MAGIC MIX

psych . krautrock . prog . rock

WEEK STARTING 21 Jun

Genre pick of the week Cover of Loops In The Secret Society by Jane Weaver.
When science fiction turns science fact the effect can be truly momentous. The state demands that no-one wants an unlicensed machine-hum from an outbuilding; no-one wants clever prose mapping the future, no-one wants “music” that is attention-seeking, soul-defining, beneficial, Biblical, baroque and beautiful. No-one told Jane Weaver that.

Jane Weaver’s multi-layered synthetics evolved into a welcoming slew with 2014’s ‘The Silver Globe’, continuing through to 2017’s ‘Modern Kosmology’. ‘Loops In The Secret Society’ is a re-imagined journey through parts of both albums, with new ambient pieces primed and polished; with new tangents explored in a lab-friendly blossoming of the Weaver vision that travels yet further into the psych of our future. A continuous experience with one-line observations set in glorious sense-stimulating sound.

That source material was then united in an expansionist experiment in late 2018. The ‘Loops In The Secret Society’ tour fused unrelated sounds set off against sympathetic new textures, tones and drones ; hot-housed into an idealistic soundscape that formed the conducive parts of the imminent album of the same name.

Co-conspirators include Henry Broadhead, PJ Phillipson and Andy Votel. Renegades all, headed by the enigmatic Weaver – all under surveillance.

STAFF COMMENTS

Andy says: Beautiful reinterperations of tracks from Jane's last two albums, interspersed with new ambient style pieces to make a brand new album in its own right. Gorgeous.

FORMAT INFORMATION

2xDeluxe LP Info: Deluxe 2xLP Black vinyl in Silver foiled Gatefold sleeve.

Blue Orchids

The Magical Record Of Blue Orchids

    While recording of last year’s “Righteous Harmony Fist”, Blue Orchids messed about with a few covers of insanely obscure low-fi garage / psych tunes. The influence of drug-addled oddities from the previous generation’s underground has been apparent in the work of Martin Bramah since the start of The Fall, due in part to the influence of the real-life subject of “No Xmas For John Quays”, whose record collection was so packed with US garage classics that the song about him was borne of a sort of jealousy on Mark E. Smith’s part - with a collection like that, every day’s Christmas!

    Few casual aficionados of rock music will know more than a song or two from this set - the likes of The Penny Saints and The Aardvarks and their kin not exactly being household names. In fact, of the seven ‘60s acts with songs covered here, none lasted more than a handful of singles. Complementing those songs are covers of songs by two more recent groups. The swirling keyboards of The Growlers’ Pavement And The Boot is distilled back to its fundamental garage essence, while Crystal Stilts’ two-minute original, Love Is A Wave, is slowed down and channelled back to the melodic pop wonder lingering beneath its Reid brothers buzzsaw and pays respect to the band, who’d themselves covered Blue Orchids’ Low Profile a few years back.

    Of special interest will be Addicted To The Day, the album’s key song, the words for which were recently found in a 1977 notebook of Bramah’s which at Mark E. Smith had borrowed and then scribbled down the ‘poem’ in thanks, to which Bramah added music. The haunting lines, “How could I have suspected my abysmal future / A doom which has haunted me / And turned me into a wreck and a parody”, are the centrepiece of the album, a concept compiled of bits and pieces of esoteric tunes, telling a tale of Faustian doom in a pact with forces of evil.

    The Magical Record Of Blue Orchids is released in a strictly limited edition while the band works on their next album of originals. 

    STAFF COMMENTS

    Barry says: 'The Magical Record...' is indeed magical, holding some of the most stylistically varied and texturally interesting pieces in the Blue Orchids considerable back catalogue. Dark, brooding covers like 'I'm a Living Sickness' mix perfectly with the more upbeat offerings, showing the true talents of a band who can turn their hand to anything, without any sign of faltering. Lovely stuff.

    Rob Burger

    The Grid

      R.I.Y.L. Harmonia, Roedelius, Cluster, Dustin O’Halloran, Goldmund, Popol Vuh, Brian Eno.. Rob Burger’s talents as an arranger, composer, and keyboardist have been nurtured by morethan two decades of contributions to a diverse roster of recognizable names, at the very least including John Zorn, Laurie Anderson, and Iron & Wine with whom Burger presently records and tours.

      His new album The Grid combines neo-classical soundscapes, ‘70s kosmische, and jaunts of 20th-century exotica into a completely unique genre-quilt that synopsizes his long musical trek through multiple cities, scenes, and sounds. A lifelong musician, Rob began learning piano at age four and would go on to study under jazz luminaries Max Roach, Archie Shepp, and Yusef Lateef at the University of Massachusetts. As if his formal education weren’t impressive on its own, his informal one consisted of frequent visits to New York City creative hubs The Knitting Factory, and The Kitchen, where Burger became a fly on the wall to the likes of Arthur Russell, David Byrne, and Laurie Anderson (Burger would go on to contribute to Anderson’s 2010 album Homeland). Anderson appears on The Grid’s ninth track “Souls of Winter”).

      With the avant-garde door having long been kicked open, Burger relocated to the Bay and made a lasting impression upon the area’s music scene with his group Tin Hat Trio, while furthering his session and film-score work adjacently. When that group disbanded in the early ‘00s Burger found himself back in NYC where playing a Neil Young tribute show would entwine his path with that of Sam Beam (Iron & Wine). From then on, Burger has been an inextricable component of Beam’s live band and discography. Somewhere in the interim the growth of Burger’s family and his yearning for quieter climes led him to Portland, Oregon, where he built a studio, amassed an enviable collection of vintage keyboards, and began sowing the seeds of The Grid. Burger’s mysteriously upturning chord-changes express depth and melancholy without ever fully straying from a sense of curiosity and charm making the somber moments believable and palatable, as indicated in the album’s first moments. The Grid rolls in on a cloud bank of old-world sorrow with its piano and accordion prologue “Alternate Star,” but by the initial note of the second-track “Harmonious Gathering” all the sonic elements, dusty drum machines, choral keyboard patches, and rubberized synth bass seem to be smiling in glorious unison. This song, as well as the title track that shortly follows it, hint at what it might sound like if Harmonia had stayed intact and were scoring A24 films. 

      FORMAT INFORMATION

      Coloured LP Info: Cosmic clear vinyl exclusive for indie stores only.

      C Cat Trance

      Screaming Ghosts

        In an international merger certain to send the stock market into a headspin, Emotional Rescue and Malka Tuti join forces to bring us a collection of the mind blowing music of C Cat Trance. Drawing on the rhythms and melodies of Africa and the Middle East, the Nottingham outfit brought an outernational style to the post punk dancefloor. In their ten year lifespan the group released 6 EPs and 4 LPs, the best moments or which are drawn together for this a special double LP compilation. From the legendary "Shake The Mind" to the percussive, ethno-club cuts "Sudaniyya" and the previously unreleased "Some Day Soon", the album highlights a project that stood out from the post-punk haze with striking scales and time signatures to develop a unique sound.
        Formed by world music fan and multi-instrumentalist John Rees Lewis upon leaving post post-funk pioneers Medium Medium, the group retained the intensity of the former, but in a considerable new direction. Teaming up with fellow ex-band member Nigel Kingston Stone, together they formed the backbone of the band around a continual stream of guest players.
        Exotic, dense, tribal rhythms propel a mixture of club, pop and world music, creating an atmospheric fusion that can be heard across the 12 pieces. The alt-industrial feel of "She Steals Cars" and "Screaming (To Be With You)" is countered by avant-percussive "Dalbouka" and "I Looked At You" or the Balearic vibes of "Take Me To The Beach" and "They Made Them Up".

        Together they perfectly showcase a dark and moody world music with a shamanic spiritual underbelly that has gained admirers from collectors and latter-day producers. In that spirit a set of re-edits, remixes and reversions from latter day heads including Red Axes, Prins Thomas, JD Twitch, Khidja, Die Orangen, Jamie Paton and more will follow.

        FORMAT INFORMATION

        2x12" Info: ONE COPY FOUND!

        Fruit Tones is a rock and roll band from Manchester. Nothing artificial - this is the real deal. Real music played by real people for real reasons. No budget. No gimmicks. No nothing. We’re talking one steam-rolling-mondo-garage thud here folks! Stomping drums, choogling guitars, the vocals bite. They’re the kind of guys The Shangri-La’s sing about - true professional amateurs!

        Recorded over three freezing cold December days in an old Manchester cotton mill by Samuel Stacpoole (Holiday Ghosts / The Black Tambourines), it’s all here - the sass of The Dolls, the fizz of Four Loco, the Stones-esque looseness, juiced into 14 tracks knocked out in just over 30 minutes.

        There’s no lies in there - the rough and ready, impromptu nature of their work serves to let out something raw and primal rather than strive for tech accuracy. True rock & roll takes the mundane and turns it into something exotic, this is what Fruit Tones do well - they don’t pretend you’ve never heard rock & roll music before, they remind you why you need it in your life.

        STAFF COMMENTS

        Matt says: If you're feeling the need for some wholesome, honest rock n roll - with the wind in your hair and the accelerator down hard, then look no further than Fruit Tones - Manchester's latest addition to rock n roll's legacy. These young chaps are quite the musicians, knocking out inspired riffs and solos like it ain't no thing! The vocals are authentic, garage-rock howlers with tons of energy. Yes mate.

        Hawkeyes

        Last Light Of Future Failure

          Cardinal Fuzz are proud to present to you Hawkeyes’ second full-length LP, Last Light Of Future Failure.

          The follow-up to 2015’s Poison Slows You Down, Last Light Of Future Failure is a different Hawkeyes. Though four long years have passed between long-players, those keeping score could have charted the band’s growth over the course of sporadic split-releases with psych-brethren Shooting Guns, Radiation Flowers, and their Morricone-esque contribution to the Return Of The Son Of Gutbucket compilation. No longer are Hawkeyes merely a punishing, claustrophobic, maelstrom of doom. 2019 Hawkeyes have no such limits.

          Heavy still reigns, but subtlety, texture, and myriad other ancillary instruments colour these four swirling tracks in ways previously unheard. The marching, eastern-tinged “The Lickening” brings listeners back to the classic stoned-nod before the quicksilver freak-out, “Look At ‘Em Scramble”, levels all in its path. “Nude Karate” is legitimately danceable, its fuzzed phasers racing to the finish, battling for air with whirring synths. “Full Of Secrets”, the cinematic full-side closer, reveals itself slowly, like a Kubrick-directed nightmare.

          Recorded in their northern headquarters, the Order Of The Ape, by guitarist Ryan Allen, Last Light Of Future Failure is Hawkeyes’ finest work. Without fear or pretense, they have finally delivered on the panoramic interstellar overdrive they’ve been not so quietly mastering since their debut.
          Hawkeyes are Ryan Allen (guitar), Ron Cybulskie (guitar), Patrick Finch (guitar), Chris Gardner (guitar), Rob Keith (bass), and Stacey Schmitt (drums).


          FORMAT INFORMATION

          Coloured LP Info: Presented in a 350gsm Gloss Laminated Sleeve with full sized 2 sided colour insert and with a download code.

          Charles Hayward

          Begin Anywhere

            Charles Hayward is an English drummer and was a founding member of the experimental rock groups This Heat and Camberwell Now. He also played with Mal Dean's Amazing Band, Dolphin Logic, and gigged and recorded with Phil Manzanera in the group Quiet Sun project as well as a short stint with Gong. He was a session musician on The Raincoats' second album, Odyshape, and on one occasion played drums for the anarchist punk band Crass.

            Since the late 1980s he has concentrated on solo projects and collaborations, including Massacre with Bill Laswell and Fred Frith. Begin Anywhere is his brand new solo album and shows a different side to the Charles Hayward we know. The drum set is left in the corner, and instead we get fragile yet powerful songs on piano and voice. A very personal Hayward album, let yourself be surprised. 

            FORMAT INFORMATION

            Coloured LP Info: 300 copies only on ECO coloured vinyl.

            Coloured LP includes MP3 Download Code.

            Juju

            Maps And Territory

              Juju's third album Maps And Territory reaffirms and at the same time transcends Juju's unique formula. A blend of Neo-psychedelia and Mediterranean Folk, New Wave and African tribalism, the sound of Juju is now deconstructed, reassembled and expanded, even bordering Jazz territories with the contribution avant-garde composer and improviser Amy Denio. The album also featuring guest appearance by Goatman from Goat. The album is beautifully wrapped in the artwork of Marco Baldassari (one half of Sonic Jesus), where the liquidity and movement of the Mediterranean blue (the territory) is counterpoised to the soily colour of the ground (the map). 

              FORMAT INFORMATION

              Coloured LP Info: 180-gram coloured vinyl.

              The Oh Sees

              Graveblockers (Reissue)

                Encased in a brown paper wrapping like a forgotten bit of smut from behind the beaded curtain, this unassuming disc is a time-capsule back to John Dwyer’s early SF days, janglingly fingerpicked wisps of melody and electronics baking in the all-too anemic sunshine of San Francisco’s elusive summer. Like a seashell to the ear, one can hear within it Baker Beach bike ride excursions, holding court and gently harassing passers-by on a Haight street stoop, and midnight rambles with friends from out of town, daring the sun to come up.

                Somewhere chronologically between the folky whisper of Songs About Death And Dying and the recently reissued Cool Death Of Island Raiders, this one’s been vexing to find for way too long and Castle Face has decided to give it “the treatment”. May it awaken the gentle glow of possibility dappled with the dancing shadow of danger that it stirs around this castle.

                STAFF COMMENTS

                Mine says: Much anticipated reissue of this low-key/lo-fi The(e) Oh Sees EP from 2006, now available on green vinyl. Don't snooze!

                FORMAT INFORMATION

                Coloured LP Info: Limited edition green coloured vinyl with insert.

                Coloured LP includes MP3 Download Code.

                Plastic Crimewave Syndicate

                Massacre Of The Celestials

                  Cardinal Fuzz are proud to present to you - Plastic Crimwave Syndicate - ‘Massacre Of The Celestials’. Steven Krakow (aka Plastic Crimewave) is a dark sonic visionary whose every output is infused of the deepest psychedelic music (or just plain old music) out there. With Plastic Crimewave Syndicate you are treated to a howling, menacing, throbbing freak-out sthat is never for the faint hearted. Aided by skronkin' sax goddess Taralie Peterson (aka Louise Bock/Tar Pet) of avant musical coven Spires that in the Sunset Rise, Plastic Crimewave Syndicate go into uncharted realms on their 4th new epic album, "Massacre of the Celestials." Recorded over the course of a tumultuous year on this small planet, a concept emerged of a story we all know and love--the rise and fall of humanity, and then the post-apocalyptic rebirth of a new furtherly-dystopian mutated world. PCWSyndicate didn't discriminate with the freaky sonic tools needed to craft this molten behemoth of a LP, utilizing: damaged waves of No Waves, free-festival rave-ups that punters will knock down fences to pogo to, monochord Doom ruminations...and could that be groovy post-post-punkin' Funakdelica? These cosmic cats also go to the roots of all: The Blooz--elemental, drugged, n grungey--and like JAZZ, MAN! (free, not expensive, for thee people). Plastic Crimewave (bellows/guiterror), Kosmik Jru (bass rumble), and Jose "The Beast" Bernal (kit smash), keep the freaks a-rollin and a-tumblin on an LP destined to score the end of this feeble Earthen sphere. 

                  FORMAT INFORMATION

                  Ltd LP Info: Presented in a 350gsm Gloss Laminated Sleeve and comes with a download code. 300 Pressing Worldwide. 150 for Europe & 150 for USA.

                  Michael Rother

                  Fernwärme

                    “This is a special guy. Rare among fine musicians is one who never bit the industry weenie. This guy never did. He’s done nothing but superior work just the way he hears it. An understanding of space within the music, nothing there that doesn’t need to be and an attention to every note. It’s an exceptional talent and one that’s heavily influenced all sorts of people for a long long time.

                    He hit all the right notes in the post-war evolution of German music.

                    God bless Michael Rother” - Iggy Pop, 2018

                    Michael Rother

                    Flammende Herzen

                      “This is a special guy. Rare among fine musicians is one who never bit the industry weenie. This guy never did. He’s done nothing but superior work just the way he hears it. An understanding of space within the music, nothing there that doesn’t need to be and an attention to every note. It’s an exceptional talent and one that’s heavily influenced all sorts of people for a long long time. 

                      He hit all the right notes in the post-war evolution of German music. 

                      God bless Michael Rother” - Iggy Pop, 2018

                      Michael Rother

                      Katzenmusik

                        “This is a special guy. Rare among fine musicians is one who never bit the industry weenie. This guy never did. He’s done nothing but superior work just the way he hears it. An understanding of space within the music, nothing there that doesn’t need to be and an attention to every note. It’s an exceptional talent and one that’s heavily influenced all sorts of people for a long long time. 

                        He hit all the right notes in the post-war evolution of German music. 

                        God bless Michael Rother” - Iggy Pop, 2018

                        Michael Rother

                        Sterntaler

                          “This is a special guy. Rare among fine musicians is one who never bit the industry weenie. This guy never did. He’s done nothing but superior work just the way he hears it. An understanding of space within the music, nothing there that doesn’t need to be and an attention to every note. It’s an exceptional talent and one that’s heavily influenced all sorts of people for a long long time. 

                          He hit all the right notes in the post-war evolution of German music. 

                          God bless Michael Rother” - Iggy Pop, 2018

                          Shindig!

                          Issue 93

                            Shindig! is an eclectic cornucopia overflowing with obscure TV and film, psychedelia, folk, garage rock, folk rock, progressive rock, funk and soul. Contributions from its team of international expert writers ensure that new and intriguing tales about influential artists fill every issue. Shindig has established itself as a cutting edge forum and critique of the glories of 60s and 70s music, film and culture.

                            The 13th Floor Elevators

                            Wait For My Love / May The Circle Remain Unbroken (RSD 2011 Edition)

                              THIS WAS A RECORD STORE DAY EXCLUSIVE BACK IN 2011! JUST FOUND A HANDFUL OF COPIES!

                              Ltd edition worldwide 2000 units 7” Green vinyl (1000 for UK)

                              Packaged in an ‘International Artists Records’ House Bag

                              The lost 6th single - Originally planned as a single in 1968 but never released as a 7” with "May The Circle Remain Unbroken".

                              Remastered by ‘Sonic Boom’ (Pete Kember of Spacemen Three & producer of MGMT)

                              FORMAT INFORMATION

                              Ltd 7" Info: WAREHOUSE FOUND. ONLY A HANDFUL SO DON'T SNOOZE!

                              Warish

                              Runnin' Scared / Their Demise

                                Woah! 2nd limited 7” release from Warish, debut full length due later in the year.. this is furious punk laden grunge with razor sharp pop edges. The first 7” EP, now nearly sold out at source caused some big waves out there in Riding Easy world.. time to catch a hold and see where it takes you.

                                The Well

                                Death And Consolation

                                  Death and Consolation is without a doubt a weighty album title. And, Austin, TX trio The Well is among the heaviest heavy psych bands in existence. So when we say that there’s even more darkness and intensity to the band’s third album than previous efforts, take heed. It’s a deep sea diving bell of enveloping heaviness and longing. “This one is a little more personal,” says guitarist/vocalist Ian Graham. “2018 was a strange, dark year. A lot of change going on in my life, there was a lot of depression and coming out of it over the last year. I wanted to call this Death and Consolation, because in life that’s a constant.” While The Well continue to walk an intriguing line between authentic early 70s doom/heavy psych and frayed weirdness of dark folk — especially with their haunting unison male/female vocals — the new album also adds the stark vibe of post-punk acts like Joy Division and early The Cure. “I feel like this album is almost more gothic. We’re big fans of post-punk,” Graham says. There’s also much less jamming, the songs are tight and concise. And, did we mention, heavy? The band tuned down a full step to C-standard tuning for this album, which gives the proceedings its monstrous sound. Sonically, Death and Consolation picks up where The Well — Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan — left off with their widely heralded 2016 RidingEasy album Pagan Science. The band once again recorded with longtime producer/engineer Chico Jones at Estuary Studio in 2018, who has turned the knobs for all three of their albums (Jones engineered the band’s debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.) Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and Pagan Science among the Best of 2016 from the Doom Charts collective. Likewise, the band’s intense — some even say “possessed” — live performances have earned them featured slots at Austin’s Levitation Fest, as well as tours with Kadavar, All Them Witches, Black Tusk and more. “This album might be a little less produced, because I didn’t want to push technical stuff as much,” Graham says. “I’m so scared of getting too complicated when getting better at guitar. This is still kind of punk rock.”

                                  Cardinal Fuzz are proud to present to you ‘Ape On Sunday’ - the 6th Long Player from Artaca, California’s White Manna. Recorded over a period of time that saw front man David Johnson return home to Massachusetts to spend time with his family after a traumatic event. While away Dave and Anthony (back on board fully for this new lp) tackled the recordings they had started while Tavan and Johnny laid down the drum and bass tracks and Mike Dieter also rejoined White Manna to lay down some synth parts (honing a Klaus Schulze vibe) . When Dave returned to Humboldt they at long last got down to finishing the LP. ‘Ape On Sunday’ takes its inspiration and title from a Robert Zimmerman poem in his poetry book/novel – ‘Tarantula’ – a stream of conscious / cut up style prose from ’66.

                                  You can feel how the life experiences over the last year have seeped, shaped and informed ‘Ape On Sunday’ which is the bands most intimate release since ‘Come Down Safari’. It’s a heady hypnotic mix that at times plays like psychedelic meditations and at others like music for a post apocalyptic movie. The Redwood canopies of Northern California’s Emerald Triangle still influence White Manna but there sound here is heading out in a more experimental direction where the music is more kosmische in style with sounds wreathed in mist and vapours, droning synths and shimmering guitars. ‘Ape On Sunday’ finds White Manna re-entering the stratosphere and floating back down to the dense redwood forest of their homeland.


                                  STAFF COMMENTS

                                  Mine says: White Manna return with a dark and brooding record, incorporating growling guitars and kosmische synths. Good stuff!

                                  FORMAT INFORMATION

                                  Ltd LP Info: Housed in a 350gsm Gloss Laminated Sleeve with a full colour insert and download code.

                                  In 2006, the musical landscape was very different; there was no streaming, “shazam" was a word used by magicians, and "all-access” was not granted to the general public. Social media, as we know it, was in its infancy and today’s constant digital feed of interruptions, notifications, refreshes and “likes” didn't yet exist. Those with a thirst for the overlooked regions of the record store had to quench themselves in the climes of the online world's music blogs, and while that digital community was surely expanding, NYC’s www.lovefingers.org was something different. Not a blog but a daily unfolding mix — no opinions, reviews, or backstories were coupled with the music, no full albums or submissions from the outside — it was a mysterious watering hole in the burgeoning digital desert where rogue tracks from Wally Badarou rubbed shoulders with those of Holger Czukay, the drama of Sylvester juxtaposed with the quirkiness of Hosono, and countless other coveted artists’ unearthed gems melted in one pot, a digital space where $1 thrift store scores could easily breathe the same dusty air as cosmic holy grails, oddball psychedelics and proto-electronica b-sides comfortably cohabited with $300 private-press folk rarities. With 1 track per day, Andrew “Lovefingers” Hogge created a truly democratic and educated selection of music for our aural pleasure, and labelled them ‘Fingertracks' (numbered 001-999).

                                  This was before most things we now take for granted were common on our dancefloors, radio shows or live streams. Those ubiquitous Euro Pop dubs, unclassics that aficionados play at the wrong speed, or private gems that have since been reissued to the moon and back? They very probably popped up on our collective radars via the medium of www.lovefingers.org first. Rightfully so, what started as a well-kept secret, became a go-to resource and mark of quality among enthusiasts, diggers, DJs, musicians and producers around the globe — the genre-bending mentality in turn re-coined the term “selector” — and inspired a generation the world over to delve further into record shelves, undoubtably contributing hugely to the wondrous, multi-faceted and open-minded musical language we now all speak fluently. While it remained niche, at its peak, www.lovefingers.org had upwards of 100K music freaks turning up daily, and ignited a global musical dialogue between people that were yet to be connected by today’s social technology. The site received countless letters of appreciation from rural kids with no access to record stores, acclaimed DJs, film directors, fashion houses, forgotten artists who were thrilled to feature among unexpected peers, soldiers who diligently tuned-in direct from their call of duty, even heroes of sample-scavenging culture like Coldcut who applauded, “…it just goes to show, when you think you’ve heard it all, you can always dig deeper.” The community around Lovefingers’ site was a call-to-action, gathering analogous minds and inviting them all to the same party, and on New Years Day 2010, after 999 Fingertracks and a plethora of (now classic) mixes, the site made a final post stating, “That's all folks!” The collective energy pivoted into the ESP Institute, a record label and art platform to champion new artists who emerged from this foundational community and as a catalyst to push the musical dialogue forward. Now, as the ESP Institute approaches its 10-year anniversary, we revisit the significant role www.lovefingers.org played in shaping where we are today.

                                  'Fingertracks Vol : 1' is a snapshot of aural delights that were on offer to those of the leftfield persuasion, all who discovered the site and tuned-in for their daily shot of sonics proper — a lovingly selected handful of records that re-introduce the story of Andrew’s most influential and essential music resource. The track list is classic Lovefingers, an insight into the free-flowing nature of the daily Fingertracks, context-free but connected through creative threads and energies — lo-fi loner jams brush up alongside sleazed-out Italo powerhouses, Greek new age obscurities tussle against overlooked Hawkwind-related cuts — nuggets that may be more known to the heads now, but whose initial excavation can be accredited to Lovefingers’ site, and are essential to its story nonetheless. Rumor has it that this is merely the first volume in a series, so as it turns out, and gladly so, “That’s not all folks!”

                                  STAFF COMMENTS

                                  Patrick says: As far as I'm concerned, Fingertracks was the most influential blog..and it didn't have a single bit of journalistic content - just an endless supply of outrageous tunes from all times and genres. Total rarities, DJ favourites and daily discoveries for every head on the planet. In the years since, each of the tracks on this FIRST VOLUME (YES!) has become an algorithm classic, but you've never had them all in one place, from the man who first helped us discover them. This isn't a collector's item or exercise in nostalgia, this is one of the best sonic selections you'll have the pleasure to own.

                                  Various Artists

                                  Greater Manchester Punk 1977- 81

                                    After being unavailable for over two years this is a very Limited Edition repress on splatter vinyl of the Greater Manchester Punk 1977-81 compilation.

                                    The album brings together fourteen rare and previously unreleased punk and post punk tracks from the more obscure original Manchester bands of the time.

                                    The majority supported established acts such as the Buzzcocks and Joy Division and some went on to form legendary bands in later eras (MIKE JOYCE, THE HOAX).

                                    In the spirit of the DIY ethos of the punk era, most were recorded in small studios and released in limited pressings and have become a must have for the discerning punk collector. On it's initial release In 2015. GMP was a compilation of the week on Lauren Lavern's BBC6 music show.

                                    Ranging from The Still’s crunchy power-pop to the Class Of ’77-esque nihilism of Mike Joyce’s pre-Smiths combo The Hoax, the music contained within is always solid, though sometimes predictable. Pure Product’s angular, XTC-ish Rejection and V2’s genuinely edgy Nothing To Do have, however, retained the ability to genuinely startle. 

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited edition repress on splatter vinyl - includes free punk fanzine insert. Only 300 copies worldwide.

                                    The Numero Group’s dive into the deep end of America’s private press continues. Having battled the witches and wizards of Darkscorch, the outlaws of Cosmic Americana, and traveled alongside Ladies From the Canyon and their Lonesome Heroes, it’s time to take it easy.

                                    With pop music’s volume knob adjusted for deflation in the early ‘70s, softness begat smoothness. Crewmen arrived from the worlds of jazz, folk, rock, and soul, all peddling a product that was sincere, leisurely, and lofty. A sound that was buoyant, crisp, defined. Sometimes classified as West Coast- and, later, Yacht Rock - the compass points of our Private Yacht expedition are the blue-eyed harmonies of Hall and Oates, the cocaine-dusted Fender Rhodes of Michael McDonald, and the combover strums of James Taylor. Here, at the glassy apex of rock’s softer side, 20 strong swimmers are gathered together. An album for both relaxation and reflection, where listeners can enjoy the present, a cool breeze, and a taste of the good life.

                                    FORMAT INFORMATION

                                    2xColoured LP Info: Lavender coloured vinyl.


                                    Some Sunday Hip-Hop / RnB classics @Outkast @fatbellybella aka Erykah Badu @djshadow and @TheDangelohttps://t.co/AWxtjDQKTF
                                    Sun 23rd - 11:35
                                    👌🏻 Top tip for anyone who walks into a record shop - always take your headphones off, you never know what you might… https://t.co/7b5eEazSe7
                                    Sun 23rd - 5:18
                                    Happy #newmusicfriday here’s your first batch of banners currently gracing our walls from @Raconteursmusichttps://t.co/v4UNddzB8D
                                    Fri 21st - 8:03
                                    Just announced! The new @ThomYorke album on @xlrecordings. The deluxe version is super limited and looks amazing! I… https://t.co/ymQc8meox4
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