                              3 Heartache
                                                              4 Shangri-La
                                                              5 Sunday Morning (feat. Aaron Taylor)
                                                              6 You Don’t Love Me
                                                              7 Stabo (feat. Anina)
                                                              8 Bonus Breaks
                                                              9 Rainy Dub (CD Only Bonus Track)
                                                              10 Surf Rider (CD Only Bonus Track)

                                                              Teleman

                                                              Family Of Aliens

                                                                From the albums original release in 2018:

                                                                London’s Teleman have already set a precedent for 2018 with the release of Submarine Life via label-home Moshi Moshi. Today, the foursome excitedly unveils details of their third studio album; the alluringly named Family of Aliens, set for release in early September. Armed with a freer, more collaborative approach to both writing and recording, their new 11-track album Family of Aliens, is a fluid collection of glorious pop-songs fluent with new electronic textures and united by the sharp lyricism, buoyant guitars and instantaneous melodies that are synonymous with Teleman.

                                                                “We want to keep evolving and keep discovering. This band is one long journey for us, and we never want to stop developing and finding new ways of creating music. I'm always wanting to better what we've done before. To go deeper, to find something more beautiful, more catchy, more challenging, more interesting … just more.”

                                                                It’s evident the much-loved quartet have evolved, cultivating and honing their sound as a very-welcome and anticipated proposition for 2018. 

                                                                TRACK LISTING

                                                                1. Family Of Aliens
                                                                2. Cactus
                                                                3. Song For A Seagull
                                                                4. Between The Rain
                                                                5. Always Dreaming
                                                                6. Submarine Life
                                                                7. Twisted Heart
                                                                8. Somebody’s Island
                                                                9. Sea Of Wine
                                                                10. Fun Destruction
                                                                11. Starlight 

                                                                Alfie Templeman

                                                                Forever Isn’t Long Enough

                                                                  English singer-songwriter and multi-instrumentalist Alfie Templeman follows up last year's Happiness in Liquid Form EP with new album Forever Isn't Long Enough. 

                                                                  TRACK LISTING

                                                                  1. Shady
                                                                  2. Forever Isn't Long Enough
                                                                  3. Hideaway
                                                                  4. Wait, I Lied
                                                                  5. Everybody's Gonna Love Somebody
                                                                  6. Film Scene Daydream
                                                                  7. To You
                                                                  8. One More Day

                                                                  Warish

                                                                  Next To Pay

                                                                    With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band’s mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this 13-song invective.

                                                                    “‘Next To Pay’ is about a sense of imminent doom, everyone is going to die,” vocalist/guitarist Riley Hawk says. “It’s not the happiest record, I guess.” To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill ‘Em All era James Hetfield and the seething desperation of Kurt Cobain.

                                                                    “This album is more of an evolution, it’s a little more punk-heavy,” Hawk says of the group quickly founded in 2018. “We figured out what our sound was.” And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk.

                                                                    Inspired by early-Nirvana, The Misfits, The Spits and Master of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn’s and Buzz Osbourne’s wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish’s cover of 80s Dischord Records punks Gray Matter turns the emotive flail of “Burn No Bridges” into a Motorhead style basher.

                                                                    TRACK LISTING

                                                                    1. Next To Pay
                                                                    2. Another No One
                                                                    3. S.H.M. (Second Hand Misery)
                                                                    4. Burn No Bridges
                                                                    5. Say To Please
                                                                    6. Seeing Red 7. Destroyer
                                                                    8. Woven 9. Scars
                                                                    10. Ordinary
                                                                    11. Superstar
                                                                    12. Make The Escape
                                                                    13. Fear And Pride

                                                                    Juan Wauters

                                                                    Real Life Situations

                                                                      Juan Wauters’ fifth solo album, Real Life Situations, is a multifaceted ode to sur- rendering control and taking life as it comes. References to radio abound on its 21 tracks, and with good reason - the album spans genres, narrators, languages, and perspectives with the ease of spinning a rotary knob. Mining older songs, phone notes, new material, and snippets from TV and YouTube, Wauters has crafted an aural document of the year through his eyes.

                                                                      Despite the circumstances of its creation, Real Life Situations is not a quarantine record. In many ways it’s the opposite of one, taking togetherness as both its subject and its primary medium. Pre-lockdown collaborations with Mac DeMar- co, Peter Sagar (AKA Homeshake), Nick Hakim, Cola Boyy, El David Aguilar, and more playfully offset Wauters’ more pensive solo tracks, and even in its sparest moments the album pulses with life. This is due in part to an impressive array of interludes and samples, most of which are field recordings that Wauters collects on his phone, ranging from the innocuous (“A Peter Pan Donuts Conversation”) to the intense (“Crack Dabbling”).

                                                                      Under his care, these small moments become coordinates for the peaks and valleys of human experience, coloring the album with Wauters’ unique shade of realism. “Some people think I’m an optimist”, he explains, “but I’m not. I’m always seeing all sides of things.”

                                                                      Of course, Wauters himself never disappears in the boisterous crowd - he lends his chameleonic songwriting to experiments in hip-hop (“Unity”), lo-fi R&B (“Mon- soon”), and deft indie folk (“Lion Dome”). Themes of loneliness, personal growth, patience, and companionship arise again and again; we can feel Wauters navi- gating a rapidly-changing world in real time. Jubilant choruses and spoken word poetry bleed into city noises and overheard conversations. Real freedom, the album suggests, comes not from gaining control, but from accepting its artifice. Like the programming on a radio station, there’s something here for everyone. All you have to do is listen. 

                                                                      TRACK LISTING

                                                                      1. A JPW Headspace 2020
                                                                      2. Monsoon (with Homeshake)
                                                                      3. Sentimiento Queens
                                                                      4. Locura
                                                                      5. Ventana
                                                                      6. Presentation (with Nick Hakim & Benamin)
                                                                      7. Unity (with Cola Boyy)
                                                                      8. Real (with Mac DeMarco)
                                                                      9. Keep Cool
                                                                      10. Carmina Pensá
                                                                      11. A Peter Pan Donuts Conversation
                                                                      12. Lion Dome (with Air Waves)
                                                                      13. JPW Talking
                                                                      14. Acordes (with Tall Juan)
                                                                      15. Bailando
                                                                      16. Estás Escuchando (with El David Aguilar)
                                                                      17. Crack Dabbling
                                                                      18. A JPW Theme Song
                                                                      19. Yendo
                                                                      20. Powder
                                                                      21. NY Weaz 

                                                                      Weedpecker

                                                                      Weedpecker - Reissue

                                                                        Moving backward in the catalog of stellar releases from Warsaw’s foremost psychedelic stoner rockers, Weedpecker’s self-titled debut album joins its older siblings II (2015) and III (2018) in a brand new reissue on Stickman Records. The wonderful thing about Weedpecker has always been their evolution of sound, giving each of their three fulllength albums its distinctive flavor and charms. Weedpecker was recorded in 2013 with the band’s original lineup featuring drummer Pan Falon (of Belzebong) and Jeso Alonzo and most prominently features the band’s affection for 70’s hard rock and grunge alongside the obvious stoner and psychedelic rock influences. One can imagine Alice in Chains meets Baroness and Elder as a good starting point for this album. Yet this does little to describe the unique writing style of brothers and guitarists Piotr and Bartek Dobry, whose melodies and riffs provide the perfect counterplay between dreamy psychedelia and headbanging fuzz. After years out of print and unavailable, this new version has been remastered for optimal sound and features reworked artwork in gatefold packaging.

                                                                        Paul Weller

                                                                        Fat Pop

                                                                          We may be cursed to be in the midst a global pandemic, buffeted by all of its stresses and pain. But everyone knows that art provides succour, that music is the most reliable balm. And for many there is further significant comfort to be drawn from the knowledge that Paul Weller is in the midst of an unbelievably prolific purple patch. Paul Weller will not let us down when we need him most.

                                                                          On May 14th, Paul Weller releases his 16th solo album since his self-titled debut in 1992, his fourth in as many years and his second in just under twelve months following June 2020’s magnificent, chart-topping On Sunset. It’s not hyperbole to state that this new album, titled Fat Pop (Volume 1), is among his most compelling collections, bar none, including all of his era-defining work in the 1970s and ‘80s with The Jam and The Style Council. It’s an absolute scorcher.

                                                                          When lockdown was declared in March 2020, Paul Weller decided immediately that he wanted something to focus on, since it seemed unlikely he’d be able to tour On Sunset as planned that summer.
                                                                          “I had lots of ideas stored up on my phone,” he explains down that same handset, speaking from outside his London home, “and at least this gave me an opportunity to develop them.” So he started to record songs on his own, doing just vocals, piano and guitar, then sending those sound files to his core band members such as drummer Ben Gordelier, Steve Cradock on guitar and various other instruments, and bassist Andy Crofts for them to add their parts. “It was a bit weird not being together, but at least it kept the wheels rolling. I’d have gone potty otherwise.”

                                                                          The band reconvened at Weller’s Black Barn studio in Surrey during the summer when restrictions were lifted to finish the work, with several of the songs being cut live. By this stage, the shape of the album was clear to all. Weller wanted to deliver an album of singles, twelve short, distinct blasts, each strong enough that they could stand alone if so desired.

                                                                          “That was a conscious decision,” he confirms. “I even thought about putting every song out as a single first then gathering them all on an album, but that wasn’t practical at the moment. They all have that strength and immediacy, I think, and they’re all short, three minutes or so maximum.”
                                                                          Producer Jan ‘Stan’ Kybert was so taken with the concept that he half-jokingly suggested that the album be called Greatest Hits. “I quite liked the idea and every song does stand up as a single, I think,” chuckles Weller, “but no, we couldn’t do that really.”

                                                                          Instead, he plumped for Fat Pop (Volume 1). “I thought we’d add Volume 1 to it just to keep my options open in the future for a second volume!” The title track, a tight, heavy blast of ultra-modern funk, is itself the conceptual key to the whole album. “It’s a celebration of music and what it’s given us all. No matter what situation you are in, and we’re in one now, music doesn’t let you down, does it?”

                                                                          As ever, Weller’s sonic masterplan was to avoid whatever had recently preceded it. “After [2018’s] True Meanings I thought I wouldn’t have any acoustic guitars for a little while, so I’ve largely avoided those with On Sunset and with Fat Pop,” he says. “But more than anything I wanted something vibey, something we could play live.” He laughs ruefully at the irony of that. “God knows when that will be, bearing in mind where we are with the virus. But in the imaginary gig in my mind I can see us playing all of the songs on Fat Pop live, along with the songs from On Sunset, blending them with some of the old favourites too. What a great set that would be.”

                                                                          Live is where he imagines On Sunset and Fat Pop (Volume 1) working in tandem, because they don’t act as companion piece albums otherwise. “On Sunset was quite lavish in places, whereas with this one I wanted to limit it in some ways, make the production less expansive.”

                                                                          Beyond that desire to keep it frill-free and tight, sonically Fat Pop (Volume 1) is a diverse selection of sounds. No one style dominates. There’s the synth-heavy, future-wave strut of Cosmic Fringes, the stately balladeering of Still Glides The Stream, Testify’s moving-on-up soul, and the kind of dramatic three minute pop symphonies on Failed, True and Shades of Blue with which Paul Weller has hooked in generation after generation of devotee.
                                                                          More than sonic plans, though, Weller set himself the same task as he does before any recording. “Whenever I make an album I’m always just trying to at least match what’s gone before because each time I think the bar’s been raised. If all goes to plan, sometimes I manage to go over that bar too.”
                                                                          Sometimes he does, sometimes he really does.


                                                                          TRACK LISTING

                                                                          CD
                                                                          Cosmic Fringes
                                                                          True
                                                                          Fat Pop
                                                                          Shades Of Blue
                                                                          Glad Times
                                                                          Cobweb / Connections
                                                                          Testify
                                                                          That Pleasure
                                                                          Failed
                                                                          Moving Canvas
                                                                          In Better Times
                                                                          Still Glides The Stream

                                                                          3CD Box
                                                                          CD1 – Standard Album
                                                                          Cosmic Fringes
                                                                          True
                                                                          Fat Pop
                                                                          Shades Of Blue
                                                                          Glad Times
                                                                          Cobweb / Connections
                                                                          Testify
                                                                          That Pleasure
                                                                          Failed
                                                                          Moving Canvas
                                                                          In Better Times
                                                                          Still Glides The Stream

                                                                          CD2 – Mid-Sömmer Musik
                                                                          On Sunset - Live From Mid-Sömmer Musik, London / 2020
                                                                          Old Father Tyme - Live From Mid-Sömmer Musik, London / 2020
                                                                          Moving Canvas - Live From Mid-Sömmer Musik, London / 2020
                                                                          Failed - Live From Mid-Sömmer Musik, London / 2020
                                                                          Village - Live From Mid-Sömmer Musik, London / 2020
                                                                          More - Live From Mid-Sömmer Musik, London / 2020
                                                                          Testify - Live From Mid-Sömmer Musik, London / 2020
                                                                          Still Glides The Stream - Live From Mid-Sömmer Musik, London / 2020
                                                                          Rockets - Live From Mid-Sömmer Musik, London / 2020
                                                                          Mayfly - Live From Mid-Sömmer Musik, London / 2020

                                                                          CD3 - Fat Pop Bonus
                                                                          Round The Floor
                                                                          Serafina
                                                                          Crowboy
                                                                          Into The Sea
                                                                          Pure Sound
                                                                          Fat Mix

                                                                          Vinyl
                                                                          Side A
                                                                          Cosmic Fringes
                                                                          True
                                                                          Fat Pop
                                                                          Shades Of Blue
                                                                          Glad Times
                                                                          Cobweb / Connections
                                                                          Side B
                                                                          Testify
                                                                          That Pleasure
                                                                          Failed
                                                                          Moving Canvas
                                                                          In Better Times
                                                                          Still Glides The Stream

                                                                          Matthew E. White & Lonnie Holley

                                                                          Broken Mirror: A Selfie Reflection

                                                                            Broken Mirror: A Selfie Reflection is a timely callout to the power of collaboration, of kindred spirits connecting in crowded rooms. More important, though, is this collision of two profoundly Southern artists, meeting to shed expectations of generation and genre, scene and situation and exchange truth, wisdom, and energy. The real world is more complicated than a pretty digital picture, bowdlerized of blemishes. As Broken Mirror: A Selfie Reflection reminds us, it can be more revelatory and transformative, too.

                                                                            These racks are balls of energized contemplation, Holley crooning grievances and observations above surrealist grooves so irrepressible and heavy that the words strike with the force of gospel. Holley strolls into “I Cried Space Dust” as if he’s wandered into the On the Corner sessions and offered unsolicited insights on true transcendence. “I’m Not Tripping” is an anthem of self-worth and self-enjoyment for a society mired in self-doubt, the words breaking like light beams through clouds of atomized drums and synths. And Holley begins the title track as a character mindlessly staring into a cell phone, captivated by his own image like Narcissus at water’s edge. Holley ponders the egotism of projection over dizzying keyboards and guitars so jagged they conjure fractured glass. By song’s end, he’s mocking this infrastructure of pandering for likes, jeering us all above a savage bassline that dares you to differ.

                                                                            Holley and White may seem like unlikely collaborators, divided as they are by decades and disciplines. Holley, 70, first earned attention as a sculptor far removed from the fiefdom of fine art, using society’s detritus to create curious bricolages that ferried deep narratives of ancestral pride, enduring pain, and eternal hope. His music privately stowed on stacks of cassettes before he released his staggering 2012 debut, Just Before Music, at the age of 62 aired those ideas over extemporaneous pieces for prismatic keyboards. But on Big Inner and Fresh Blood, White, now 38, came into acclaim as one of his generation’s most meticulous songwriters and arrangers. Stretching his assuredly soulful voice like a smile across little symphonies of strings, horns, choirs, and percussive cavalcades, White commanded sounds where Holley seemed to glide inside them.

                                                                            TRACK LISTING

                                                                            1. This Here Jungle Of Moderness/Composition 14
                                                                            2. Broken Mirror (A Selfie Reflection) / Composition 9
                                                                            3. I Cried Space Dust / Composition 12
                                                                            4. I’m Not Tripping / Composition 8
                                                                            5. Get Up! Come Walk With Me / Composition 7

                                                                            Yasmin Williams

                                                                            Urban Driftwood

                                                                              With her ambidextrous and pedidextrous, multi-instrumental techniques of her own making and influences ranging from video games to West African griots subverting the predominantly white male canon of fingerstyle guitar, Yasmin Williams is truly a guitarist for the new century. So too is her stunning sophomore release, Urban Driftwood, an album for and of these times. Though the record is instrumental, its songs follow a narrative arc of 2020, illustrating both a personal journey and a national reckoning, through Williams’ evocative, lyrical compositions.

                                                                              Williams, 24, began playing electric guitar in eighth grade, after she beat the video game Guitar Hero 2 on expert level. Initially inspired by Jimi Hendrix and other shredders she was familiar with through the game, she quickly moved on to acoustic guitar, finding that it allowed her to combine fingerstyle techniques with the lap-tapping she had developed, as well as perform as a solo artist. Deriving no lineage from “American primitive” and rejecting the problematic connotations of the term, Williams’ influences include the smooth jazz and R&B she listened to growing up, Hendrix and Nirvana, go-go and hip-hop. On Urban Driftwood, Williams references the music of West African griots through the inclusion of kora and hand drumming of 150th generation djeli Amadou Kouyate, on the title track.

                                                                              Yasmin Williams is virtuosic in her mastery of the guitar and in the techniques of her own invention, but her playing never sacrifices lyricism, melody, and rhythm for pure demonstration of skill. Storytelling through sound is important to her too. As detailed in the liner notes, the songs on Urban Driftwood were completed during the COVID-19 pandemic and subsequent lockdown, in the midst of a national uprising of Black Lives Matter protests in response to the killings of George Floyd and Breonna Taylor. But while Urban Driftwood illustrates current struggle, can’t help but open-heartedly offer a timeless solace.

                                                                              TRACK LISTING

                                                                              1. Sunshowers
                                                                              2. I Wonder
                                                                              3. Juvenescence
                                                                              4. Dragonfly
                                                                              5. Swift Breeze
                                                                              6. Adrift
                                                                              7. Through The Woods
                                                                              8. Jarabi
                                                                              9. Urban Driftwood
                                                                              10. After The Storm

                                                                              Various Artists

                                                                              Brown Acid: The Twelfth Trip

                                                                                That’s right, we’ve reached a toker’s dozen editions of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the 60s-70s. Clearly this has become a bonafide archaeological movement as each new installment leads us to more exciting new discoveries. Like we’ve done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Make yourself comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock ’n’ roll.

                                                                                The Waters start this Trip off right with swampy fuzz- and phaser-soaked dueling guitars oozing from the grooves of their 1969 single “Mother Samwell.” The Louisville, KY trio somehow failed to make much of a splash however, only issuing two 45s, one in ’68 and this rocker the following year, before eventually evaporating in ’72. The bassist went on to play in Hank Williams Jr.’s band for a couple of decades, so the band’s fortunes weren’t entirely sunken.

                                                                                Hamilton, Ontario launched the Village S.T.O.P.’s freak-out heavy psych marauding, but it was after frequent trips to NYC that the Canadian band really learned to let their freak flag fly. Sometimes the band played with their faces painted black & white, other times draped in fluorescent ink & blacklight, with strobe lights and the whole nine yards of theatrics… occasionally even adding a few extra inches of male nudity. Musically, their 1969 track “Vibration” is a bopping number nodding to Frank Zappa, Hendrix and some really brown acid doses.



                                                                                White Lightning’s blazing double-kick drum, sizzling melodic riffs and Jim Dandy howls on “1930” is a power metal rocker from 1969 that perfectly epitomizes the raison d’être of this series. The Minneapolis, MN band formed by guitarist Tom “Zippy” Caplan after he left garage psych heroes The Litter, later shortened its name to Lightning. The group only issued one proper album before disbanding in 1971. However, with the late 1990’s reissues and revival of The Litter, Lightning’s bevy of unreleased recordings also surfaced as a self-titled LP and Strikes Twice 1986-1969 CD compilation.



                                                                                The blues runs deep in the veins of “Woman (Don’t You Go)” by Bay Area rockers Shane. The biracial group may have borrowed its heavy syncopated groove and lead singer/organist aesthetic from locals Sly & The Family Stone, but their troglodyte fuzz riffs and beastly drums owe just as much to blazing proto-metal hellfire. Sadly, they only released this 1968 single before these men decided to go.

                                                                                Ace Song Service probably thought they were pretty clever with their risqué acronym name, but it’s their B-side “Persuasion” that really kicks A.S.S. Rollicking, relentless drums, walking bass, staggering guitars and shimmering Hammond organ shake the foundations while crooning blue-eyed soul vocals remind you that this is still the late-60s. The Dallas, TX band only issued this lone (star) 2-song single before crawling back up from whence they came.

                                                                                Opus Est’s strange 1974 headbanger “Bed” has a bit of “Hocus Pocus” by Focus style mania — and we mean that in the best lunacy inducing way. However, it’s the Belgian trio’s heavy panting and squealing vocals in the amorous breakdown that nods to a particular whole lotta nub that gives this song its, um, thrust. After just two singles, Opus Est came and went.

                                                                                The Mopptops’ heavy riff of “Our Lives” starts of sounding like Greg Ginn’s frantic guitar work on Black Flag’s Nervous Breakdown, before wah-wah and high harmony vocals turn it into more of a Blues Magoos-meets-Iron Butterfly tune. This Hawaiian Islands based quartet took its inspiration more from the British Invasion than local traditions and were quite popular for their gritty long-hair R&B but remained isolated from the world at large. They did however release a handful of 45s between 1965 and the early 70s. This 1968 banger on Fantastic Records is, well, fantastic.



                                                                                Youngstown, OH artists Artist weren’t too creative with their band name, instead saving that energy to create meaty midwestern rock’n’roll like “Every Lady Does It.” Harmonized guitar leads and driving cowbell power their hook-filled lone 1977 single. Not much is known about the obscure band, other than singer/guitarist Al Tkach later fronted something he called Reality Rock.

                                                                                Rural hard rock bar band Stagefright hailed from Carthage, MO and their 1980 album D-Day is a highly collectible selection of landlocked rippers. Album opener “Comin’ Home” is a barnstorming romp led by vocalist/drummer Jim Mills who somehow smoothly sings while simultaneously playing wild Keith Moon style drum rolls.

                                                                                Dickens “Sho’ Need Love” / “Don’t Talk About My Music” 45 is one of those record collector’s Holy Grail type of releases. The 1971 single only exists as a demo, printed as a white label promo pressing for Scepter Records. Dickens were, essentially, a mockery of the era’s hard rock shenanigans, comprised of NRBQ’s road crew and some band members all playing instruments they didn’t know how to play. This recording happened essentially by accident when studio time became available after Gomer Pyle actor and balladeer Jim Nabors cancelled a session. The group quickly cut a few songs, which an enthusiastic A&R man had pressed up, before the label president nixed it and fired the VP for allowing such nonsense. It’s believed that only about 50 copies survived. It’s a shame, since this Flipper-before-Flipper dirge-metal freakout was way ahead of its time.

                                                                                That’s that for this edition of Brown Acid, but the hits keep on a-bubblin’ up from the primordial rock’n’roll sludge. So, stay tuned for more as we continue to find wilder and weirder treasures from the underground comedown. 


                                                                                Latest Pre-Sales

                                                                                69 NEW ITEMS

                                                                                Saturday! Saturday! Saturday! OPEN from 10am - 6pm today. See you soon. https://t.co/KL1FeNcZ4F https://t.co/FPdSvlHryB
                                                                                Sat 15th - 7:33
                                                                                Cooked up in the Blue Note Lab, RMX presents last year’s band-defining masterpiece, @GoGo_Penguin re-imagined throu… https://t.co/w30X6DJyS7
                                                                                Fri 14th - 1:30
                                                                                Now stocking @TheFaceMagazine Cosmic scallies, Palace skateboards, hyperpop musicians and 130 pages of pure, unad… https://t.co/lgt45rCx2O
                                                                                Fri 14th - 11:42
                                                                                Yes, we aim to please 😀 It’s the reason why you should take your headphones off when in a record shop. You never kn… https://t.co/52UowjznUc
                                                                                Fri 14th - 11:09
                                                                                Super psyched to announce @durand_jones are doing a virtual in-store on Friday July 30 ☄️ To take part all you hav… https://t.co/y1rnNQFGoZ
                                                                                Fri 14th - 11:04
                                                                                E-newsletter —
                                                                                Sign up
                                                                                Back to top