"What Are You Waitin' For?" is a provocative and instantly engaging electro-pop offering, with heavy bass lines, scratchy guitars and a melody so catchy you'll be stuck with it for weeks.

Presented by Acid Jazz on Roots Records, a first-time reissue of classic dancehall recorded for Jah Thomas ‘Midnight Rock’ label, previously only issued as a promotional ‘white label’.

Midnight Rock was home to many of the great voices of dancehall, with producer Jah Thomas at the helm, adding vocals to the high-quality rhythms recorded at Channel One studios with the legendary, de facto resident band Roots Radics. Thomas made some of the earliest recordings for both Early B and future super star Super Cat, and as Super Cat became the hottest name on the scene, Thomas lined up a showcase album featuring a side from each artist. A small number of white labels were pressed up, but the release never got further.

Side A gathered up four of Early B’s most well loved cuts including 'Visit Of King Selasie', 'Sunday Dish', 'Pedestrian' and 'Cane Man A Fe Bath'. It also included a track called 'Set Up Yourself Right', which was never released elsewhere, but Thomas himself remembers playing well from the various sound systems he gave test cuts to.

Side B featured the 5 cuts that Thomas had made with Super Cat, showing him fully formed even at this formative stage in his career. 'Dance Inna New York' has since had a second life since being sampled by Nas on 'Nas The Don', but every track from 'Way Dem A Fight Fa' through 'Ever Ready', to
'Walk A Ton' and on to 'Me Glad She Gone' are a great combination between producer and vocalist.

Presented on a striking and effective sleeve layout, evoking the records status as a lost white-label classic, with stamped ‘Midnight Rock’ logos across the sleeve and labels. 

Finally, the chance to own this elusive piece of reggae/dancehall history.

TRACK LISTING

1. Visit Of King Selassie
2. Sunday Dish
3. Pedestrian
4. Set Yourself Right
5. Can A Fe Bath
6. Way Dem A Fight Fa
7. Ever Ready
8. Walk A Ton
9. Dance Inna New York
10. Me Glad She Gone

One of the key 45s in the output of Prince Jazzbo's Ujama label during the digital era of the late 80s - originally reissued via NYC's Deadly Dragon some 15 or so years back - gets a much needed new cut & press via Death Is Not The End's 333 series.

The late Earlando Neil aka Early B first started performing on soundsystems in the late 1970s, often appearing with his young apprentice Wild Apache, later known as Super Cat. It was alongside Cat that he is credited as a key driver behind the popularisation of the King Majesty and Killamanjaro stables in the early 1980s, following which he had a string of hit records for the likes of Harry J's Sunset imprint, Ossie Thomas' Black Solidarity and Jah Thomas' Midnight Rock label amongst many others.

Following a run of stellar LPs in the mid 1980s Early B's output began to wane as the sound of digital production began to take precedence, but not without firing off one the most killer shots ever recorded on a computerized rhythm for Jazzbo's Ujama in 1987. Reportedly the first time around for the hallowed Replay version, Imitator's subject matter takes aim at the new kids on the dancehall block ripping off the veterans, while he simultaneously pays hard-earned dues to the dancehall's foundation deejays such as Jazzbo himself, U-Roy, Big Youth, Dennis Alcapone, King Stitch, Trinity & Dillinger.

TRACK LISTING

1. Imitator
2. Imitator Version

The Early Day Miners new album, "The Treatment", speaks to the powers of reinvention in more than one way. After years of building gorgeous and sprawling guitar rock epics, Early Day Miners have trimmed their sound into shorter, tighter songs with a decidedly pop edge to them. They have also slimmed their line up down from as many as eight members to the lean four-piece outfit of Dan Burton (guitar, vocals, keys), John Dawson (guitar), Marty Sprowles (drums) and Johnny 'Yuma' Richardson (bass). Even in the album's lyrics, the yearning allure of reinvention is ever present.

Alabama's native son, Early James, will release his sophomore album, Strange Time To Be Alive, on July 29th, 2022. The lyrical wordsmith conjures the ghosts of great southern gothic writers from Eudora Welty to William Faulkner, while channeling the haunted spirits of Tom Waits and Townes Van Zandt. The album evokes a timeless amalgam of forsaken blues, wistful folk, and Tin Pan Alley crooning, anchored by the singer’s unmistakable voice that sways from gravel-filled shouts to pained, forlorn whispers – and songs that tread in the waters of darkly themed broken hearts, with the wry humor of the sad clown.

On the road again since August 2021, Early James will continue touring consistently through 2022. Confirmed upcoming tour dates are with The Black Keys and The Ghost of Paul Revere. Previously, Early James has played Newport Folk and toured with The Lone Bellow, The Marcus King Band, Zachary Williams, and Shovels & Rope.

December 2012 I showed up totally exhausted in Vancouver BC after touring stupidly and relentlessly for however many straight months and got a job at a call centre raising money for the Red Cross. It was a scent free office but one time this woman cooked a piece of fish in the microwave for 10 minutes on low and hot boxed the whole office - we got sent home early no pay. There was the other woman I named the Call Centre Coltrane because her pitch and routine usually involved improvised flights of fancy that went off in both directions at once somehow landing back down with a credit card number and a donation. I used to sleep under the desk. I was there a few months and at the time I reconnected with John Brennan who I had played with briefly in Montreal at the Mutek Festival. In Montreal John was running an experimental music night at a burrito shop downtown called Garbage Night. While in Vancouver I began connecting with the music scene there and would go hang out with the Shearing Pinx lads who I think lived with Sydney the bass player at the time. I knew Nic and Jer from an AIDS Wolf Tour and was so stoked to get to know them both better. I really fell in love with that era of Vancouver's music scene.

Fast Forward to today. 2024

Actually it was the dying days of 2023 but you get it and John asks if I'll sit in with Earth Ball and I keep thinking about Earth Balance, the vegan butter everyone eats here. I brought my aching bones and my ipads on the beautiful ferry named the Queen of Oak Bay and out to Nanaimo BC, home of the nanaimo bar (a dessert treat - special to this region - that seems to be more popularly found under the weird glass sneeze guards in office building deli's out east in Ontario.... anyhoops ). No one in Nanaimo wants to talk to me about the famous treat. I asked a couple of people. Silence. Nanaimo is like London, Ontario but more fried and by the sea. The town is filled with blown out old sea dawgs with tin coffee pots and loose leaf tobacco, then there's the usual streetfolk you find in this part of the Canadian Pacific Northwest and a bunch of bohemians who I guess have left Vancouver behind - that fine city having become uninhabitable for those not making over 100k a year. And then up the way are all the retirees. Yup Nanaimo is a strange one. They mined the shit out of this region and Nanaimo is surely haunted by those buried in mining shafts or maimed by the heavy machinery or blown up by accident in the explosives store house. And when Earth Ball fire up the amps in Izzy and Jer's basement you can hear the voices of the ghosts hum through electrical lines and out the speakers, Kellen's hued feedback, Izy's sturdy basslines, Jer's paperbag guitar tone and rumble pack zaps, Liam's (aka the Kid) sheets of sound and Brennen's multidirectional drums. You wouldn't guess Earth Ball was auto-composing and from what my rat brain can tell - the lyrics are improvised too...Improvising lyrics and singing them is the hardest thing to do in all of music.. Izzy and Jer are pros. And their attitudes are pro too.

TRACK LISTING

1. Moon FM
2. Antifreeze
3. Through & Through
4. A Need To Cool Down
5. Flash In The Pan
6. Hollowgramma

Following on from their limited edition 7" only release "In The Garden", and fresh from being one of the most talked about bands at this years SXSW festival, Nottingham's Earth The Californian Love Dream return with another short blast of riffy, rock'n'roll. There's a touch of Queens Of The Stoneage about it with it's heavy chugging guitar and drums, but with a more youthful, punchy arrogance, and weighing in at under 90 seconds, it leaves you wanting more....

‘Actual Earth Music - Volume 1 & 2’ presents two caustic, yet alluringly unreal live sets from Canadian noise-rock entropy hunters Earth Ball. Following on from the group’s critically appraised ‘It’s Yours’ LP (released 2024 on Upset The Rhythm - UTR164) this release captures the band at the peak of their powers, playing live, composing spontaneously.

Side A features Earth Ball live at The Fox Cabaret in Vancouver, supporting Wolf Eyes on August 4, 2023. Jeremy Van Wyck from the band considers this “the gig that sent us into orbit, really. Causing Olson & Young to wax poetic about our interstellar jams to a fine bloke across the big sea. Upsetting our casual rhythm and forcing our hand. All that talk led to an LP, ‘It’s Yours’, and a full UK tour the following spring”.

Now, with the birth of this live series ‘Actual Earth Music’, it seems only fitting that Volume 1 should be this gig. It’s a doozy. Listening back is a pure revelation. Earth Ball whip up a vortex of thrashing wild energy, the ecstatic release is off the charts. “You don’t always catch every nuance of the jams as they come down. I mean, this one felt good, but upon listening back to the tapes, it sounded very good” confides Jeremy. “It reminded me of Von Trier’s Melancholia: the sound of a large sphere coming toward you to bring doom. However, this one reverses course, heading away to some other shore, bathing you in reflective bliss before saying goodbye—instead of ending humanity as we know it”.

Volume 2 occupies Side B of this LP, showcasing a collaborative summit from the second night of their recent Café OTO residency on May 21, 2024. This event featured Earth Ball laying down three separate sets—all collaborations. This second recording presents their opening performance and features pivotal UK improv luminary Steve Beresford on piano and free-jazz phenomenon Chris Corsano on drums.

TRACK LISTING

01. Live At The Fox Cabaret
02. Live At Café OTO With Steve Beresford & Chris Corsano

Running Time: 42 Mins 

Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details—the horses, the possible human, the faint wisp of white clouds—give it depth and wonder, something to which the imagination can return.

Did you know that the music on Earth 2—repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called “ambient metal”—works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder.

The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.

TRACK LISTING

1. Seven Angels
2. Teeth Of Lions Rule The Divine
3. Like Gold And Faceted

Seattle drone-rock titans Earth release their latest live document, 'WEM Dominator (Live in London NW1, 2016)', an unrelenting display of the band’s seismic force, recorded during their performance at London’s KOKO in 2016. Sharing the bill with legendary heavyweights Neurosis, Earth delivered a set of hypnotic intensity, crushing volume, and towering, glacial beauty.

For over three decades, Dylan Carlson and his ever-evolving ensemble have been crafting tectonic soundscapes that defy convention, forging a path between meditative drone and colossal doom-laden riffs. 'WEM Dominator' is an album of mesmeric modal patterns, it’s a recording that captures the trio’s intricate, slowly evolving euphoria in a period when their experimentation swerved through endless possibilities. From the creeping grandeur of The 'Bees Made Honey In The Lion’s Skull' to the ominous crawl of 'Even Hell Has Its Heroes', the album presents Earth at their most immersive and powerful.

This record reasserts Earth’s mastery of atmosphere and weight, where every note feels tectonic, and silence itself becomes an instrument of crushing tension. It is a hypnotic, stripped down sonic symphony embracing influences as wide ranging as the Velvet Underground, Terry Riley and La Monte Young, a visceral slow-motion reading of the original sound that inspired Sun O))) and the generation that followed.

The lineup of this performance was Dylan Carson (guitar), Jodie Cox (baritone guitar) and Adrienne Davis (drums), it was recorded live at KOKO, London on November 7th 2016 and is mixed and mastered by Mell Dettmer at Studio Soli in Seattle.

TRACK LISTING

1. Bees Made Honey In The Lion's Skull (Live In London NW1, 2016)
2. There Is A Serpent Coming (Live In London NW1, 2016)
3. Descending Belladonna (Live In London NW1, 2016)
4. Even Hell Has Its Heroes (Live In London NW1, 2016)
5. High Command (Live In London NW1, 2016)

Jacob Long’s newest recordings under the Earthen Sea moniker deepen his compelling synthesis of shadowy rhythms and opaque atmospherics, drawing on the most potent qualities of melancholic ambient and dub techno.

“An Act Of Love” follows 2015’s “Ink,” released via Ital’s Lovers Rock imprint,
and was inspired by internal tribulations and the experience of exploring an empty nocturnal metropolis. Careful waves of tones drift and decay; beats materialize and pulse across twilit landscapes; a noir mood reigns.

Given Long’s background as bassist for revelatory tribal-punk trio Mi Ami, “An Act Of Love” showcases a musician in the midst of transcendent redefinition, crafting an immersive language of texture and motion.

From Jacob Long:
This record was made over the course of the most emotionally difficult and stressful year in my life thus far. As such, it is both a reflection of that experience and also something that gave me space to begin working through issues to see a way forward, to a better place both psychically and physically.
An idea that was also central to my thoughts while creating the album was the concept and reality of being out in the city at night, wandering around a large urban area after dark – the contrast of empty streets but with life still going on all around, and the openness and possibilities that can bring. This
music was an attempt to capture that feeling.

TRACK LISTING

1. The Present Mist
2. About That Time
3. Delicately In The Sunlight
4. Apparent Lushness
5. Exuberant Burning
6. Above The Clouds
7. The Flats, 1975
8. Also An Act Of Love

Jacob Long’s newest recordings under the Earthen Sea moniker deepen his compelling synthesis of shadowy rhythms and opaque atmospherics, drawing on the most potent qualities of melancholic ambient and dub techno.

“An Act Of Love” follows 2015’s “Ink,” released via Ital’s Lovers Rock imprint,
and was inspired by internal tribulations and the experience of exploring an empty nocturnal metropolis. Careful waves of tones drift and decay; beats materialize and pulse across twilit landscapes; a noir mood reigns.

Given Long’s background as bassist for revelatory tribal-punk trio Mi Ami, “An Act Of Love” showcases a musician in the midst of transcendent redefinition, crafting an immersive language of texture and motion.

From Jacob Long:
This record was made over the course of the most emotionally difficult and stressful year in my life thus far. As such, it is both a reflection of that experience and also something that gave me space to begin working through issues to see a way forward, to a better place both psychically and physically.
An idea that was also central to my thoughts while creating the album was the concept and reality of being out in the city at night, wandering around a large urban area after dark – the contrast of empty streets but with life still going on all around, and the openness and possibilities that can bring. This
music was an attempt to capture that feeling.

TRACK LISTING

1. The Present Mist
2. About That Time
3. Delicately In The Sunlight
4. Apparent Lushness
5. Exuberant Burning
6. Above The Clouds
7. The Flats, 1975
8. Also An Act Of Love

Jacob Long’s third Earthen Sea outing for Kranky, Ghost Poems, further refines his fragile, fractured palette into fluttering arrhythmias of dust, percussion, and yearning.

Composed during the first wave of lockdowns in New York, the pieces took shape patiently from samples of piano, texture, and domestic sounds (sink splashing, room tone, clinking objects), filtered through live FX to imbue them with an intuitive, immaterial feel. Wisps of melody splinter, shimmer, and refract, like light on water; pulses accrue and dissipate, as if mapping shifting sands. Throughout, there’s a sense of matter made animate, of absences felt.

Long cites notions of “the studio as a dub instrument” and the melancholy of “7th chords on a fake Rhodes patch” as central elements in his process, transforming raw materials into rare thresholds of symbiosis and hypnosis. This is music for night skies in hollowed out cities, for views across rivers towards unknown shores: restless, placeless, and profound.

TRACK LISTING

1. Shiny Nowhere
2. Stolen Time
3. Felt Absence
4. Oblique Ruins
5. Snowy Water
6. Rough Air
7. Slate Horizon
8. Ochre Sky
9. Fossil Painting
10. Deep Sky

Jacob Long’s fourth full-length for Kranky began as a notion to reimagine Earthen Sea as a “piano trio,” inspired by a year-long immersion in the ECM label catalog, but the compositions soon grew more complex.

Elements were chopped and resampled, then layered with bass, drums, percussion, and additional keys. The result is a fusion of live band acoustics and downtempo loops, sculpted into nine smoke-and-mirror dubs of fractured jazz, soft-focus noir, and trip-hop dust: Recollection.

Like the title implies, Long’s playing and production share a mood of pensive movement, shuffling and rippling like uncertain memories at strange hours.

From looming fog (“Present Day,” “Neon Ruins”) and shadowy breaks (“Another Space,” “Cloudy Vagueness”) to rosy glows (“Clear Photograph”) and smeared reverie (“White Sky”), Recollection deftly wields its palette of gradient color and subdued states of beauty.

His is a music of reduction and reflection, kinetic but oblique, attuned to the silhouettes of sound.

TRACK LISTING

1. Present Day
2. Another Space
3. Sunlit Leavin
4. A Single Pub
5. Neon Ruins
6. Clear Photograph
7. Cloudy Vagueness
8. Abstract, Tell
9. White Sky

Commemorating thirty trips around the sun as one of metal’s most monolithic bands, Earth release their ninth studio album, Full Upon Her Burning Lips. A purge of the embellishment and panache from previous releases, Full Upon Her Burning Lips intimates Earth’s commitment to the minimalism of their primordial days.

Deconstructing the tried-and-true dynamic consisting of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion, Full Upon Her Burning Lips taps into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world. In addition to scaling back the flourishes of their hulking, drone-driven opuses, Full Upon Her Burning Lips was composed sans narrative, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed.

The record was engineered, mixed, and mastered by long time associate Mell Dettmer at Studio Soli. Showcasing Carlson’s sepia-toned Bakersfield Sound guitars and Davies’ death knell drums, Full Upon Her Burning Lips mines for the expressive, nuanced, and tonally rich components of Earth’s arsenal of sound. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

“I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,” Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

TRACK LISTING

1. Datura's Crimson Veils
2. Exaltation Of Larks
3. Cats On The Briar
4. The Colour Of Poison
5. Descending Belladonna
6. She Rides An Air Of Malevolence
7. Maidens Catafalque
8. An Unnatural Carousel
9. The Mandrake's Hymn
10. A Wretched Country Of Dusk

There’s an ancient Japanese legend in which a horde of demons, ghosts and other terrifying ghouls descend upon the sleeping villages once a year. Known as Hyakki Yagyō, or the Night Parade of One Hundred Demons, one version of the tale states that anyone who witnesses this otherworldly procession will die instantly—or be carried off by the creatures of the night. As a result, the villagers hide in their homes, lest they become victims of these supernatural invaders.

Such is the inspiration for the latest album from EARTHLESS. “My son is really into mythical creatures and old folk stories about monsters and ghosts,” bassist Mike Eginton explains. “We came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories. I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”

Whereas 2018’s Black Heaven featured shorter songs and vocals from guitarist Isaiah Mitchell on much of the album—an unprecedented move for the San Diego power trio—their latest is a return to the epic instrumentals EARTHLESS made their unmistakable name on. Night Parade Of One Hundred Demons is comprised of two monster songs—the 41-minute, two-part title track and the 20-minute “Death To The Red Sun.”

The scenario that allowed for this kind of exploration was a stark contrast to that of Black Heaven. At that point, Mitchell was living in the Bay Area, which made it difficult for the band to get together and work on the type of long instrumental pieces they’re known for. But in March 2020, the guitarist moved back to San Diego. More specifically, he moved back the night the pandemic lockdown kicked in. Bad timing, perhaps—or maybe perfect timing.

Plus, they were all on the same page about not wanting to do another record with vocals. “In a way, I think this album was a reaction to our last record,” Eginton says. “Black Heaven was outside our comfort zone. I think it was a good record, but it was challenging to write songs in a more traditional verse-chorus-verse format. This one was more enjoyable. I’m sure we’ll do more vocal tracks in the future, but for the time being I see that album as a one-off.”

Given the record’s inspiration, it should come as no surprise that Night Parade of One Hundred Demons strikes a more sinister tone than the rest of the band’s catalogue. “It definitely has a darker, almost evil kind of vibe compared to stuff we’ve done in the past,” Rubalcaba says. “There’s more paranoia and noise, and some of Isaiah’s whammy-bar stuff kind of reminds me of these Jeff Hanneman moments in Reign In Blood, where it just seems like everything is going to hell. It’s pretty fun.”

Night Parade of One Hundred Demons was recorded in San Diego with Rubalcaba’s childhood friend Ben Moore, who’s worked with everyone from DIAMANDA GALAS and BURT BACHARACH to CEREMONY and HOT SNAKES. When Eginton wasn’t tracking his bass parts, he worked on the album’s incredible sleeve art. “He really dedicated himself to the project,” Rubalcaba says. “He’d be drawing in the studio with, like, a coal-miner’s lamp on his head while we were doing overdubs. He really knocked it out of the park.”

All told, Night Parade of One Hundred Demons isn’t just a return to the band’s traditional format—it’s a return to their very beginnings. “This album actually has the very first Earthless riff in it,” Eginton reveals. “We just recorded it 20 years after we wrote it. But we’re really happy with how this record came out. We feel it might be our finest to date.” 

2005 debut studio album from San Diego psychedelic instrumental rockers.

TRACK LISTING

Side A:1.Flower Travelin’ Man (20:47)
Side B:1.Lost In The Cold Sun (21:00)

Earthtones is the musical identity of Serge Bandura, an electronic artist, former jazz musician, meditation teacher and ritualist based in LA. Kevin Nathaniel channels sound as a universal healing force through traditional African instruments and is a former student of legendary master musicians such as Ephat Mujuru and Chief Bey K. Sending files back and forth during the pandemic, the two artists deepened a musical friendship and began a dialog between the Mbira Nyunga Nyunga, the Kalimba and analog synthesizers. Their music is offered in the spirit of peace + healing for all. ‘Of The Earth’ (Full Meditation) is 21 minutes long and the B side offers 25 minutes of music.

STAFF COMMENTS

Matt says: Chakra re-alignment therapy for troubled souls or those who are simply fuming about our lack of real summer. With a modest collection of instruments and sound devices Earthtones and Kevin Nathaniel achieve some miraculously trascendendant results.

TRACK LISTING

Of The Earth Meditation
Of The Earth
Slow Emotion
Sonrise

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement.

TRACK LISTING

1. Deià Dream
2. Osanyìn (feat. Maikel Alberto Salazar)
3. La Mujer Serpiente (feat. Lido Pimienta & Oliwa)
4. Quiero Que Mami (feat. Verito Asprilla)
5. Limones (feat. Oliwa, Numu & Semblanzas Del Rio Guapi)
6. Deià Dream II
7. Selam (Dub) [feat. Etsegenet Mekonnen]
8. Salta La Cuerda (feat. Huaira)
9. Song Of The Wind
10. Selam (feat. Etsegenet Mekonnen)
11. Waves

On this new ATON 12" we have two very different beast, basement or bigroom, both sampling a rare disco 45 by Sass Band called 'Where Is the Love'. Side A is another East Coast Love Affair outing, a super deep druggy disco burner for the heads, we need to make more of these. To counteract the A side on the flip we have a full on late 90s style party banger that will deffo get some asses moving (and some beard strokers crying). Kevin McCullagh (BDK) sent me this last year (or possibly the year before) and gave me the idea for this 12, it took some time to track down the licence but with some help Julien (Waxist DJ) andPascal. at Pusher distrubtion we were a le to clear the sample which was super appreciated. Get it, pick your side, rock the party.

TRACK LISTING

1. Love Chug
2. Pure Sass

2023 Starts with a doubler sided disco action from East Coast Love Affair - Taking the vocal from obscure Minneapolis lo-fi band 'Quiet Storm' master tape (Big up Numero Group) and building a whole new deep disco 45. 'Get Down' is deep dance floor chugger using the O.G studio gear that would have been used at the time, strictly analog business. On the flip, 'Can You Deal' is a more uptempo boogie joint. Both killers as always. Lots more from ECLA this year!!

TRACK LISTING

1. Get Down (feat. Quiet Storm)
2. Can You Deal (feat. Quiet Storm)

Our close friend and fellow Scot, now Ibiza resident, Pikes resident DJ and island favourite, 'For Mankind' (Russ Forman) had talked about doing a studio collaboration for some time. Last winter, we finally managed to get in the studio and make some music.

Drawn upon our mutual loves of house music, dub and weirdo dance music by the likes of African Head Charge, Larry Heard and Sun Ra. We also added sprinkles of influence from other oddball tracks that make up our more interesting sets. We spent hours just pulling and listening to records from all our collections and talking about music before hitting the studio.

What resulted from the session is a beautiful and exciting blend of everyone's taste - dreamy, minimal, almost techno synthscapes, New York oddball house that sounds like some lost Sleeping Bag test press to almost Música Popular Brasileira.

At one point Russ, (For Mankind) grabbed the mic and hit us with his best pidgin Spanish, this snowballed onto a few more tracks, so we felt it only right the LP should also bear his name. Russ' vocal came as a surprise to us all, loose, funky, wild and carefree, (like the man himself), with positivity and a message: This music is for everyone. We should all work together, help and contribute.

Our good friend Hanna (Philomenah) also brings her giant talent on Brazilian influenced 'I Can't wait', expect to hear a lot more from this Shetland-born singer on Athens of the North and elsewhere.

TRACK LISTING

1. Musica Para Todos Ullal De Da Coloms (feat. For Mankind)
2. Ullal De Da Coloms
3. Punta Moscarter
4. Xylocopa Violacea
5. The Morrígan Sings (feat. For Mankind)
6. Stay Above With Love (feat. For Mankind)
7. I Can't Wait (feat. Philomenah)
8. A Gradual Precipitation

Over the last year, London-based East India Youth has combined strikingly original music with euphoric live performances and has quickly become recognised as one of the most experimental and captivating artists around.

Here he delivers brand new album, titled ‘Culture Of Volume’; his first since signing to XL Recordings. The record follows his critically acclaimed debut album ‘Total Strife Forever’ (released in January 2014 on Stolen Records) that went on to be nominated for the Mercury Prize.

‘Culture Of Volume’ opens with the synth sweep of instrumental track 'The Juddering', which does indeed judder. It then switches tack to 'End Result', an emotive, melancholic number featuring live instrumentation. 'Beaming White' and 'Turn Away', while 'Hearts That Never' and 'Entirety' head to the peak-time dancefloor with 90s rave beats, fidgeting keyboard lines and a touch of an unrelenting Underworld feel to it. Wearing its heart on its sleeve, solo vocal / synth number 'Carousel' sounds like a number U2 should have written for the Spiderman musical, but didn't. Firing up the club rhythms again, jittery 2-stepping drum & bass-ish cut 'Don’t Look Backwards' is catchy pop with fancy footwork. The album closes with the sparkling machine-pop of 'Manner Of Words' and 'Montage Resolution', which, like 'The Juddering', does exactly what it says on the tin. 

Mostly recorded and produced in his bedroom at home in London and named after a fragment of verse from the poem ‘Monument’ by Rick Holland, ‘Culture Of Volume’ was mixed by Graham Sutton (Bark Psychosis, Boymerang) and the artwork was created by visual artist Dan Tombs (inspired by Andy Warhol’s experiments with computer technology).

In a move that's certain to please the proper techno heads out there, East India Youth has finally seen fit to deploy the finest piece of dancefloor weaponary on his critically acclaimed debut LP in 12" form. Militaristic drums, driving sequences and swirling modular washes interlock into a pulsating nuclear core, well on its way to meltdown. Falling somewhere between the stripped back machine funk of Factory Floor and the unyielding energy of a Carl Craig classic, "Hinterland" is the kind of cut you build your whole set around. In other words, totally massive. On the flipside, the mysterious Katja Waske drops in to provide a face melting remix, which ramps up the aggression tenfold, turning "Hinterland" into raw techno filth. If you're after one of those thunderous stadium sized techno monsters usually released by either of the Kalkbrenner brothers, then this is your new jam. Serrated sequences, pounding percussion and searing drones combine perfectly to set the night on fire.

East India Youth aka William Doyle delivers his highly anticipated debut long player ‘Total Strife Forever’. It's an ambitious work heralding the arrival of a singular new talent. Doyle is an inventive composer, and not tied to one style of music, bringing a love of minimalist and ambient composition to play alongside traditional song writing. The album ranges from ambient passages and neo-classical episodes and Detroit techno through to effervescent melodic electronic pop songs, with 'On Heaven How Long' combining both elements as the euphoric chorus dissolves into a driving motorik rhythm. Inspirations along the way included the output of Tim Hecker, Brian Eno, Björk’s ‘Homogenic’ and Arvo Pärt.

East of Underground was a multi-ethnic seven-piece band formed by American soldiers stationed in Germany in 1971, eager to make music and create a home away from home during their stay in Germany as the war in Vietnam was at its height. That year, the Army staged what they called "The First Annual Original Magnificent Special Forces Entertainment Showband Contest," and East of Underground were one of many groups that entered the competition. Playing a tough, enthusiastic fusion of R&B, funk and pop/rock tunes of the day (including numbers by James Brown, Curtis Mayfield, Sly & the Family Stone, and Santana), East of Underground's sound was dominated by the vocal harmonies of Bobby Blackmon, Larry Watson, and Austin Webb, accompanied by tight, concise arrangements laid down by guitarists Lewis Hitt and Gus Marquez, and the rhythm section of bassist Ronald Hall and drummer George Daniels (the latter claimed to have worked with James Brown). East of Underground won second place in the contest; one of the judges was Kurt Loder, who later became a respected rock journalist, and in a review of the show he described them as "a beautiful soul band with three exceptionally good singers." Along with the first, third, and fourth place winners, East of Underground were given studio time in the Armed Forces Radio Network's recording facility in Frankfurt, Germany as one of their prizes, and they cut an album's worth of material. East of Underground's studio session was issued as a promotional album by the Army, but it received scant distribution and quickly fell into obscurity, and after the group's members finished their military commitments, the band broke up. Many years later, the album came o the attention of the crate diggers at the magazine Wax Poetics, and in 2007 the magazine launched their affiliated record label with a reissue of East of Underground's LP. At the time, little was known about the group and its members, and Wax Poetics produced a short film (also called East of Underground) about the album and the efforts to unravel the mystery of the band. So far, guitarist Lewis Hitt is the only member of East of Underground whose whereabouts have been confirmed; he works as an ambulance pilot in Alabama and still plays guitar in his spare time.

Vampisoul are pleased to make this wonderful and highly sought-after album available again.

The recording perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by brilliant anonymous musicians. Virtually impossible to find in its original edition, Vampisoul are now reissuing it once again thanks to a collaboration with Now Again. Pressed on 180g vinyl.

Often, the most prized records by collectors hold unexpected stories. When they also feature incredibly high musical quality and only a few original copies are available, they become the holy grails of collecting. This is the case with this album.

TRACK LISTING

1. I Want To Take You Higher
2. Smiling Faces Sometimes
3. (Don’t Worry) If There’s A Hell Below, We’re All Going To Go
4. People Get Ready
5. Getting Over
6. I’ll Bet You / California Dreamin’
7. Pop Corn / Oye Como Va
8. I Love You For All Seasons
9. East Of Java
10. Walk On By

Originally released on the Sub Aqua label in 1988. It appears here on 7” for the first time. This is a previously unreleased version of Back Between Places. The band were never really happy with the original single release and having discovered the master tape of a superior version, it is to be mixed and released here for the very first time.
From East Village

Both tracks were recorded at Greenhouse Studios at the same one day session in August 88 and are technically unreleased.

‘Back Between Places’ is an alternate mix made at the time and better than the one we chose to release.

‘Violin’ is a completely unreleased recording. It was planned as the original B-side but ended up being replaced by two early recordings ‘Her Fathers Son’ and ‘Precious Diamond Tears’ on the actual 12” release.

We rerecorded ‘Violin’ at few months later at Scruttocks along with ‘Freeze Out’, ‘Vibrato’ and a couple of others that have appeared on the ‘Hotrod Hotel’ LP.

TRACK LISTING

Side A Back Between Places (alternate Mix From August 1988)
Side B Violin (original Unreleased Version From August 1988)

East Village are one of the great lost bands. Along with other legendary bands like Big Star and The Action, who also failed to fully stamp their mark whilst active, East Village made pop music that was timeless, but out-of-step with the musical environment around them. From their mid-80s roots as Episode Four to their late-80s heyday with a string of now highly sought-after singles and EPs on labels like Sub Aqua, Heavenly and Summershine, East Village forged a brilliant, classic sound that resonated with contemporaries like the Flying Nun and Creation label bands, but also hearkened back to 60s influences like The Byrds, Dylan and Velvet Underground. Just as their star was rising they dissolved on-stage in the spring of 1991, but their legend has only grown. A posthumous album, "Drop Out," is now hailed as a classic of its genre, and a compilation, "Hotrod Hotel," was released to great acclaim by Summershine in 1994, finally now seeing its first, long overdue, vinyl release.

Aerial East’s music explores the space between the conscious and unconscious mind, between what was and what will be. She dives into what she has known - adolescence, heartbreak, coming into a new social consciousness, and managing a perpetual unanchored-ness - in order to find a most surprising place to rest inside: the unknowable.

As the daughter of a military family, East spent her late childhood in Europe and teenage years in Abilene, Texas. After dropping out of community college, she moved to New York City where she’d meet a group of musicians whom she would come to befriend and collaborate with (including Okay Kaya, Kelsey Lu, Wet + more). She hopes to tell stories we don’t hear often. “I want to tell stories about people in Texas,” she says, “I want to humanize different characters.”

‘Try Harder’ is a tight yet eclectic record, both sonically and emotionally. “I didn’t want to hear any drums,” East says. “I was going through a period of high anxiety,” she explains, adding that she listened to a lot of solo-piano to calm down during moments of ungroundedness. “I wanted to make a record to be soothing in the same way [as the piano was for her].” So, much to the initial skepticism of her collaborators, East decided against adding drums to her songs. “I just wanted it to be healing and calm, something you can listen to even if the world is ending,” a feeling we can all relate to. The end result is a beautiful ode to those of us who feel like life sometimes is a little bit harder, that we don’t quite fit in, that our edges are rough – an album-length anthem for sitting in our own discomfort and groundlessness and finding a specific peace with it. 

TRACK LISTING

A1 Try Harder
A2 The Things We Build
A3 Katharine
A4 Doin Somethin
A5 I Love Dick
A6 San Angelo
B1 Blue
B2 Angry Man
B3 Ryan
B4 Jonas Said
B5 Brennen
B6 Be Leavin

Eastlink is a section of freeway in the suburbs of Melbourne, Australia. Eastlink is also a band from Melbourne that delivers a blown-out, three-guitar assault, equal parts riff-fueled rock and noise-fucked psych. If it matters (and you know it does!), Eastlink features members of such notable Australian flag-bearers as Total Control, UV Race, Repairs, Lakes, Straightjacket Nation, Interzone, Teargas, etc. Really, they are just a f’n great band. Watch for their debut album in 2014 on In The Red!

SP-1200 BANGERS ACROSS FIVE 7" RECORDS, FROM ONE OF THE MOST PROLIFIC PRODUCER OF THE 90s - PREVIOUSLY WORKED WITH NOTORIOUS B.I.G., TUPAC SHAKUR, BIG DADDY KANE, LL COOL J, BUSTA RHYMES, AND MANY MORE!

TRACK LISTING

1 - A. Dont Touch Me 
1 - B. Slut 
2 - A. On Down 
2 - B. Beat #1 
3 - A. Piano Joint 
3 - B. Daisy 
4 - A. Comin 
4 - B. Mega Dope 
5 - A. Flippin Todd 
5 - B. Beat #2 

Talk about high concept: 'Dub Side Of The Moon' features the house band of noted New York reggae label Easy Star covering Pink Floyd's 'Dark Side Of The Moon' in the same sequence and in recognisable but reggae fashion. Here, the All Stars turn Floyd's strangely surreal world even stranger and more surreal, adorning the band's dark psychedelic music with slow reggae beats and head-spinning dub-style production that is both inspired and effective. "Money" opens with the sound of bong hits and coughing instead of the cash register, then grooves to a reggae beat as guitar and organ churn out the classic riff - there's even the mandatory sax break in the middle. The group hits it just right on "Great Gig in the Sky", retaining the soaring gospel voice, while the remake of the chiming bells on "Time" reveals a bit of irreverent humour. Tearing away at the alienation of the original, this infusion of new personality makes it all work, elevating the album's concept from the half-baked to visionary.

Celebrate a decade plus of this timeless and ingenious musical experiment with this release, which includes two new bonus tracks (including a new version of “Breathe” that features Rebelution’s Eric Rachmany along with Metric Man, Ruff Scott and Sluggy Ranks) and new artwork.

Easy Star All-Stars return with their first new tribute album in over a decade! Ziggy Stardub, a reggae re-imagining of David Bowie's entire The Rise and Fall of Ziggy Stardust and the Spiders from Mars album. Features guest performances by Macy Gray, Steel Pulse, Fishbone, Alex Lifeson (Rush), Vernon Reid (Living Colour), The Skints, Mortimer, The Expanders, Samory I, Naomi Cowan, and many others.

TRACK LISTING

LP :
1. Five Years
2. Soul Love (feat. Mortimer)
3. Moonage Daydream
4. Starman
5. It Ain't Easy (feat. Samory I)
6. Lady Stardust (feat. SunDub)
7. Star (feat. Carlton Livingston)
8. Hang On To Yourself (feat. Fishbone And JonnyGO Figure)
9. Ziggy Stardust (feat. The Skints)
10. Suffragette City (feat. The Expanders)
11. Rock 'n' Roll Suicide

CD:
1. Five Years
2. Soul Love (feat. Mortimer)
3. Moonage Daydream
4. Starman
5. It Ain't Easy (feat. Samory I)
6. Lady Stardust (feat. SunDub)
7. Star (feat. Carlton Livingston)
8. Hang On To Yourself (feat. Fishbone And JonnyGO Figure)
9. Ziggy Stardust (feat. The Skints)
10. Suffragette City (feat. The Expanders)
11. Rock 'n' Roll Suicide
12. Five Years Dub (CD Only)
13. Moonage Daydream Dub (CD Only)
14. Lady Stardust Dub (CD Only)
15. All The Young Dudes (feat. Kirsty Rock) (CD Only)

Sweden’s celebrated 90s indie rock darlings EASY have announced the impending release of their new album “Radical Innocence” via A Turntable Friend Records. The album was recorded and produced by legendary Pat Collier in his London studio in October 2019.

In the early 1990s, EASY was one of Sweden’s most notable indie groups. This year marks the 30-year anniversary of their highly acclaimed debut “Magic Seed” album (originally released by Blast First UK, in 2017 re-issued by A Turntable Friend Records), a critical success that spawned three alternative chart hit singles, “Castle Train”, “He Brings The Honey” and “Horoscope”.

The group also frequently toured Britain and mainland Europe including prestigious support slots with The Jesus and Mary Chain, The House of Love, Lush and The Charlatans (whose Tim Burgess is a fan of EASY). While the ambitious “Sun Years” LP (1994) had less of an impact, singles “Never Seen A Star” and “Listen To The Bells” clearly demonstrated that the band had taken several musical steps forward. The perfect combination of Sonic Youth-like intensity and the sweet harmonies of The Beach Boys.

’’Scandinavia’s answer to The Smiths, the new single from music stalwarts EASY goes down every bit as easy as their seminal album (MagicSeed) three decades ago, attesting to their continued significance to listeners here and now ’’ – Big Takeover Magazine.

‘’Imagine if the House Of Love had not been brought together in Camberwell..but had instead formed across the North Sea in Sweden’’ – Dancing About Architecture.

TRACK LISTING

1) Crystal Waves
2) Day For Night
3) Shadow Train
4) Golden Birds
5) Memory Loss, Revisionism And A Brighter Future
6) Radical Innocence
7) Southern Water Communities
8) To See The Stars

Eat Lights Become Lights (ELBL) were formed in London in the winter of 2007 by Neil Rudd. The ELBL sound orbits around those of late 1970’s German electronica artists and more contemporary sonic explorers.

2014 will see the release of the 4th album, 'Into Forever'. Taking the trade mark ELBL sound Neil has ventured further into the sonic stratosphere. Soaring melodies and a more organic feel are the order of the day. Neil approached the recording of 'Into Forever' from a different direction to previous works. Spending many weeks sampling percussive elements, thumb pianos, ethnic instruments etc in order to create a more grounded musical framework to hang his melodic synthesizer parts on. Exploring a more diverse set of influences has created a more adventurous sound allowing for space to breath and adapt the music to a new found love of differing time signatures and tunings. Citing minimalist composers such as Steve Reich and Moondog as big influences on the new long player Neil has produced a set of tunes that will have you accelerating to attack speed before easing back into Moog led melodic passages that are sure to please any sonic adventurer.

“Eat Lights; Become Lights mix Krautrock rhythms and celestial drones to heavenly effect” NME

TRACK LISTING

1. Velocet Vir Nesat
2. Bounce Synth
3. Time Enough
4. Shapes And Patterns
5. Vapour Trails
6. You And Disko
7. Into Forever

Eat Skull return with a follow-up of sorts to last year's Siltbreeze released debut, "Sick To Death". Three new tracks, "Jerusalem Mall" is a newer Christmas time jingle for these hopeful times. Backed with two "Sick To Death" outtakes unavailable on vinyl till now. Limited edition pressing.

STAFF COMMENTS

Darryl says: An essential slab of distorted noise scuzz from this Portland, Oregan four piece.

Area Silenzio is eat-girls' debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades. Part no-wave disco rhythms, part post-punk throbbing basses, folk tunes and synthesizers in equal measures, with a perpetual attention to hooks and melodies.

Christopher Eatough writes and performs songs. His heartbreaking perspective on life has led people compare him to Ryan Adams, Rufus Wainwright, Neil Young and Sufjan Stevens. Over the past two years Christopher has played alongside Neal Casal, Lisa Mitchell, William Fitzsimmons, Rox, Starsailor and Mark Morriss, along with many others whilst attempting to recreate the tender atmosphere of his live performances on record. "A Creak in the Cold", his debut album, is the result of these efforts.

In a world of music lined with acoustic troubadours from basement to bar and venue to vault, it takes something truly inspirational to stand out from the crowds. "A Creak in the Cold" is proof of Christopher Eatough’s startling talent and vindication of a voice that has been stirring up so many words of acclaim around the North West for the past year. This is a record that will speak to you and sooth you. This is a record that will soften the edges. This is a record for anyone who has a heart, no matter if it is barely beating through the aching weight upon your chest.

“London electronica trio Eaux sound like Fuck Buttons on a comedown: all glacially moving synths and snowdrift vocals.” Q – '5 Songs You Must Hear'

When Ben Crook - one third of spectral electronic trio Eaux - describes his group's songs as "never finished, just abandoned" he's describing a creative process that burrows its way down and down until each track has to be wrenched away from their originator's hands, given the sheer amount of avenues that the three-piece manage to open up during conception. However Eaux's debut LP Plastics, out on ATP Recordings, also has the feel of abandonment to it, in the sense that to listen to it is to come across some long-lost gem, an unknown discovery amidst a box of records, an electronic album where influences past and present cancel each other out in stasis to create an album that exists in a timeless era.

Formed in London in early 2012, Crook, alongside Sian Ahern and Stephen Warrington, centre their foreboding towers of shadowed sound around the hypnotic release and repetition of techno; however, although Plastics does display minimalist tendencies, the group never allow their rhythmic patterns to become static, a heavily analogue approach to everything they do putting a very human face to this machine-made music.

Much of Plastics has evolved from live jams, the group holing themselves up in a personal rehearsal and studio space so that ideas form and bounce off each other. Having all come from more orthodox band set-ups, they found a freedom in experimenting with comparatively unfamiliar electronic technology, their limited knowledge of their tools meaning they could approach them with very little baggage. Ahern's vocal is another key element to the group's sound, offering a softer-edged, higher range than much of the simmering murmurs and oscillations rising and falling below her. Though aerial, sweeping through the likes of the Broadcast-esque ‘Movers and Shakers' and flowering above the pulsating after-dark drone disco of ‘Peace Makes Plenty', her voice largely works as another layer amidst what's a darkened but rich tapestry, an ethos of equality driving the group, all roles on a level with each other.

So it is that Eaux's music feels like it's trying to reach out from that clutter and acceleration of technology, tracks like ‘Evoke' pushing hard to find space away from their synthetic frequencies. Plastics, like its name suggests, is a collection of moulded, shaped forms; the result of collective electrical process. It's an album that takes in the bigger picture, with each component unable to do without any of the others.

TRACK LISTING

1. Head
2. Movers And Shakers
3. Pressure Points
4. Peace Makes Plenty
5. Sleeper
6. The Light Falls Through Itself
7. Blue Tunnel
8. Evoke
9. Zero Zero (CD Only – And On The Download That Comes With LP)

Newly signed to Ninja Tune without having released a single track. This five-track EP marks Ebbb’s first output. Emerging from the vibrant, avant-garde London live scene that spawned black midi and Black Country New Road – and despite being together for barely a year – the band have already landed on something truly singular. Fusing pulsing rhythms, immersive electronic production, sparkling melodies, layered vocal harmonies and beats that veer from ambient to industrial, the result is an idiosyncratic hybrid of sounds. One that the group describes as “Brian Wilson meets Death Grips”. But while the EP might be experimental, loose and unpredictable, it’s also deeply considered, taut, and absolutely flab-free.

TRACK LISTING

1. Himmel
2. Answered
3. Swarm
4. Torn
5. Seamlessly

Two nice young men dropped into the shop over the weekend with their UK garage (or whatever we're calling it these days!) white label, which I present to you here. Both sides feature rough digital beats with fat bassline punches, topped off by strong MCing by Ivory. Not to be confused with Paul McCartney and Stevie Wonder!

Founding member of the music group and cultural phenomenon
Drain Gang,  'E' is the iconic debut album from Ecco2k. A certifed classic amongst fans, this is the record that put Ecco2k on his path towards stardom.

TRACK LISTING

1. AAA Powerline
2. Peroxide
3. Fragile
4. Bliss Fields
5. Fruit Bleed Juice
6. Cc
7. Calcium
8. Sugar & Diesel
9. Don't Ask
10. Security!
11. Time
12. Blue Eyes
13. (Bonus) Life After Life

THIS IS A BLACK FRIDAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 29TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 30TH).

Echo & The Bunnymen's second single from their timeless fourth studio album Ocean Rain celebrates 40 years this year. Issued on 12" for the first time since original release, it includes the epic Tidal Wave version of the track.

Echo & The Bunnymen formed in Liverpool back in 1978, with Ian McCulloch on vocals, Will Sergeant on guitar, bassist Les Pattinson with Pete De Freitas on drums. Their first release came in the form of the single The Pictures On My Wall, with the B-side Read It In Books. Both tracks would appear on their debut album Crocodiles, released in 1980. Released amid the growing wave of post-punk, Crocodiles cemented the band amongst the best around, with the NME at the time describing it as “probably the best album this year by a British band” and featuring amongst many greatest ever debut album lists.

The lead single from the album, Rescue, was produced by Ian Broudie who would later produce more Echo & The Bunnymen material, as well as later forming The Lightning Seeds in 1989. The single would enter the UK charts, with the album breaking into the top 20 and going on to be certified Gold. The original cover was shot by Brian Griffin near Rickmansworth, Hertfordshire. The atmospheric, moody aura of the sleeve sets the tone for quintessential post-punk.

TRACK LISTING

Side A
1. Going Up
2. Stars Are Stars
3. Pride
4. Monkeys
5. Crocodiles
Side B
1. Rescue
2. Villiers Terrace
3. Pictures On My Wall
4. All That Jazz
5. Happy Death Men

Originally released in 1997, Evergreen marked a critical and commercial renaissance for the band after more than half a decade’s hiatus; an album that rightfully returned them to the Top 10 that sported three UK hits including the seminal ‘Nothing Lasts Forever’.

When Echo & The Bunnymen imploded at the end of the 1980s, the decade lost one of its greatest bands in the messiest of circumstances. Until then, theirs had been a magical rise: since 1979 they’d outgrown the Liverpool punk scene, outshone their alternative pop rivals of the mid-80s, and looked set to step into the big league. But by the end of the decade the magic that had kept them together was slowly unthreading. The die was cast in 1988 when Ian McCulloch quit after a tour of Japan. It should have marked the end for the band, but the remaining Bunnymen decided to persevere and seek a replacement. Unthinkable tragedy struck in 1989 when drummer Pete de Freitas was killed in a motorbike accident.

The finality – as it then seemed – of the Bunnymen was all the worse for the nagging sense that they hadn’t so much faded away as burned out before their time.

After a half-decade wilderness years of side projects and solo outings, in January 1997 Will Sergeant, Les Pattinson and Ian McCulloch decided to come back together in a recording studio for the first time in ten years. The reborn Bunnymen entered Doghouse studios in Henley-on-Thames in Oxfordshire, as fate would have it at the same time as Oasis, then gliding on a post-Knebworth high as the biggest band in Britain. In a pivotal generational passing of the baton, the two legends of their eras merged on the killer ace nestling up McCulloch’s sleeve, ‘Nothing Lasts Forever’, featuring a 24-year-old Liam Gallagher on backing “yeah, yeah, yeah!”s and tambourine shakes.

Any doubts among fans that the Bunnymen might have been making a terrible mistake by regrouping were obliterated by the song’s first chorus, crashing the UK Top Ten at number 8 in June 1997, the first taster of the album, the highest new entry in the band’s career and equalling their best ever chart position for ‘The Cutter’.

The self-produced sessions at Doghouse were further embellished with strings, horns and vocal arrangements at the more imperious sounding Abbey Road and the resultant album achieved the almost impossible; commercial, conceptual and critical acclaim on a par with their past achievements. NME called it “impossibly good. The first comeback in history not to be dogged by a nauseous sense of distress, the first one to actually sound important”, the Melody Maker declared “the new songs are as good as the old songs, and probably better than almost anything you’ll hear this year”.

Former manager (and later KLF pop maverick Bill Drummond) spoke of their return at the time: “Within the soul of Echo & The Bunnymen there was a pure aspiration that transcended all those would-be dragged up memories. It’s as if The Bunnymen were going for some ultimate and indefinable glory.”

Ten years since they last graced the Top Ten Album Chart, Evergreen returned them there in July 1997. The Bunnymen had proved themselves not only deserving of a second wind but effortlessly welcomed by the musical landscape of the late-90s. Arriving in the season of Oasis’s Be Here Now and The Verve’s Urban Hymns, Evergreen was both of and beyond its time.

At the time, McCulloch proudly spoke of the album as the best he’d believed they’d ever made. Through the sepia lens of hindsight, today he understates its value as containing “at least three great songs, which is three more than most bands have in their entire catalogue.” By name, the ballads ‘Nothing Lasts Forever’, ‘Forgiven’ and ‘Just A Touch Away’. Beyond McCulloch’s holy trinity, Evergreen was just as notable for its snake-charming title track and the similarly serpentine ‘Empire State Halo’, both, like the best Bunnymen songs of yore, reaching our ears somewhere from Norris Green via Marrakesh. Elsewhere the Mersey shuffle of singles ‘Don’t Let it Get You Down’ and ‘I Want To Be There (When You Come)’ sees the brighter side of the band, as open and as relevant as their contemporaries past and present.

“Someone asked me the other day why I reunited the Bunnymen,” McCulloch commented that summer. “Well, I haven’t. I’ve re-ignited the Bunnymen. Having said that, they never stopped glowing somewhere in my heart.”

That glow made music, Evergreen still blinds.

TRACK LISTING

EVERGREEN (25 YEAR ANNIVERSARY EDITION) LP
A1 Don’t Let It Get You Down
A2 In My Time
A3 I Want To Be There (When You Come)
A4 Evergreen
A5 I’ll Fly Tonight
A6 Nothing Lasts Forever 3:55
B1 Baseball Bill
B2 Altamont
B3 Just A Touch Away
B4 Empire State Halo
B5 Too Young To Kneel
B6 Forgiven

EVERGREEN (25 YEAR ANNIVERSARY EDITION 2 X CD)
CD1
01 Don’t Let It Get You Down
02 In My Time
03 I Want To Be There (When You Come)
04 Evergreen
05 I’ll Fly Tonight
06 Nothing Lasts Forever
07 Baseball Bill
08 Altamont
09 Just A Touch Away
10 Empire State Halo
11 Too Young To Kneel
12 Forgiven
13 Watchtower
14 Polly
15 Hurracaine
16 Colour Me In
17 Antelope
18 Jonny
CD2
01 I Want To Be There (When You Come)
(Live At The Improv Theatre, 1999)
02 Rescue (Live At The Improv Theatre, 1999)
03 Lips Like Sugar (Live At The Improv Theatre, 1999)
04 Bedbugs And Ballyhoo (Live At The Improv Theatre, 1999)
05 Nothing Lasts Forever (Radio One Jo Whiley Session, 1997)
06 The Killing Moon (Radio One Jo Whiley Session, 1997)
07 Baseball Bill (Live At The Kilburn National, 1997)+
08 Just A Touch Away (Live At The Kilburn National, 1997)+
09 I’ll Fly Tonight (Live At The Kilburn National, 1997)+
10 Altamont (Live At The Kilburn National, 1997)+
11 Lips Like Sugar (Whyt Radio Acoustic Version, 1997)
12 I Want To Be There (When You Come) (Whyt Radio Acoustic Version, 1997)
13 The Killing Moon (Whyt Radio Acoustic Version, 1997)
14 Forgiven (GLR Robert Elms Acoustic Session, 1997)
15 Nothing Lasts Forever (Radio One Live Lounge Session, 1999)+
+Previously Unreleased

Following the release of their debut album Crocodiles and the subsequent EP Shine So Hard, Echo & The Bunnymen returned with their second studio album Heaven Up Here. The album spawned the single A Promise as well as Over The Wall in Australia. The album artwork was shot by frequent collaborator Brian Griffin, on a beach in the South Wales town of Porthcawl and won the Best Dressed LP at the 1981 NME Awards.

Seen as a darker album to their debut Crocodiles, the album was well-received by fans and press alike, cementing their cult status in the UK. Heaven Up Here went on to peak at #10 in the UK album charts, being certified Gold in the process, as well as being the band’s first album to chart in the USA. It won the 1981 NME Best Album award and ranks amongst Rolling Stone’s 500 greatest albums of all time.

TRACK LISTING

Side A
1. Show Of Strength
2. With A Hip
3. Over The Wall
4. It Was A Pleasure
5. A Promise
Side B
1. Heaven Up Here
2. The Disease
3. All My Colours
4. No Dark Things
5. Turquoise Days
6. All I Want

Echo & The Bunnymen released their fourth studio album Ocean Rain in 1984, enjoying an enamouring cult status following the success of their first three albums. Ocean Rain continued the band’s use of strings, creating a dark, ethereal aura throughout the album.

It produced three singles, Silver, Seven Seas and the massive anthem The Killing Moon; a track frontman Ian McCulloch once stated, “I know there isn’t a band in the world who’s got a song anywhere near that.” It reached #9 in the UK singles chart, and continues to transcend generations to this day, routinely featuring in films and television shows such as Donnie Darko.

The album’s iconic, atmospheric cover art was taken in the stunning Carnglaze Caverns in Cornwall by photographer Brian Griffin, who shot their three previous album covers. Ocean Rain went on to reach #4 in the UK album charts, being certified gold in the process, as well as charting in the USA.

TRACK LISTING

Side A
1. Silver
2. Nocturnal Me
3. Crystal Days
4. The Yo Yo Man
5. Thorn Of Crowns
Side B
1. The Killing Moon
2. Seven Seas
3. My Kingdom
4. Ocean Rain

Echo & The Bunnymen’s first best-of compilation Songs To Learn And Sing is back on vinyl for the first time since its original release in 1985. The album is a comprehensive collection of the band’s first four albums, from their second single Rescue, to The Cutter and the anthemic The Killing Moon. It also includes Bring On The Dancing Horses, originally released in conjunction with Songs To Learn & Sing back in 1985. It arrives back on vinyl as Echo & The Bunnymen go back on tour to celebrate 40 years of magical songs throughout 2022.

ECHO & THE BUNNYMEN were formed in Liverpool in 1978 with Ian McCulloch on vocals and rhythm guitar, Will Sergeant on lead guitar and Les Pattinson on bass. They were soon joined by Pete De Freitas on drums and the rest, as they say, is history. By the time of Songs To Learn & Sing original release the band were a force to be reckoned with, pioneering the post-punk, new wave scene with four highly acclaimed studio albums.

TRACK LISTING

Side A:
1. Rescue
2. The Puppet
3. Do It Clean
4. A Promise
5. Back Of Love
6. The Cutter

Side B:
1. Never Stop
2. The Killing Moon
3. Silver
4. Seven Seas
5. Bring On The Dancing Horses

Echo & The Bunnymen - ‘The John Peel Sessions 1979-1983’ is a collection of all the Radio 1 John Peel sessions that they performed in the formative years of the band, and in celebration of these early recordings, a double black LP and a 1CD of this set will be released.

Significantly, this collection of 21 tracks are from the very beginning of the bands existence. With little money, the band used them to demo new material. Many of the songs were written due to the fact a Peel session had been booked, not because the show loved the new songs - demonstrating the level of trust, confidence and love they had for the band.According to Echo & The Bunnymen guitarist Will Sergeant, these recordings could quite simply be some of the most significant in the bands career - “Without John Peel sessions, Echo And The Bunnymen in my opinion, would not exist! It’s that simple. The band got so much support from him and John Walters (Peel’s producer). Recording a Peel session was essential to the development of our songwriting skills while at the same time giving us amazing exposure and self-belief.”

TRACK LISTING

LP1
Side One
1. Read It In Books (John Peel Session)
2. Stars Are Stars (John Peel Session)
3. I Bagsy Yours (John Peel Session)
4. Villiers Terrace (John Peel Session)
5. The Pictures On My Wall (John Peel Session)
6. All That Jazz (John Peel Session)

Side Two
1. Over The Wall (John Peel Session)
2. All My Colours (John Peel Session)
3. That Golden Smile (John Peel Session)
4. Heaven Up Here (John Peel Session)
5. Turquoise Days (John Peel Session)

LP2
Side One
1. Taking Advantage (John Peel Session)
2. An Equation (John Peel Session)
3. No Hands (John Peel Session)
4. Silver (John Peel Session)
5. Seven Seas (John Peel Session)

Side Two
1. The Killing Moon (John Peel Session)
2. Nocturnal Me (John Peel Session)
3. Watch Out Below (John Peel Session)
4. Ocean Rain (John Peel Session)
5. My Kingdom (John Peel Session)

CD Track List:
1. Read It In Books (John Peel Session)
2. Stars Are Stars (John Peel Session)
3. I Bagsy Yours (John Peel Session)
4. Villiers Terrace (John Peel Session)
5. The Pictures On My Wall (John Peel Session)
6. All That Jazz (John Peel Session)
7. Over The Wall (John Peel Session)
8. All My Colours (John Peel Session)
9. That Golden Smile (John Peel Session)
10. Heaven Up Here (John Peel Session)
11. Turquoise Days (John Peel Session)
12. Taking Advantage (John Peel Session)
13. An Equation (John Peel Session)
14. No Hands (John Peel Session)
15. Silver (John Peel Session)
16. Seven Seas (John Peel Session)
17. The Killing Moon (John Peel Session)
18. Nocturnal Me (John Peel Session)
19. Watch Out Below (John Peel Session)
20. Ocean Rain (John Peel Session)
21. My Kingdom (John Peel Session

‘What Are You Going to Do with Your Life?’ is the eighth studio album by British post-punk legends Echo & The Bunnymen, released on April 16, 1999.

With an inspired selection of collaborators including strings from the London Metropolitan Orchestra and two songs featuring the American rap rock band Fun Loving Criminals, ‘What Are You Going to Do with Your Life?’ featured two singles, the title track, and the atmospheric fan favourite ‘Rust’, which would mark the band’s final Top 40 UK single.

TRACK LISTING

1. What Are You Going To Do With Your Life?
2. Rust
3. Get In The Car
4. Baby Rain
5. History Chimes
6. Lost On You
7. Morning Sun
8. When It All Blows Over
9. Fools Like Us 

Over the past few years orchestral instrumental music from outside the classical establishment has become huge, and Neil Leiter and Margaret Hermant of the Belgian Echo Collective have witnessed the evolution and extraordinary rise of this movement right up close. They've worked with some of the most important players, including Stars Of The Lid, Dustin O’Halloran and Adam Wiltze’s A Winged Victory For The Sullen and O’Halloran’s solo projects, as well as Jóhann Jóhannsson. And though the Echo Collective members themselves very much do come from within the classical music establishment, they don't care which side of the fence they are seen to be on. It was this which grabbed the attention of German music hub !K7's new sub-label 7K! - who have signed them for a two album deal: first to release the Amnesiac reinterpretation, then for a record of Echo Collective's own compositions.

TRACK LISTING

1. Packt Like Sardines In A Crushed Tin Box
2. Pyramid Song
3. You And Whose Army?
4. I Might Be Wrong
5. Knives Out
6. Morning Bell/Amnesiac
7. Dollars & Cents
8. Hunting Bears – Like Spinning Plates
9. Life In A Glasshouse

Black Heart Lullabies is a collection of of rarities, B-sides and bonus material featuring tracks such as To The End, Still Running, Something That Remains and Sparks which are all previously unreleased and Heroes In June which was only ever available in the US and France.

TRACK LISTING

Dark Therapy
Dying
Heroes In June
Sober
Bleed
Silence On The Radio
I Don’t Belong Here
I Am Awake
To The End
Strangely Drawn
From The Deep
Still Running
Ondine
Falling Flame
All Tomorrow Brings
God’s Guest List
When I See Red
Something That Remains
Atom
Sparks

Originally released in 1994, the album turns 20 this year and can be considered to be one of the defining albums of the Britpop era, making the end of year lists in Melody Maker, NME, and Select that year. It is home to the hit singles ‘Insomniac’, ‘Close... But’, and the anthemic ‘I Can’t Imagine The World Without Me.’

EGO is the album that saw Echobelly land a major label deal, tour the world, sell out gigs from Japan to the US, build up fervent fanbases and famous followers including Morrissey, REM (who asked them to be their support band) and Madonna (who wanted to sign them to her label).

The bonus material includes the “Bellyache EP” from 1993, plus the b-sides from the singles and a previously unreleased Steve Lamacq BBC Radio 1 session from 1994.

The set is packaged with brand new sleeve-notes by Sonya Madan and unseen and rare photographs.

TRACK LISTING

1: Today Tomorrow Sometimes Never
2: Father, Ruler, King, Computer
3: Give Her A Gun
4: I Can't Imagine The World Without Me
5: Bellyache
6: Taste Of You
7: Insomniac
8: Call Me Names
9: Close...But
10: Cold Feet Warm Heart
11: Scream
12: Bellyache
13: Sleeping Hitler
14: Give Her A Gun
15: I Don't Belong Here
16: Centipede
17: Talent
18: Sober
19: Venus Wheel
20: So La Di Da
21: I Can't Imagine A World Without Me (Live)
22: Cold Feet Warm Heart (Live)
23: Father Ruler King Computer
24: Call Me Names
25: Taste Of You
26: Give Her A Gun

More vocal-orientated than any of his previous work, it's undoubtedly the finest Echoboy record to date. "Giraffe" was recorded with legendary producer Flood and features ten new tracks. From the driving bass melody of album opener "Automatic Eyes" to the gorgeous "Summer Rhythm", from the uplifting emotional edge of "Don't Destroy Me" to the uncomfortable sarcasm of "Good On TV", the album is full of original and imaginative pop songs.

There is something unique about Echolalia. Conjuring sonic magic in an ancient abbey off the English coast, this band of Nashville pros gathered far from the structures of Music City to create an alchemical haze of earthy audio adventures. Grounded in friendship and a sense of freedom to follow sounds through whatever windswept fields they found themselves in, the result of the collaboration is Echolalia. Pastoral and psychedelic, cosy and progressive, Echolalia is comfortable in its own oddness and creative in ways both familiar and unexpected.

“It was Jordan Lehning that decided to put it together,” says songwriter and pedal steel wizard Spencer Cullum, who performs alongside the likes of country super star Miranda Lambert and ambient jazz auteur Rich Ruth. “I told Jordan about this studio in a really desolate area on the Isle of Wight that a friend of mine runs called Chale Abbey. It's a beautiful old building from 1160 where monks used to live. The studio owners completely renovated it. Jordan had this idea - the four songwriters would have three songs and we'd work together to make a record of it”.

With the addition of multi-instrumentalists Eli Beaird, Juan Solorzano and Lehning’s brother Jason behind the board, the group gathered in Chale Abbey Studios for a very un-Nashville experience: no charts, no headphones, no isolation. No preconceptions, no expectations, just friends enjoying one another's talents, responding with a sense of joy. No obligations to corporate radio or shareholder value, no amp modelling and quantization - just musicians making music.

“Destination records are my favourite records to make,” says multi-instrumentalist Jordan Lehning, whose collaborators include Rodney Crowell and Orville Peck. “You feel like you're the only person on planet Earth making a record when you're out in the middle of nowhere doing it. In Nashville you’ll go to lunch and run into 15 other people that are also making a record. Going out to the middle of nowhere, where the coast is a seven minute walk, and in the wintertime, it's cold and foggy and beautiful… there's really nothing like it”.

Drummer Dominic Billett and bass player Eli Beaird round out the band with a rhythm section as lyrical as it is propulsive. Juan Solorzano’s guitar and synth contributions add otherworldly textures, tethering songs to the firmament as they begin to drift beyond the veil. Jason Lehning’s engineering brings a clarity and focus that lets the room’s character be a part of the band.

The magic of Echolalia may be that the moons aligned to let busy friends with careers and kids and schedules and side hustles actually hang out in a way that adulthood rarely allows. In that special place populated by special people, the music was allowed to blossom in its own way, and now it makes its way into the world, unbidden by pretensions or preconceptions.

TRACK LISTING

1. Dreams Of You
2. Odd Energy
3. Little Bird
4. Blood Moon
5. Rainbow Road
6. Twisted Hemlock
7. Pterri
8. I’m Starving
9. Never Cry
10. For Your Love
11. The Fox And The Grapes
12. In The Evening
13. In The Pub 

Chris Eckman is one of those songwriters with the alchemist’s touch. He’s proved it over the years as the songwriter of the Seattle rock-folk band The Walkabouts, as well as across a lauded six album solo career. His songs have been recorded by Townes Van Zandt, Steve Wynn, Willard Grant Conspiracy (and others), and his last album, the spare, haunted Where the Spirit Rests, won the prestigious German Record Critics Award (Preis der Deutschen Schallplattenkritik) in 2021. Three and a half years later he’s back with 'The Land We Knew the Best', and new stories to tell.

Yet this isn’t just a continuation, it’s not the same character. Time has passed, but maybe more importantly, the geography has altered. The songs on 'The Land We Knew the Best' aren’t populated by the broken people and tumbledown, raw landscapes of the American West that has been the setting for much of his previous work. He’s lived in Ljubljana, Slovenia for many years, and it’s seeped into his consciousness. Not just the city, but also the mountainous and thickly forested nature that surrounds it. 'The Land We Knew the Best' has its own distinctive landscape. Its own emotional geography.

TRACK LISTING

1. Genevieve
2. Town Lights Fade
3. Running Hot
4. Buttercup
5. Laments
6. Haunted Nights
7. The Cranes
8. Last Train Home

While Edan’s critically acclaimed debut, Primitive Plus, was a celebration of Hip-hop’s golden age and a true throwback, his sophomore album, Beauty And The Beat, is a vast musical collage that contains many different influences; Hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the ""100 Best Indie Hip-Hop Records of All Time"" list. In 2013 NME placed it at number 392 on the ""500 Greatest Albums of All Time"" list. “A goofy psychedelic gem. It’s like ‘The Grey Album’ in technicolour” – Vice // “Edan has a seemingly bottomless musical curiosity… he unites old school hip-hop’s aesthetics with a previous generation’s sense of grooviness” - The Washington Post // “Impossibly ambitious, as psychedelic as Mythos, as unrelenting as the Ultramagnetic MCs, Edan is a master in possession of his own style. One of the best and most original records to come out this decade” - XLR8R // “A full tab of b-boy psychedelia… a creative quantum leap forward” – XXL // “With an awe-inspiring imagination in tow, Edan drops his own magical mystery tour” – URB // “Nothing is fucking with Edan right now. Beauty and the Beat is the best hip-hop I’ve heard in a long time” - Mass Appeal 

TRACK LISTING

A1. Polite Meeting (Intro)
A2. Funky Voltron (feat. Insight)
A3. I See Colours
A4. Fumbling Over Words That Rhyme
A5. Murder Mystery
A6. Torture Chamber (feat. Percee-P & Dubb)

B1. Making Planets (feat. Mr. Lif)
B2. Time Outt (Segue)
B3. Rock And Roll (feat. Dagha)
B4. Beauty
B5. The Science Of Two (feat. Insight)
B6. Smile
B7. Promised Land

Eddie C and Keita Sano joins forces on new label Disko Universal. Leading with the synonymous title track, a shuddering electro-disco jam with stupendous slow-down / speed-up breakdown that's sure hit the accellerator on any dancefloor languishing in first gear. "Joy Joy Joy" on the flip is a silky deep house groove peppered with jungle subs and lashings of breakbeat science. 

The manifesto is evolve and hybridize past dancefloor sounds into a futuristic new vision. They've more than managed that, and in doing unleashed a beast of peaktime track that's certain to do the rounds come festival season. 

STAFF COMMENTS

Matt says: Cranium bursting festival banger anyone? I know it's late January listening to this I can almost see the sweat sizzling off a crowd of gyrating bodies under the canopy of a hot day's raving.

TRACK LISTING

A. Disko Universal
B. Joy Joy Joy

Eddie C and Keita Sano team up for the second trip on their Disko Universal. "Longevity" is the kind of slowly rising, white hot burner that should get early evening dance floors simmering nicely. Funky loops, a touch of low pass filter and some well placed vox finally give way to a squelchy b-line that's bound to turn heads. "Not This Time" heads down a deep house route with well known disco vox blended into glassy detuned melodies and a concentric groove that's pure smoke machine and red glow. "Europa" concludes with an end-of-night sugar rush that'll inspire group hugs and feelings of celebration. 

They've nailed it on this one! 

STAFF COMMENTS

Matt says: Disko Universal deliver number two and, I'll be honest, it's tons better than the first one (sorry guys!). All three tracks winning me over here... proper weapons.

TRACK LISTING

A. Longevity
B. Not This Time
B. Europa

A mainstay of the UK's reggae, soul, funk & rock circuits since the early 1970s, Eddie Capone has played with a diverse and revered collection of acts; Chairmen of the Board, The Foundations, Black Velvet, The Elgins, Arthur Brown's Kingdom Come, Arthur Lee's Love, Billy Preston and Edwin Starr to name but a few. Eddie was also part of short-lived group Casablanca, with David Costa & Barry Clarke of early 70's folk-rockers Trees, signed to Elton John's Rocket Record Company.

Eddie founded the Treatment band in the early 1980s bringing in a revolving cast of singers and players, and created the Treatment Records imprint out of his own Black Rock studio in South East London in 1982. Releasing a string of singles - with efforts from Eddie Capone's Treatment, a side-project with singer Beryl Marsden as Salt & Pepper, and a single from Norwegian group Wave - Treatment Records then followed this up in 1985 with the 12" release of "I Won't Give You Up" with Diane Jones brought in on vocal duties. This received solid support amongst DJs and radio at the time, and was quickly followed with this solid slice of white label-only UK boogie-funk that has since become a favoured deep cut on the selectors circuit.

Treatment Records continued through the 1980s through to early 1990s releasing Eddie's music, both as a solo artist and as part of collaborative side-projects, and Eddie has continued to write, perform and produce music from his home studio right through to the present day. As a committed community figure & activist in South East London, Eddie has since 2014 re-started Treatment Records under the name of 3G Treatment - bringing together three generations of people from the local area to ensure young artists & musicians have access to the expertise and experience of their elders for support and encourage successful careers in the industry.

TRACK LISTING

1. Only You Know What I Like
2. Only You Know What I Like (Instrumental)

Canadian go-slow master Eddie C is back with more of his sumptuous and sensuous grooves on the magnificent Funkyjaws Music. This new 12" kicks off with the emotionally intense and gospel-laced vocal sounds of 'Jesus Calling' with a passionate pastor lighting up the airways. 'Show Me The Way' is a more paired down sound this time with a raw soul edge and nice dusty drums, then 'Superior Disco' brings some lavish string stabs and funky basslines to some killer instrumental grooves. 'Loud Minority' closes out with some lovely jazzy organ work over more low-slung and dusty disco beats.

STAFF COMMENTS

Mine says: In need of some high energy vibes for your next church rave? Eddie C has got you covered... Hallelujah!

TRACK LISTING

Jesus Calling
Show Me The Way
Superior Disco
Loud Minority

It is impossible to deny no one sounds like Eddy Current. I was hooked from riff one and I was lucky enough to do a full tour of Australia with them years ago—good fucking boys, simple as beer and chips, and that satisfying live. But that’s not to say there aren’t odd complexities to their definitive sound. “You can smell Mikey Young’s guitar approach like Sasquatch rustling the bushes, every time you think you see the bend ahead, you go into a tunnel or backtrack for a moment, then back to a nice place you can call home. Rob [Solid]’s bass is pub-fuzz groove. It’s shellson- the-floor and leaning-against-the wall-with-one-hand-while-youhave- a-piss thinking: maybe you can take that guy? Only one way to find out— oh wait, he’s smiling…nice bloke! Danny [Young]’s drums are a clinic in reservedness: 4-on-the-floor. This guy’s Charlie Watts in the looking glass, every hit a necessity—solid, not flashy, like the lead street tough in a ‘70s flick. He don’t say much, but it counts. And then there is Brendan [Huntley], be-gloved lead mensch in this quartet. Singing with earnest street poet confidence, his message coming in on the weird-wire, hard to describe, best to just listen and see: a pubpunk- priest. “We are very pleased to have these boys back on the streets. It had been far too long.” - John Dwyer.

STAFF COMMENTS

Barry says: Castle Face definitely have a sound, and this newest one from Eddy Current Suppression Ring fits right in, seamlessly. Grooving guitars, frantic freak-outs and snarling vocal madness all embellish a satisfying and groove-led odyssey. Ace stuff.

TRACK LISTING

1. All In Good Time
2. Medieval Wall
3. Shoulders
4. Our Quiet Whisper
5. Voices
6. Reoccuring Dream
7. Vicariously Living
8. Future Self
9. Human Race
10. Like A Comet
11. Modern Man

New album from the best new Australian band in a good long time, When Eddy Current Suppression Ring formed in Melbourne, Australia, in 2003, bandmates Eddy Current, Rob Solid, Danny Current, and Brendan Suppression thought they would play a few shows and perhaps record a 7-inch or two. One of their first gigs, in fact, was an employee Christmas party at the record pressing plant where they worked. Six years later, the band has racked up accolades from the likes of SPIN Magazine, London’s Guardian newspaper, and the Australian Independent Record Labels Association. In March of 2009, they were awarded the $30,000 Australian Music Prize for their second album, "Primary Colours".

Eddy Current’s third full-length, "Rush To Relax", is already one of the most anticipated releases of 2010. Cut last August in a six-hour session at Melbourne’s Revolver Rehearsal Studios, the album combines stripped-down post-punk sensibilities with the sheer exhilaration of a four-man musical unit that has created its own language, and will never run out of new things to say. While "Primary Colours" drew on what Guardian music critic Tom Hughes described as 'fast ’n’ fuzzy garage rock', "Rush To Relax" employs a pop ethos more common to the mid-80s Dunedin Sound of New Zealand’s Flying Nun label, with cascading guitar riffs and precise rhythms shadowing the introspective lyrics from black-gloved frontman Brendan Suppression. The geographical tug is most prevalent on "Anxiety", the new album’s lead single, which is a guitar-driven homage to The Clean’s whimsical, scene-launching debut "Tally-Ho", twisted via Eddy Current’s inimitable style. The frantic pace of "Anxiety" is somewhat of an anomaly for "Rush To Relax", a shape-shifter of an album that has already garnered comparisons to Television’s 1977 landmark debut "Marquee Moon". Like that classic group, Eddy Current Suppression Ring harnesses tension and propulsion to blast past the barriers of everyday tedium.

TRACK LISTING

1. Anxiety
2. I’ve Got A Feeling
3. Tuning Out
4. Gentleman
5. Walked Into A Corner
6. Second Guessing
7. I Can Be A Jerk
8. Burn
9. Isn’t It Nice
10. Rush To Relax

They've drawn comparisons to Wire, Can, The Fall, Fugazi and The Stooges. They have a singer who wears black gloves to overcome stage fright. They won the $30,000 Australian Music Prize for their 2008 album Primary Colours - then recorded the next one themselves in a few hours in their practice space and spent the dough on a photo shoot for the album cover. They do not care about you and your expectations. You could call them "fiercely independent" but they don't seem fierce at all.

Quietly, and definitely on their own terms, Eddy Current Suppression Ring has become a force in underground music. Now, after three albums, it's time for a compilation of singles tracks, demos and other stuff they had lying round. Turns out there was lots to choose from-and even after trimming, they ended up with a double album. Goner Records is happy to provide 'So Many Things'.

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

This is Duane Eddy’s now-rare debut single, the one before “Rebel Rouser” turned him into the first guitar god and pioneering international rock ‘n roll sensation. Original, archival, early ‘60s vinyl pressing with a new picture sleeve created for Record Store Day with rarely seen color photos from among his first photo shoots, featuring Duane with his original Rebels. Originally released in February, 1958 and out of print for almost five decades, this was also the first release on Jamie Records.

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Duane Eddy’s breakthrough single on Jamie Records, “Rebel Rouser” established him as an international star in the first generation of rock ‘n roll greats. “Rebel Rouser” put Duane on the international touring circuit, playing to sold-out audiences from Australia to England, where he beat out Elvis as the top rock ‘n roll star of 1958. Archival 60s vinyl pressings are combined with a new picture sleeve created for Music Store Day with photos taken from among his first photo shoots, featuring Duane with his original Rebels.

Members of Papir & Causa Sui travel through new musical realms. 3 musicians with their own compass: Martin Rude & Jakob Skøtt have shared a wide range of musical quests: from Causa Sui’s “Bitches Brew of Stoner Rock” crossing the folk meditations of Sun River and arriving most recently as members of the pre-fusion electric dealings of the London Odense Ensemble. Papir guitarist Nicklas Sørensen is not merely adding a new layer to an established duo, but his presence to the party have brought it into more meditative dwellings.

These pieces move slowly, evolving like the slow growth underneath the ground. Whereas Causa Sui & Papir have always excelled at blistering panoramic and often sundrenched sounds, Edena Gardens take a dive inwards and downwards rather than outwards. But there’s also an electrically charged ecstatic rawness to the dealings. Like Æther, the 10 minute opener’s 2 guitars-and-a-drum kit improv, finding it’s way from tumbling drones into monolithic slow riffage. Elsewhere, we find trails of electronic vapors, misfiring bursts of noise and slow drones stretched out. Edena Gardens is a thing to be experienced first hand - it’s not for everyone, but those who decide to stay are greatly rewarded. It’s a debut unlike any other record on El Paraiso, perhaps unlike any you’ve ever heard. Welcome to Edena Gardens. 

TRACK LISTING

1. Aether
2. Sliding Under
3. The Canopy
4. Hidebound
5. Now Here Nowhere
6. Iod
7. An T-eilean Dubh

Hannah Nicholson and David Page are London based boat dwellers who have cruised the river Thames whilst writing, playing and self-producing their debut album. Named after their boat Ederlezi it became their muse, refuge and recording studio during 2023.

Ederlezi have taken inspiration from the classic songwriting of the 1960s. Hannah is influenced by songwriters such as Scott Walker, Jackson Browne, Joni Mitchell and is always looking for a story. David is influenced by the guitar based Rock'n'roll of the 50s, the psychedelic 60s and the bass styles of Serge Gainsbourg with some prog rock mixed in.

David is the bass player in The Pretenders and has worked with Jonathan Jeremiah, Young Gun Silver Fox, Rio 18, His Lordship, Nell Bryden, Edwyn Collins, The Black Pumas as a guitarist, bass player, singer and collaborator touring extensively around the world. Hannah is a solo artist in her own right, a prominent troubadour and songwriter on the London Folk scene. She has also worked with Hannah Williams & The Affirmations, Ellie Goulding, Gary Barlow, Jonathan Jeremiah and Nell Bryden as a backing singer and instrumentalist.

TRACK LISTING

1. Run Run Run
2. Children
3. Mary Beth
4. Buried Words
5. Draw A Line
6. Burn
7. Drawn To The Ruin
8. Gravesend
9. Troubled Mind
10. Codeine

Edgar Summertyme- aka Edgar ‘Jones’ Jones, former front man of The Stairs and Mercury music prize nominee, returns with a spectacular, colourful and honest album, that yet again redefines this enigmatic Liverpool legend.

After a period of darkness, he has re-emerged with a new Sense of Harmony. The music he has produced on this new album defies category yet obviously comes from the depth of his soul and shines brightly. Soak it all up and wonder how the hell he does it! Truly mind blowing

TRACK LISTING

1) Sense Of Harmony Part 1
2) On And On
3) What’s A Boy To Do?
4) Bye & By
5) Sunday Afternoon
6) It Can Only Be You
7) I Would Do Anything
8) What Are We Gonna Do?
9) Beep Beep
10) Wishing Well
11) Look No Words
12) Standing On The Verge Of Getting By
13) Empty Promises
14) Sense Of Harmony Part 2

New Tradition is the debut Solo Album by Ben Edge, who's past musical projects include Thee Spivs and Ben Edge and the Electric Pencils. Releasing on Vinyl to coincide with the exhibition of Ben Edge's paintings in June at the Crypt Gallery at the St Pancras New Church in London, in collaboration with the Museum of British Folklore.Ben who is a painter and visual artist, has undertaken a project over the past four years in which he has obsessively been visiting, filming and painting the folk customs, rituals and ceremonies of the British Isles and this group of songs was inspired by the sights, sounds and folkloric world in which Edge has immersed himself.

The cover art is one of Edge’s paintings and depicts the Garland king of Castleton, Derbyshire. The album was produced by Matthew Shaw (Shirley Collins, Tex La Homa, Spectral and the Pop Group) The coming year will be a busy one for Ben Edge with the Launch of his documentary film and series of Paintings 'Frontline Folklore' that will be exhibited in collaboration with the Museum of British Folklore and of course when the world permits playing live and performing the songs of 'New Tradition'.

TRACK LISTING

1. New Tradition
2. Centre Point
3. Who Knows Where I Will Be
3. Cowboys And Indians
4. Tell Me Anyway
5. Righteous Blues
6. Bedlam
7. Mutilated Land
8. Blue Moon
9. Reason For Living
10. Burryman's Place
11. Burn Your Boats And Bridges

Holy Orders/Edible 5ft Smiths frontman goes not-quite-solo with a little help from some celestial friends. ‘Stairgazing’ is the debut solo album from former Edible 5ft Smiths leader Matt Edible. Hull cult favourites Edible 5ft Smiths made one and a half of the greatest undiscovered albums of the noughties before burning up in a small blaze of glory, leaving broken hearts scattered in their wake. Since then Matt has fronted awesomely heavy & twisted rock combo The Holy Orders, all the while building up a collection of distinctly different songs of his own, more akin to a continuation of the Edibles catalogue.

Those songs seemed set to languish in the vault until, prompted by the mundanity of life and an encounter with mortality, Matt decided they needed to be fully realised and so sought out an old friend, producer and Edibles super-fan Joe Bennett (Dreaming Spires, Co-pilgrim, Goldrush, Saint Etienne). Before long a plan was hatched to cut the record at Farm Music Studios in Oxfordshire, with drummer Mike Monaghan (Willie J Healey, Ralfe Band, Gaz Coombes) and Co-pilgrim main man Mike Gale on board.

The record itself is a swooning psychedelic pop beauty: Matt’s distinctive vocal acrobatics are introduced on soaring opener “Jumping Houses” and alternative christmas hit “Advent Beard”. “Nightclubbing” is the greatest tongue-in-cheek stadium anthem Noel Gallagher never wrote, and album climax “The Healing” ebbs and flows from Bowie-esque prog piano balladry into full-on cinematic post-rock explosion.

TRACK LISTING

1. Jumping Houses
2. Advent Beard
3. Stairgazing
4. Don’t Stay
5. Nightclubbing
6. Astronauts
7. The Healing
8. (Lullaby) 

'Happening Right Now' feature in Shindig (March 2021) Legendary New York author and musician joins Andalusian troubadours for a startling record of gospel, rhythm and futuristic punk folk blues. A powerful statement of love and protest Get ready for an adult dose of Old Testament gospel, smoldering songs of freedom, salvation, and lots of love - hollering and deep country crooning, twisted blues, plantation tunings, African percussion, and outer-space spirituals - this is a new breed of rhythm and roots music, a sonic manifesto for these crazy times!

STAFF COMMENTS

Barry says: A brilliantly energetic and varied coalition of clashing folk-punk, frenetic distorted 12-bar and galloping Americana. It's an intoxicating and rich juxtaposition of chaos and beauty, and a must-listen for anyone who likes the more esoteric ends of any of the above.

Tokyo's Edit & Dub series continues with the usual flair and obscurity we've come to expect from this outstanding stable. On side A it's rare-ass disco business, with Sanctuary's 1980's proto-boogie jam "Disconnect" given a luscious extension. Then onto Willie J & Co's 1976 disco-funk gem "Boogie With Your Baby" also stretched out for maximum indulgence.

Side B sees some early twisted proto-house / jack trax business cut-n-spliced by our able surgeons as we get two tweaks of "Familiar Time & Place" by Unknown Tape - one inna Chi-town flavour and one inna Motor City mood. Top drawer tackle that'll have even the keenest trainspotter pissing their pants in excitement. 

STAFF COMMENTS

Matt says: Tokyo's edit specialists do what they do best - sourcing and splicing unfathomably rare and unheard of source material. Nice to see a couple of wonky slices of proto-house lysergia in amongst the disco pomp for this latest edition.

TRACK LISTING

Side 1
1. Sanctuary - Disconnect (extended Disco Instrumental)
2. Willie J & Co - Boogie With Your Baby (extended Disco Mix)

Side 2
1. Unknown Tape - Familiar Time & Place (Chicago Mix)
2. Unknown Tape - Familiar Time & Place (Detroit Mix)

‘An End Has A Start' is the second album from Editors. It hit No 1 on release in 2007, selling nearly 60,000 copies in the process and includes the Top 10 single ‘Smokers Outside The Hospital Doors’ plus the singles ‘The Racing Rats’, ‘Bones’, ‘Push Your Head Towards The Air’ and the album’s title track.

TRACK LISTING

CD:
Smokers Outside The Hospital Doors
An End Has A Start
The Weight Of The World
Bones
When Anger Shows
The Racing Rats
Push Your Head Towards The Air
Escape The Nest
Spiders
Well Worn Hand
No Sound But The Wind (Live At Rock Werchter 2010)

LP:
Smokers Outside The Hospital Doors
An End Has A Start
The Weight Of The World
Bones
When Anger Shows
The Racing Rats
Push Your Head Towards The Air
Escape The Nest
Spiders
Well Worn Hand

Across their six official albums, Editors have achieved major success internationally, selling 2.6M albums worldwide, racking up Mercury nominations, multiple platinum and gold records, No 1s in the UK, Belgium and Netherlands and Top 10s right across the rest of Europe. The album includes 13 of the band’s biggest songs alongside three brand new tracks, including the title track ‘Black Gold’. The album cover was shot by award winning photograper Nadav Kander and designed by Tom Hingston (Massive Attack, Young Fathers, Nick Cave).

TRACK LISTING

‘Black Gold’
(LP/CD)
Frankenstein
Papillon
Munich
Sugar
Hallelujah (So Low)
An End Has A Start
Upside Down
Bullets
Ocean Of The Night
No Harm
Smokers Outside The Hospital Doors
A Ton Of Love
Magazine
The Racing Rats
Black Gold
No Sound But The Wind

‘Distance: The Acoustic Recordings’
(Deluxe 2CD Edition Only)
Violence
Walk The Fleet Road
Blood
Let Your Good Heart Lead You Home
Smokers Outside The Hospital Doors
Fall
Two Hearted Spider
Distance

Editors have never been a band who do what’s expected. When they emerged in the early 2000s, university friends from Birmingham, they were swept into a wave of indie groups with whom they had little in common beyond playing guitars. Then, after their 2005 Mercury Prize-shortlisted debut The Back Room and 2007 #1 follow-up An End Has A Start, they switched up their sound for synths. That was their first act of bravery, says frontman Tom Smith, and they’ve been taking risks ever since. “We’re quite used to that feeling of scaring our audience with new material,” he says with a smile.

“It seems to happen with every album,” agrees guitarist Justin Lockey. “We’ll do something that everyone really likes, and then we’ll go and do something else.”

That ‘something else’ is a breathlessly heavy step up, with their seventh album, EBM. It’s Editors’ most leftfield material yet – a thrilling, unrelenting thrust of full-bodied electro-industrial rock. Another new dawn: Benjamin John Power – aka Blanck Mass – has co-produced the album and come aboard as an official member. To outside ears, it might seem like an unusual pairing: an anthemic rock band who’ve headlined Wembley Arena and an Ivor Novello-winning composer who is best known for his abrasive noise projects. Even Benjamin himself admits it was a “leap of faith”. But Editors’ evolution makes perfect sense. They’ve toured with The Cure, of whom they are all huge fans, and are used to playing European festivals where they’re billed alongside harder acts. In Germany, for example, “we're not seen as some melodic indie band,” says Justin, “we’re seen as super goth.” He adds: “We talked about Rammstein quite a lot when we're making this record.”

Benjamin’s journey to joining Editors was a surprisingly organic one. He had worked on the band’s last album, 2018’s Violence, giving some songs a more brutal, industrial edge, the full realisations of which came out as 2019’s The Blanck Mass Sessions. That same year, Editors were asked to both headline a festival in Belgium and create a bespoke set for later on in the night. They approached Benjamin to see whether he’d be up for helping to retool their songs in a dancier direction. But with the pandemic underway, the festival never happened and Editors were left with a bunch of new ideas during the ensuing lockdowns that were designed for – as Benjamin puts it – a “dirty rave tent”.

They continued swapping ideas anyway, and the band began buzzing about where this music was headed: shadowier, beefier, exploring their shared love of synth-pop, industrial and alt-rock, it started to feel like a new chapter – the band’s third act. For the first time, the song structures weren’t coming from Tom and he says it was a novel but exciting exercise to receive the files and tinker with them, with Justin, Elliott Williams (keyboards/guitars), drummer Ed Lay and bassist Russell Leetch fleshing out their parts in the studio when they eventually regrouped. “Ben has certainly been a shot of adrenaline in our creative process,” says Tom. “The songs are so immediate, and in your face.”

Making EBM was “a lifeline” during the pandemic, says Elliott, “something to totally get lost in.” Indeed, they’ve created a world brimming with drama and intensity, which is exhilarating after the past few years of collective listlessness. “The songs feel like an escape,” nods Tom. The album title is an acronym of Editors and Blanck Mass but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editors’ new material, where the synths of bands like Nitzer Ebb, Front 242 , DAF and Skinny Puppy hammer darkly. Think smoke machines, strobe lights and the smell of leather. The band has taken those influences in a distinctly Editors direction: see the soaring falsetto of standout ‘Kiss’, their disco-infused “crying on the dancefloor” banger, says Tom, which Benjamin adds “could almost be a Donna Summer song” if it wasn’t so heavy. Or the punchy chorus of ‘Karma Climb’, a stomping single that pairs ghostly atmospherics with stadium-level anthemia. On ‘Vibe’, which is the closest thing to what you could call a ‘feelgood’ Editors track, Tom wanted to put a “summertime sheen” on “a song for disconnected youth”. It’s Editors at their most super goth, sure – but also their most pop.

For Benjamin, it was an opportunity to flex his melodic muscles. In fact, says Tom, it was the avant-garde producer who brought the poppiest ideas to the table. “I was quite blown away by how accessible they were,” he says. “It was like ABBA or something.” Benjamin, a Nine Inch Nails die-hard, has always been struck by the seriousness and sentimentality of Editors’ music and was also keen to heighten the intensity after a bleak few years. “There’s a strong physicality to this record,” he says of its muscular soundscapes, which certainly echo, in places, the claustrophobia of The Downward Spiral. “I was looking ahead to a kind of a space where it’s sweaty, and bodies are close together.”

For the most part, EBM revels in maximalism. The battle cry of lead single ‘Heart Attack’ sets out their stall, a twinkling rock ballad with a serrated, noirish undercurrent that lets rip into gloriously metallic riffage. From there, it’s a torrid release of beats, blips and broodiness: all killer, no filler; full-on but never overloaded. ‘Educate’ is almost symphonic in scope, as Tom angrily intones about the uncertainty of modern times. ‘Strawberry Lemonade’, meanwhile, is an all-blooping, all-thwacking bodice-ripper, with drums that sound like they might punch out of the speakers. Album closer ‘Strange Intimacy’ is “the most outrageous” of the album, says Tom – “not a particularly happy place to end, as it’s quite a bleak look at a relationship, but the arrangement of it gives it this theatricality.” It’s certainly the most ambitious Editors have ever sounded, where Justin’s “preposterous” guitar riff gives way, he says, to a “mad eight-minute techno odyssey” at the end.

Another about-turn is the jittering crescendo of ‘Silence’ – the album’s post-rock ‘breather’, if you can call it that. Tom’s baritone has never sounded better, recalling a young Johnny Cash covering Nine Inch Nails’ ‘Hurt’. He’s never much been one for direct lyrics. On EBM, there are undeniable references to the pandemic and a divided Britain (“can you feel the broken nation?” he intones on ‘Strawberry Lemonade’) but these are slivers of reality among the abstract, in songs that are largely about losing yourself in the unknown. “I think it’s always better when the listener can draw their own conclusions from what I write,” he says. Justin agrees. “We sit in quite an emotional space, so everyone always wants to know what the words are about, but the music is half the emotion and what sets the mood and the tempo. Sometimes it’s better just to give yourself over to that rather than to try and work out what something means all the time.”

It comes back to this idea of letting the mood take over, of giving in, and getting lost. And it’s going to sound absolutely eviscerating live. It’s a new world, and a new chapter for Editors – as it is for everyone. Time to move your body.

TRACK LISTING

1. Heart Attack
2. Picturesque
3. Karma Climb
4. Kiss
5. Silence
6. Strawberry Lemonade
7. Vibe
8. Educate
9. Strange Intimacy

The second single from Editors fourth album ‘The Weight Of Your Love’ sees the band returning to the familiar terrain the band’s myriad fans know and love with an edgy, anti-love song with a soaring chorus.

Already a live favourite, standing shoulder to shoulder with the band’s bonafide hits like ‘Munich’, ‘Papillon’ and ‘Smokers Outside The Hospital Doors’, ‘Formaldehyde’ has been singled out in album reviews as a stand-out from the album, and an obvious choice for a single to take to radio.

‘The Weight Of Your Love’ entered the UK album charts at No 6 in the UK and, 5 weeks on, still holds a Top 75 position. Having lost founding member Chris Urbanowicz and in the process nearly packing it all in before gaining two new members, the new album is, in some ways, a transitional record, with the band reborn, shackles off, making their most ambitious music to date.

The single is backed with an unreleased acoustic version of the band’s opening single from the album, ‘A Ton Of Love’.

The 7” is limited to just 200 copies in the UK and Eire.

TRACK LISTING

Formaldehyde
A Ton Of Love (Acoustic)

Following the surprise release of their first new music in two years via a secretive placing of ‘No Harm’ on a Play It Again Sam label sampler and a further taster in the form of the seven plus minutes ‘Marching Orders’ which saw 300 test pressings donated to Oxfam for sale in their stores around the globe, Editors release their fifth studio album, ‘In Dream’.

Recorded in Crear in the Western Highlands by the band, and mixed in London by Alan Moulder, ‘In Dream’ is the second album to feature the ‘new’ line-up of the band with Justin Lockey and Elliott Williams firmly in place alongside founding members Tom Smith, Russell Leetch and Ed Lay. After two years of global touring this five piece incarnation used the new album to stretch the Editors sound, swerving away from the rock dynamic of ‘The Weight Of Your Love’ and marking a return to a writing process influenced by electronic music that draws a line from their debut album through to prominence on the band’s third album, the UK Number One ‘In This Light And On This Evening’.

‘In Dream’ is an album created without preconception. The initial visit to Crear, an isolated artist’s retreat 8 miles from the nearest town down dirt track roads was envisaged as a writing and demoing exercise but sessions bloomed within the stunning live room (with floor to ceiling windows framing the Atlantic) and it soon became apparent that the recordings were staking a claim as finished works.

At the centre of ‘In Dream’ is a belief in collaboration. Thus the album was produced by all band members in an open studio environment, nowhere within Crear was cut off from the music being performed and recorded in the creative space. Downtime was soundtracked by a varied playlist that stretched from Todd Terje to 80’s Robert Palmer, John Grant to the Despacio three hour club mix.

‘In Dream’ is the first Editors album to feature duets, Slowdive’s Rachel Goswell sharing vocal duties on ‘Ocean Of Night’, ‘The Law’ and ‘At All Cost’ and is an album focused on allowing artistic interpretations outside of the band to flourish; Alan Moulder was left to mix the tracks without any band involvement whilst visual collaborator Rahi Rezvani has been given carte blanche with the photography and videography that will accompany the album and its attendant singles. It is a bold and expansive statement and is driven by, according to Tom Smith, a belief that music can be ‘both pop and experimental’.

Released in 2009, ‘In This Light And On This Evening’ was the band’s third album and second No. 1 in the UK. A musical departure being more electronic though no less anthemic than the two previous and the last to feature guitarist Chris Urbanowicz, who left the band in 2012. Includes the singles ‘Papillon’, ‘You Don’t Know Love’ and ‘Eat Raw Meat = Blood Drool’.

TRACK LISTING

In This Light And On This Evening
Bricks And Mortar
Papillon
You Don’t Know Love
The Big Exit
The Boxer
Like Treasure
Eat Raw Meat = Blood Drool
Walk The Fleet Road

The debut, fast approaching double platinum, Mercury-nominated album ‘The Back Room’ reached No. 2 in the UK album charts in 2005 and amassed over 1 million sales worldwide. Includes the Top 10 single ‘Munich’ and the singles ‘Bullets’, ‘Blood’ and ‘All Sparks’

TRACK LISTING

Lights
Munich
Blood
Fall
All Sparks
Camera
Fingers In The Factory
Bullets
Someone Says
Open Your Arms
Distance

An electronica-infused alternative version of Editors’ acclaimed Top 10 album ‘Violence’, ‘The Blank Mass Sessions’ casts the songs in a bold new light, offering a fascinating insight into the album’s creative process.

The eight track album, made up of producer Blanck Mass’ original productions of ‘Violence’, also includes the brand new single ‘Barricades’.

For ‘Barricades’, Smith’s hopeful lyrics combine with yearning synths over robotic drum machines and sweeping basslines, while ‘Cold’ is given a frostier edge through Blanck Mass’ harsh percussion and robotic directness.

‘Violence’’s stripped back beat builds and erupts into a synth-fuelled chorus brim-full of busy drum patterns and ‘Magazine’s jaunty, sweeping synths and rolling snares lend it even more electronic swagger than the original.

‘Hallelujah (So Low)’ gifts the greatest insight into the triangular relationship ‘Violence’ was born from. The warmth of the album version’s acoustic guitar and industrial fuelled chorus are replaced with sparse, ethereal synths, giving the track and ‘The Blanck Mass Sessions’ in general, a mechanical, other-worldly edge.

TRACK LISTING

Barricades - The Blanck Mass Recording
Cold - The Blanck Mass recording
Hallelujah (So Low) - The Blanck Mass Recording
Violence - The Blanck Mass Recording
Darkness At The Door - the Blanck Mass recording
Nothingness - The Blanck Mass Recording
Magazine - The Blanck Mass Recording
Counting Spooks - The Blanck Mass Recording

‘The Weight Of Your Love’ is the follow up to Editors’ two consecutive Number One UK albums, 2007’s ‘An End Has A Start’ and 2009’s ‘In This Light And On This Evening’. Their debut album, 2005’s ‘The Back Room’ has sold over half a million copies in the UK.

This is the first album to feature new members Justin Lockey and Elliott Williams, following the departure of founding member Chris Urbanowicz in 2012. It was recorded at Blackbird Studio in Nashville with producer Jacquire King (Tom Waits, Norah Jones, Of Monsters And Men, Kings Of Leon) and mixed by Craig Silvey (Arctic Monkeys, The Horrors, Arcade Fire, Bon Iver).

Tom Smith has described ‘The Weight Of Your Love’ as “having a foot in that alt rock / Americana world” and of “feeling untouchable at times”. Recorded mostly live, it contains their most direct songs to date and also features extra production from Clint Mansell on ‘Nothing’, rescored from the original to become what Tom and Ed Lay both describe as the ‘centrepiece’ of the album. Lyrically focused on “love songs... that don’t adhere to the traditional love song type”, the album sees Tom Smith sing in falsetto for the first time on ‘What Is This Thing Called Love’.

INITIAL COPIES COME WITH A FREE SIGNED ART PRINT.

Album VI from the British indie-rock 5-piece.

TRACK LISTING

1. Cold
2. Hallelujah (So Low)
3. Violence
4. Darkness At The Door
5. Nothingness
6. Magazine
7. No Sound But The Wind
8. Counting Spooks
9. Belong

The Edwards Generation were a San Francisco family group that were lead by Chuck Edwards, who was the father of the group members. Chuck had been a recording artist since the 50s and had recorded for labels such as Duke, Kapp and Apollo before establishing the Edwards Generation as a force in Frisco during the 1970s. Their one and only album 'The Street Thang,' which was released in 1976, is a much revered and sought after album by serious soul collectors across the globe. Cordial Recordings will be releasing an album of unreleased songs in 2019, but in the meantime they have the groups first vinyl release since 1977 with the uptempo dancer 'I Like Your Style' on the A Side, This version will not feature on the album and is only available on this single release. Whilst on the flip we've got the only song from our album that features their father Chuck on lead vocals with the Motownesque 'The Love I Found In You.' The Edwards Generation were a talent that deserved a greater exposure and with this Cordial are happy to be partnering with them in releasing their unreleased gems. 

TRACK LISTING

A I Like Your Style
B The Love I Found In You

Alan Edwards, the godfather of British music PR, has worked with some of the most legendary artists of our time, from David Bowie to the Spice Girls via the Rolling Stones, the Stranglers, Prince and Amy Winehouse. In I Was There, he describes getting his break in the mid-'70s as a scruffy, stoned 20-year-old just back from the hippie trail; his encounter with London's thriving punk scene, which inspired him to set up his own PR company; broadening his horizons as his work with the likes of Blondie takes him to the US and beyond; and his move into the world of pop with the Spice Girls during the tabloid-crazed '90s.

At the centre of this story sits the defining relationship of Edwards' career: his close, thirty-year collaboration with David Bowie. He guides us through a series of vivid, funny, always insightful behind-the-scenes reports, whether he's playing a spontaneous game of football with Bob Marley, listening to Prince discuss the future of civilisation in a nightclub VIP area, or being used as a pawn in the power struggle between Mick Jagger and Keith Richards. Above all, we're treated to Edwards' fascinating observations about the brilliant artists he has worked with and what makes them tick, as he looks back on his role in the last five decades of music and culture.

This is the first collaboration between Al Cisneros (OM, Sleep) and David Eugene Edwards (Wovenhand, 16 Horsepower) on limited 10" vinyl.

TRACK LISTING

1. Pillar Of Fire
2. Capernaum

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century.

On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man’s voice, and sparing instrumentation into the main focus. There’s a somber beauty and world-weary tone throughout these songs. The album could’ve been considered a slight return to the more melodic sounds of 16 Horsepower’s Secret South (2000) and the first, self-titled Wovenhand album (2002). But there’s more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we’re hearing the clock ticking away our own mortality.

“Hyacinth was a sort of vision,“ Edwards says. “A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts.” Once he’d harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album’s recording and mix.

“Overall, the album is a weaving of narratives ancient and modern, of humankind’s search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity,” Edwards continues. “Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall.”

TRACK LISTING

Seraph
Howling Flower
Celeste
Through The Lattice
Apparition
Bright Boy
Hyacinth
Lionisis
Weavers Beam
Hall Of Mirrors
The Cuckoo

Margot & the Nuclear So and So’s, Elliott Smith, Neil Young & Big Star. Richard Edwards felt almost human when he returned to Los Angeles to record songs for what became Verdugo. It’s the follow-up to the Indiana singer’s 2017 album Lemon Cotton Candy Sunset, a beautiful, personal release that was deeply unpleasant to make. Not only was he afflicted at the time by an intestinal ailment that often left him unable to stand, let alone sing, his marriage fell apart midway through making the album. If Lemon Cotton Candy Sunset ended up being a record about letting go, Verdugo is the album where Edwards pulls himself up after falling down.

“The making of it was kind of my recovery from all the stuff,” says Edwards, who worked again with producer Rob Schnapf (Elliott Smith, Beck) in L.A. “I went back and wasn’t as sick, so making the second one, and finishing it, was a much, much more joyous event.” Verdugo features 10 new songs that showcase Edwards’ considerable and longstanding talent as a writer, and also a new way of singing: Edwards’ chronic pain meant finding a vocal approach that didn’t make him feel like throwing up. “I sing in a half-falsetto high range that came out of not being able to belt stuff out for a year,” Edwards says. His new vocal style deepens the air of melancholy on the atmospheric “Strange,” takes on a wistful cast on “Beekeeper” over subtle drums and a distinctive guitar part, and is lifted aloft on a soaring blend of guitars, drums and backing vocals on “Minefield.” “They kind of disappear in this weird sky sonically now, because of this range,” he says.

“They don’t feel rooted anymore, they fly all over, and that falsetto — if you’re looking at it as a picture, it goes higher up in the room than it used to.” This is Edwards’ second solo album after more than a decade leading the Indianapolis band Margot & the Nuclear So and So’s, which he founded in 2004. When health problems made touring with Margot impossible, Edwards turned inward and began writing songs “loosely inspired by all one learns, and fails to learn, while dealing with one’s own mortality,” as he wrote in a piece for Talkhouse. Verdugo is completely Edwards, the result of an agonizing stretch of dissolution and, over time, regeneration. Best of all, it’s not an end point, but merely the next station on a continuing journey. “It’s somewhere between that last record and what will happen after that, and what was going to happen before,” he says. “It comes from three years of having to get really quiet, and figure out what grows out of that.” 

TRACK LISTING

Gene
Beekeeper
Minefield
A Woman Who Can’t Say No
Howlin’ Heart
Olive Oyl
Something Wicked
Tornado Dreams
Strange
Pornographic Teens

This extraordinary, dark, moody and experimental offering from teenage Ghanaian Afro-rock outfit Edzayawa (pronounced Ed - Zye - Ow - Ahh) is one of the more obscure and unique releases that Soundway have brought back to life over the past ten years. Arriving in Lagos from Togo in the spring of 1973 the band were taken under the wing of Fela Kuti. After a run of appearances on the bill at his Shrine club they were signed by EMI Nigeria’s visionary in-house producer Odion Iruoje. Over two days in May 1973 they recorded "Projection One", which was their one and only release before disbanding two years later.

The majority of their songs were based around a 6/8 rhythm influenced by the music of the Ewe people from the South East of Ghana and Western Togo. With themes that draw heavily on traditional folklore and deep philosophy the album has a heavy feel that sets itself well apart from the much of the lighter happier highlife of the previous decade. Alongside Fela’s first few albums, Blo’s "Chapter One" and Mono Mono’s "Give The Beggar A Chance" this was one of the very earliest Afro-rock LPs released in West Africa and has remained out of print for nearly forty years. "Projection One" never got a release in the band’s home country of Ghana and apparently sailed way over most peoples heads at the time. Very much like the debut Hedzoleh Soundz album that Soundway re-issued in 2010 (another Ghanaian band that were recorded in Lagos, produced by Iruoje on the recommendation of Fela Kuti) the only copies that made it back to Ghana were the few that the band took back themselves.

Soundway will release "Projection One" here in it’s full original format on gatefold vinyl as well as on CD for the first time: remastered and accompanied by liner notes that contain the reminiscences of band leader Nana Danso (who subsequently founded and now runs the Accra-based Pan African Orchestra).

Ain’t no rest for the wicked! EEE show no signs of letting up with another masterful melding of styles, taking a well known jazz motif and flipping it into one of their trademark tribal rollers. Sure to turn heads the world over and always a favourite with the DJs playing to the prime dancefloor demographic of 18-25 year olds, I like the way this firm never take themselves too seriously but always put out a pleaser! Full marks.

STAFF COMMENTS

Matt says: Here's the cheeky ass EEE crew back with another naaawty refix. You'll recognize that clarinet riff off a plethora of 90s furniture adverts; now watch the club-ready jet set get all gurny to it!

Quality Greensleeves repress of this early dancehall album from 1982. Eek-A-Mouse backed by the Roots Radics recorded at Harry J’s and Channel One, produced by Linval Thompson – essential listening!

TRACK LISTING

1. Sensee Party
2. Looking Sexy
3. Modelling Queen
4. You Na Love Reggae Music
5. Always On My Mind Side Two
6. Do You Remember
7. Skidip!
8. Na Make Mi Girl Go Away
9. Fat And Slim
10. Where Is My Baby

Eek A Mouse, six foot six and counting, this album smashed the world in 1981, tuffest Roots Radics at Channel One, courtesy of Henry `Junjo` Lawes.... a Greensleeves classic!

Now repressed - or is that a warehouse find?! - either way we're SUPER STOKED or should that be we're totally blouse and skirt about it!

Featuring the full extended versions (oooohh yes!) of some of Mouse's best hits including (but not limited to): "Ganja Smuggling", "Wa Do Dem" and "Noah's Ark" - icons of roots reggae / dub music and sounding really, really special on this pressing.

You might have bagged the shorter, 7" versions as part of RSD, but these extended versions blow them out the water!

Look out for more tasty Greensleeves reissues forthcoming ;) 

TRACK LISTING

1.Ganja Smuggling
2.Long Time Ago
3.Operation Eradication
4.There's A Girl In My Life
5.Slowly But Surely
6.Wa Do Dem
7.Lonesome Journey
8.I Will Never Leave My Love
9.Noah's Ark
10.Too Young To Understand

“When it was time to master the BLINKING LIGHTS reissue I needed to listen to the whole double album for the first time since it came out in 2005, and I was surprised by what I heard. It was an intense and emotional experience for me and I felt proud of it and overwhelmed by how hard we worked on it. I’ll start mentally preparing to listen to it again when its reissued again in 10 years.”

TRACK LISTING

1 Theme From Blinking Lights (Remastered For Vinyl)
2 From Which I Came / A Magic World (Remastered For Vinyl)
3 Son Of A Bitch (Remastered For Vinyl)
4 Blinking Lights (For Me) (Remastered For Vinyl)
5 Trouble With Dreams (Remastered For Vinyl)
6 Marie Floating Over The Backyard (Remastered For Vinyl)

1 Suicide Life (Remastered For Vinyl)
2 In The Yard, Behind The Church (Remastered For Vinyl)
3 Railroad Man (Remastered For Vinyl)
4 The Other Shoe (Remastered For Vinyl)
5 Last Time We Spoke (Remastered For Vinyl)

1 Mother Mary (Remastered For Vinyl)
2 Going Fetal (Remastered For Vinyl)
3 Understanding Salesman (Remastered For Vinyl)
4 Theme For A Pretty Girl That Makes You Believe God Exists (Remastered For Vinyl)
5 Checkout Blues (Remastered For Vinyl)
6 Blinking Lights (For You) (Remastered For Vinyl)

1 Dust Of Ages (Remastered For Vinyl, Explicit)
2 Old Shit / New Shit (Remastered For Vinyl, Explicit)
3 Bride Of Theme From Blinking Lights (Remastered For Vinyl)
4 Hey Man (Now You're Really Living) (Remastered For Vinyl)
5 I'm Going To Stop Pretending That I Didn't Break Your Heart (Remastered For Vinyl)

1 To Lick Your Boots (Remastered For Vinyl)
2 If You See Natalie (Remastered For Vinyl)
3 Sweet Li'l Thing (Remastered For Vinyl)
4 Dusk: A Peach In The Orchard (Remastered For Vinyl)
5 Whatever Happened To Soy Bomb (Remastered For Vinyl)
6 Ugly Love (Remastered For Vinyl)

1 God's Silence (Remastered For Vinyl)
2 Losing Streak (Remastered For Vinyl)
3 Last Days Of My Bitter Heart (Remastered For Vinyl)
4 The Stars Shine In The Sky Tonight (Remastered For Vinyl)
5 Things The Grandchildren Should Know (Remastered For Vinyl) 

Recorded at the EELS’ Los Feliz, California studio, ‘Earth to Dora’ was produced by band leader Mark Oliver Everett a.k.a. E, and performed by E, Koool G Murder, The Chet and P-Boo.

Speaking about the new record, E says: “These songs came about just before the pandemic hit and changed everything. I’m hoping they can be, maybe kind of soothing or something. To hear songs dealing with things we are dreaming about getting back to. Or maybe people are dealing with some of the topics right now as well. Just one song was done in the thick of the early pandemic days, ‘Are We Alright Again’, which is kind of a quarantine daydream I desperately needed to have.”

‘Earth to Dora’ marks the 13th full length EELS album, and first since 2018’s ‘The Deconstruction’, their first in four years, the album was released to widespread acclaim and described as “another EELS album to treasure” by MOJO, “overwhelming” by Uncut, and “a career-straddling greatest hits collection, in which all the ‘hits’ are brand new,” by CLASH.

EELS have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E (Mark Oliver Everett), EELS have released 12 studio albums since their 1996 debut, Beautiful Freak. In 2008, E published his highly-acclaimed book Things the Grandchildren Should Know and starred in the award-winning Parallel Worlds, Parallel Lives documentary about the search to understand his quantum physicist father, Hugh Everett III.

2015 saw the release of the band’s extraordinary Royal Albert Hall live album and concert film. In the same year, the band’s “Fresh Blood” served as the theme song to HBO’s “The Jinx” and from 2016 to 2018 E appeared in Judd Apatow’s Netflix original series “Love.” EELS released their 12th studio album, and first in four years, ‘The Deconstruction’ in April 2018 and toured America and Europe in 2018 and 2019. 

STAFF COMMENTS

Barry says: 13 ALBUMS!! There's something to be said for a band that manage to keep bringing the goods year after year, and Eels are one of the best examples. 'Earth To Dora' has all of the melodicism and hidden melancholy that we expect from the LA stalwarts.

TRACK LISTING

1. Anything For Boo
2. Are We Alright Again
3. Who You Say You Are
4. Earth To Dora
5. Dark And Dramatic
6. Are You Fucking Your Ex
7. The Gentle Souls
8. Of Unsent Letters
9. I Got Hurt
10. OK
11. Baby Let's Make It Real
12. Waking Up

The release of this album – the group’s 15th studio album – follows a busy 2023 for Eels, where they finally hit the road for their long-awaited Lockdown Hurricane tour of Europe and North America and brought the year to a close by marking over three decades of the group with the release of their second compilation album Eels So Good: Essential Eels, Vol.2.

STAFF COMMENTS

Barry says: There's no mistaking Mark Oliver Everett's vocals or songwriting, and from the first moments of 'Time' it's clear that this is classic Eels, perfectly balancing unfussy beauty with mournful reflection. It's hard to believe the Eels are 15 albums down, and still coming up with some of the best music of their career.

TRACK LISTING

1 Time
2 We Won’t See Her Like Again
3 Goldy
4 Sweet Smile
5 Haunted Hero
6 If I’m Gonna Go Anywhere
7 And You Run
8 Lay With The Lambs
9 Song For You Know Who
10 I Can’t Believe It’s True
11 On The Bridge
12 Let’s Be Lucky

Eels presents their second best of 'Eels So Good', a compilation comprising of 20 tracks spanning their 2007-2020 material. Five tracks make their vinyl debut here, with three of these previously unreleased - one of which being 'Christmas, Why You Gotta Do Me Like This'.

TRACK LISTING

1. Fresh Blood
2. That Look You Give That Guy
3. A Line In The Dirt
4. Little Bird
5. Spectacular Girl
6. I Like The Way This Is Going
7. Peach Blossom
8. Wonderful, Glorious
9. Where I'm From
10. Mistakes Of My Youth
11. The Deconstruction
12. Today Is The Day
13. You Are The Shining Light
14. Are We Alright Again
15. Earth To Dora
16. Royal Pain
17. Man Up
18. Man I Keep Trying
19. JAZZ HANDS Part I
20. Christmas, Why You Gotta Do Me Like This

Eels’ 2001 album 'Souljacker' is a snarling, swaggering beast - part gutter-blues, part twisted lullaby. Produced by John Parish (PJ Harvey), it finds Mark Oliver Everett (E) trading the orchestral warmth of Daisies of the Galaxy for something sharper-edged, with jagged guitars, eerie loops, and lyrics that walk the line between menace and melancholy.

From the unhinged stomp of 'Dog Faced Boy' to the cinematic sweep of 'Fresh Feeling', 'Souljacker' is restless and unpredictable, channeling Tom Waits’ grit and the underbelly of American storytelling. This red reissue brings the album’s dark heart back into the light.

TRACK LISTING

1. Dog Faced Boy
2. That's Not Really Funny
3. Fresh Feeling
4. Woman Driving, Man Sleeping
5. Souljacker Part I
6. Friendly Ghost
7. Teenage Witch
8. Bus Stop Boxer
9. Jungle Telegraph
10. World Of Shit
11. Souljacker Part II
12. What Is This Note?

Critically acclaimed rock group EELS announce vinyl reissues of earlier records ‘End Times’, ‘Hombre Lobo’ and ‘Tomorrow Morning’, released via E Works / [PIAS].

EELS have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer / songwriter E (Mark Oliver Everett), EELS have released 14 studio albums since their 1996 debut, ‘Beautiful Freak’. In 2008, E published his highly acclaimed book, ‘Things the Grandchildren Should Know’, and starred in the award-winning ‘Parallel Worlds, Parallel Lives’ documentary about the search to understand his quantum physicist father, Hugh Everett III.

TRACK LISTING

1 The Beginning
2 Gone Man
3 In My Younger Days
4 Mansions Of Los Feliz
5 A Line In The Dirt
6 End Times
1 Apple Trees
2 Paradise Blues
3 Nowadays
4 Unhinged
5 High And Lonesome
6 I Need A Mother
7 Little Bird
8 On My Feet 

Eels release their fourteenth studio album Extreme Witchcraft on the band’s own E Works Records. Eels leader Mark Oliver Everett, aka E, co-produced the record with PJ Harvey producer and guitarist John Parish, marking the first time the two have recorded together since 2001’s Souljacker album Eels have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E (Mark Oliver Everett), Eels have released 13 studio albums since their 1996 debut, Beautiful Freak. In 2008, E published his highly acclaimed book Things the Grandchildren Should Know and starred in the award-winning Parallel Worlds, Parallel Lives documentary about the search to understand his quantum physicist father, Hugh Everett III. 2020’s Earth To Dora album, received extensive critical praise, and was described as “their sweetest natured album ever” by The Independent and awarded four stars in MOJO and NME.

TRACK LISTING

1. Amateur Hour
2. Good Night On Earth
3. Strawberries & Popcorn
4. Steam Engine
5. Grandfather Clock Strikes Twelve
6. Stumbling Bee
7. The Magic
8. Better Living Through Desperation
9. So Anyway
10. What It Isn’t
11. Learning While I Lose
12. I Know You’re Right

For the first time ever Eels 'Gentle Souls 2021 KCRW Session' is available on vinyl.

Performed by E, Koool G Murder, and The Chet

Recorded for the January 29th, 2021 EELS In Residence session on KCRW, Los Angeles, CA.

TRACK LISTING

Anything For Boo
Earth To Dora
Are We Alright Again
Love And Mercy
Baby Let's Make It Real