Stay Sick presents ten inches of mean sleaze and kookie far-out Bongo Blasters. DING DONG DADDIO, it’s time for round 2. So get out of this world, my beatnik friends and take a trip to Coolsville. You’ll flip your lid till your real gone, daddio. This stuff will murder ya. Side A is full of the sleaziest, low-down swingin strumentals in town. So blast the edison, don ya shades and get zonked on juice while these cats groove to the cool... hip and heavy... Mean and moody. The flip side will knock you off your swingers! A set of kookie cool an cerrrazy rockn`n’rollers, heavy on the bongo beat. Finger-click your way through these skin beaters till you are, like, too far gone...

Dwight Druick was born in Montreal to a professional gambler and an ex-Radio City Rockette. One of five children, he grew up in a family buoyed by music and beleaguered by the vagaries of miscalculated risk. After attaining a McGill University bachelor’s degree in Art History, Dwight fully embraced both music and risk by traveling to London, where he signed a contract with Pye Records and Joe Cocker’s management company. The ensuing record, "Druick & Lorange" was released to critical acclaim and relative success. After returning to Canada, Dwight recorded two albums with Phil Vyvial: "Midnight" and "Minuit". Recorded with the Muscle Shoals Rhythm Section in Alabama, the duo’s work achieved airplay success in Quebec and across Canada. Dwight subsequently released his first French language solo album, "Tanger", released in 1980 by the Canadian label, Bobinason.

Today quite hard to find in its original version, "Tanger" is first of all an incredibly solid album, clearly underrated and deserving more credit. Mostly known by collectors and DJs for the stunning cover of Toto’s classic hit, “Georgy Porgy”, which was produced and arranged with the help of George Thurston (Boule Noire), it includes many other tasty titles, with amongst them another fine rendition of “Open Your Eyes” by The Doobie Brothers. In fact, with its brilliant mix of Modern-Soul, Disco and AOR styles, the whole album is already considered by many connoisseurs as a classic, and clearly a must have for anyone enjoying this musical blend.

Never reissued on vinyl until now, here's a chance for blue eyed soulboys, yacht rock obsessives and the Balearic crowd to grab their copy.

Issue 1 clocks in at 96 pages and includes interviews/features with the likes of Holy Wave, The Telescopes, RF Shannon, Nicholas Wood (The KVB/Saccades), The Oscillation, The Third Sound, Routine Death and Sherpa The Tiger, art spotlights on Olya Dyer of The Underground Youth and photographer Lilly Creightmore, João of 10 000 Russos reflecting on the singular legacy of Mark E. Smith and recalling a torturous interview with the man himself, a primer on the Swedish psych scene, Christian Bland, Al Lover and Bob Mustachio on the history of Levitation/Austin Psych Fest and an in-depth retrospective on 1988 as a pivotal moment in the early years of shoegaze.

Issue #2 of the Fuzz Club Magazine is packed with a story about digging cables and brit-pop bullshit by Will Carruthers, interview with Lumerians, The Gluts and Oliver Ackerman, Patrick Clark traces the history of krautrock, an extract from Craig Dyer's first novel, Jared Artaud writes about his time with Alan Vega and lots more. As with Issue 1, this is a beautifully printed, perfect-bound A5 mag with glossy pages and a soft-touch/matte laminated cover.

Spread over 3 CDs, this collection of 59 tracks, consists of a selection of Gainsbourg tracks (including many new and exclusive versions), interpretations of songs from other performers and a volume dedicated to the music of films is the audio complement of 450 pages of the Gainsbook.

The result of more than twenty years of investigation and sixty interviews bringing together Serge Gainsbourg's historical arrangers, sound engineers and session musicians, this book sheds new light on his phenomenal repertoire.

Also available as a 10 track LP.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence.

FORMAT INFORMATION

Ltd LP Info: First re-issue since its original release in Japan in 1983, remastered from the original masters, 140g vinyl, gatefold sleeve, 16 page photography book with liner notes.

CD Info: First time on CD, remastered from the original masters, digipack, 6 page photography book with liner notes.

Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).

Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.

While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.

Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.

Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.

FORMAT INFORMATION

Ltd LP Info: Previously unreleased material from Steve’s private recordings, remastered from the original masters, 140g vinyl, 4 page photography insert with liner notes.

CD Info: CD is INDIES ONLY with previously unreleased material from Steve’s private recordings, remastered from the original masters, digipack, 6 page photography book with liner notes, 2 bonus tracks not on the vinyl version.

Yet another new artist emerges from the drug-addled undergrowth of Hoga Nord. Fast becoming the most wacked-out and narcotically fuelled label we stock here in the shop; whether it's lysergic fuzz, interplanetary psyche, E'd up warehouse beats or some psychotropic musical life form yet to be classified, the camp seem to invite anyone with a penchant for getting off it, on it.

Kanot's first record and two different flavours contributing to the same psychedelic soup. Anyone remember Sylvestre Anfang II? I can't help draw comparisons with the Amon Düül II-affiliated group. Only there's a bit more synthesizer action from this guy (these guys?). Both tracks glide in through an inviting synthy / drony intro, then burst into the kind of twangy, pagan 'funeral folk' meanderings a la Goat and the above mentioned Sylvester Anfang. It's ace! And yet another ear-grabbing arrow in the bow of this wonderful label. Recommended. 

STAFF COMMENTS

Matt says: Yeah man, taking us right back to those proto-Goat pagan swagger days when it was perfectly normal to sacrifice a small mammal before heading into work... Campfire voodoo rituals never sounded so good!

Sweden's psychedelic doom band, Monolord, is set to release their First full length LP "Empress Rising" via Easy Rider Records in April 2014. The five song album comes in at almost 50 minutes of skull crushing heavy grooves and heavy guitars that summon the spirits of Norse gods when played at loud volumes. Monolord is far more than just doom-metal fanatics - this is an epic record for all fans of guitar driven rock and roll, stoner rock, and heavy riffs. As a free gift from Monolord and EasyRider Records you can download the title song "Empress Rising" here. The song is a 12 minute long opus that will leave you wanting more, but you will have to wait until April 1 2014 for the rest of the record that will be making headlines for next year. 'Empress Rising' has all of the flavors of an iconic doom record and follows in the footsteps of Sleep - "Holy Mountain", Pallbearer - "Sorrow and Extinction", Electric Wizard - "Witchcult Today" with melodic vocals and harmonies that are super psychedelic and easy to sing along with.

FORMAT INFORMATION

2xColoured LP Info: Green and black coloured vinyl. Limited to 400 copies.

Keyboard virtuoso Terry Riley started experimenting with different instruments in the ‘50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It’s an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley’s masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album, Melted. Segall says it sounds like "cherry cola, Sno-Cones and taffy." Indeed! Over the past two years he's released records more often than most people do laundry, but somehow there is still a heap of anticipation for this new album on Goner packed full of truly psychedelic pop songs with great vocals and exciting arrangements. On the heels of two critically acclaimed solo albums, Segall holed up in a basement studio with Mike Donovan of the Sic Alps in late 2009 and early 2010 to come up with Melted. It's a carefree yet precise balance of acoustic and electric elements.

Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the '60s without sounding like anything created during that decade. Time melts away, vision melts away, minds melt away. Get Melted! "Ty Segall's short, sharp songs peal out of the garage without raising the doors, sending 1960s rock riffs crashing through splintered, smart-ass lo-fi buzz." -Pitchfork "His second album, Lemons, solidifies his standing as one to watch.... There are few moments when Ty Segall isn't irresistibly catchy." -Nylon "Warped sonics do nothing to diminish the impact of his vigorously nostalgic riff and stomp. Segall thunders along with the timeless, impudently rowdy energy of a cement basement dance-off." -SPIN, ? Third solo album from San Francisco garage psych wunderkind ? Touchpoints: Safe as Milk / Clear Spot-era Beefheart, T. Rex, blurry sweet junk-food highs.