MAGIC MIX

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BACK CATALOGUE - T

The first full length LP for this collaborative project between Jon Brooks (The Advisory Circle) and Jim Jupp (Belbury Poly). John Foxx features on vocals and synth on two tracks, Trees and Forgotten Towns, reprising his appearance on The Belbury Circle’s debut EP, Empty Avenues in 2013.

Brooks and Jupp go back to their musical roots with this release, but there’s no weird children’s TV or haunted soundtracks here. It’s a joyfully re-imagined soundworld that draws heavily on late 70s and early 80s synth pop and library music. An exciting transitional era that first saw the pair taking up synths as kids. With interlocking analogue sequencers, driving rhythms, soaring lead lines, primitive sampling, and its themes of travel and return, the album evokes the eve of the digital era, when “Tomorrow’s World” was still an exciting possibility.

STAFF COMMENTS

Barry says: An incredible meeting of musical 'Dream Team' minds here. With all-round lovely chap and prodigal production wiz Jon Brooks teaming up with Ghost-Box co-owner and Belbury Poly mastermind Jim Jupp. It's as good as it sounds, with both artists being bolstered by the other and creating a retro-futuristic synth monolith. This is my rest-of-year listening sorted!

The Bell Peppers

Saved By The Bell Peppers

    The Bell Peppers are a UK Surf n' Roll 2 piece who have toured with Allah Las, Hooded Fang and Y Niwl. This Cassette release, the first for Manchester label, Captured Cats, features the 4 songs that make up the latest EP, Saved by the Bell Peppers and the 4 that made up the first EP, Cooking with Bell Peppers.

    These recordings were made at home, using a four track, looping samples of themselves performing the percussion, and then layering lush melodic surf guitar and peppered vocal interjections on top of it. the results are sweet, raw and satisfying, each song exploring a different microgenre of the 50's and early 60s. From Haunted Diner Do-Wop to Hoedown Rockabilly and Scuzzy RnB.

    The Belles are from the same Kansas emo scene that produced the Get Up Kids and features a guest appearance from 'Kids Ed Rose, who also produced and mixed the album. The Belles lean more towards Elliot Smith, Neil Young and Wilco style songs. Drummer Jake Cardwell has previously lent his skills to The New Amsterdams (Get Up Kids side project). Mainman Christopher Tolle toured with Ultimate Fakebook, Superdrag and The Strokes.

    The Beltones

    Cheap Trinkets

    Another strong TKO release. This is the Beltones second album and these Florida punk boys are great at combining typical high speed US punk with a gritty mixture of 50s rockabilly and 60s mod. Well worth checking out.

    Tony Benton was the driving force behind the Seattle sound during the late 70s & 80s and formed his group Teleclere, who went on to release their first single in 1982, Fantasy Love / Ultra Groove. Through the success of their independant release, Teleclere followed up a year later with their Affection/Defection album. The group disbanded shortly after and now, 36 years later we have the pleasure to announce the Tony Benton & Teleclere - Fantasy Love EP.

    The tracks have been sitting on DAT tapes until early 2018 and this release is the first step to reviving their iconic sound via an initial 5 track steppers EP. 4 tracks are previously unreleased and haven't been heard since they were recorded back in the early 80s.



    STAFF COMMENTS

    Patrick says: A casual glance at the sleeve should leave you in no doubt that Tony Benton is a GEE and the A-grade boogie which reveals itself once you slap the platter on the player only goes to confirm it. MEGA!

    The Overton Berry Ensemble

    TOBE + Live At The Doubletree Inn

    Have you ever heard of Tukwila? Well, it's safe to say that if Light In The Attic wasn't located in Seattle, Washington, they might not have either. Just a short drive from the Emerald City it was once home to the now infamous Doubletree Inn. Despite its non-central location, the Doubletree was once the Pacific Northwest hotspot with line-ups around the block. The reason? The Overton Berry Trio, who ably filled the lounge with sounds of jazz, soul, and pop over clanking drinks and decadent dinners. While local music lovers, dedicated crate-diggers, and diehard funk heads will have heard of the classy pianist (often compared to his better-known peer, Ramsey Lewis), it's finally time to let the world in on this little secret.

    At the dawn of the 1970s, Berry and company recorded two long player albums: The Overton Berry Trio "At Seattle's Doubletree Inn" (1970) and "TOBE" (1972). Both take the listener to a time long forgotten, a place where music engaged, invited dialogue, and struck chords deep in one's soul. In celebration of this still relevant sonic legacy, Light In The Attic Records releases the original "Doubletree Inn" and "TOBE" (The Overton Berry Ensemble) albums in a lovingly packaged double vinyl-only reissue. Prominently featured on Light In The Attic's Wheedle's Groove release, their transcendental interpretation of The Beatles' "Hey Jude" (from The Overton Berry Trio At Seattle's Doubletree Inn) is notorious amongst forward thinking DJs and record collectors the world-over. The "TOBE" album (especially the break-beat heavy "Jesus Christ Superstar") has also piqued the radar of many a tastemaker and original copies are virtually extinct and prohibitively priced when available in record dealer's crates or offered for sale on the web.

    Now with lovingly remastered audio, extensive liner notes, and unpublished photos, this double LP set gives you both of the aforementioned rarities and the best of Overton Berry - that is, if you haven't had the good fortune of seeing the man play live. Still performing his trademark blend of standards, thoughtful interpretations, and original compositions weekly in-and-around Seattle, if you find yourself music hungry in the Pacific Northwest, you just might have a chance. Berry is still doing his thing with the utmost respect and dedication to his craft.

    FORMAT INFORMATION

    2xLP Info: Limited vinyl only reissue with re-mastered audio, hand numbered jacket, new notes and unseen photos. Includes download card featuring three previously unreleased live takes. 100o copies only.

    2xLP includes MP3 Download Code.

    Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

    “Heroes to Zeros” is the third and final studio album by The Beta Band released in 2004. It was mixed by famed producer Nigel Godrich and rose to number 18 in the UK charts.


    FORMAT INFORMATION

    Ltd LP Info: LP+CD edition with one black vinyl in gatefold sleeve with printed inner-sleeve. CD included.

    CD Info: CD edition in 2-panel digipack.

    Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

    After a short hiatus the band gradually gravitated back into the studio and recruited noted UK producer Colin Emmanuel, aka C-Swing, to oversee the process of “Hot Shots II” which was released in mid 2001. Notoriously the band had intended to release "Squares", which featured a sample from the Günter Kallmann Choir's 1970 version of Wallace Collection's "Daydream", as the lead single. However after filming the music video and taking the single to radio it suddenly transpired that another single "Daydream in Blue" by I Monster featuring the sample from Günter Kallmann Choir recording was also to be released at the same time causing the band to release "Broke" instead. Touring extensively and supporting Radiohead in August 2002, they made No. 3 on Q magazine's list of "50 Bands to See Before You Die".


    STAFF COMMENTS

    Barry says: A killer second (full-length) outing from The Beta Band sees Mason & Co. straying away slightly from the longing indie of their debut (and first three EP's) into anthemic minimalist acousticry, dancefloor rhythms and throbbing background electronics, whilst still retaining their melodic thread.

    The Beta Band

    The Best Of The Beta Band

      2CD edition in 3-panel digipack with a 16-page poster booklet.

      Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996.

      Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

      After acquiring the Beta Band’s catalogue last year, Because Music will reissue their releases, starting on September 14th with a double CD Best-Of compiling all their best hits and a live show recorded at the Shepherd’s Bush Empire (London) in 2004.

      Because Music will also celebrate at the same time the 20th anniversary of their 1998 compilation ‘The Three EPs’ by releasing a deluxe vinyl edition gathering in a slipcase the EPs ‘Champion Versions’, ‘The Patty Patty Sound’ and ‘Los Amigos Del Beta Bandidos’ with remastered tracks and coloured vinyls. 


      The Beta Band

      The Beta Band

        Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

        Released in 1999, the album “The Beta Band” followed the critically acclaimed compilation “The Three E.P.'s” (1998). With high anticipation for The Beta Band, the band originally planned to record the album in four separate continents, but financial constraints slimmed the recording locations down; however, the album was still recorded in a variety of locations and pulling inspiration from sources as diverse as Jamaican reggae, Disney's movie “The Black Hole” and Bonnie Tyler's "Total Eclipse of the Heart".

        The band also originally intended the album to contain a bonus disc of two long form ambient pieces, ‘Happiness and Colour’ and ‘The Hut’, both of which lasted over 20 minutes and represented the band's desire to "make a record of sound as a description for something like happiness, where a distinct first part gives way to a distinct second part”. However, the band and label ultimately decided to remove these tracks from the album prior to release.


        FORMAT INFORMATION

        3xDeluxe LP Info: Deluxe 3LP+2CD edition with double black vinyl album in gatefold sleeve with printed inner-sleeves and CD included, plus a single black vinyl bonus EP in single sleeve with 3mm spine, printed inner-sleeve and CD included. Both vinyl sleeves are hold together with an obi strip.

        2xLtd LP Info: 2LP+CD edition with two black vinyl in gatefold sleeve with printed inner-sleeves. CD included.

        2xCD Info: 2CD edition in 3-panel digisleeve with 24-page stapled booklet.

        The Beta Band

        The Three EPs - 20th Anniversary Remaster (Deluxe Edition)

          Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

          After acquiring the Beta Band’s catalogue last year, Because Music will reissue their releases, starting on September 14th with a deluxe vinyl edition gathering in a slipcase the EPs ‘Champion Versions’, ‘The Patty Patty Sound’ and ‘Los Amigos Del Beta Bandidos’ with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation. Because Music will release at the same time a double CD Best-Of compiling all their best hits and a live show recorded at the Shepherd’s Bush Empire (London) in 2004. 


          FORMAT INFORMATION

          Ltd Box Set Info: 3x12” EP + CD.
          NUMBERED SLIPCASE featuring ‘Champion Versions’ EP (red vinyl 12” in single sleeve), ‘The Patty Patty Sound’ EP (double yellow 12” vinyl ) and ‘Los Amigos Del Beta Bandidos’ EP (blue 12” vinyl in single sleeve).
          CD included in clear plastic sleeve with flap (includes all tracks)

          The Beta Band

          The Three EPs (20th Anniversary Remaster)

            Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries.

            Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. 


            The Beths from New Zealand occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard The Breeders/Jale/Veruca Salt..

            Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland’s rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. “Fronting this kind of band was a new experience for me,” says Stokes. “I never thought I had the right voice for it.”

            From the irresistible title track to future singles “Happy Unhappy” and “You Wouldn’t Like Me,” Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me’s dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the ‘60s, while inverting the trope of the “sad dude singer accompanied by a homogenous girl-sound.”

            All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y.

            “There’s a lot of sad sincerity in the lyrics,” she continues, “that relies on the music having a light heart and sense of humor to keep it from being too earnest.” Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. “That’s another New Zealand thing,” Stokes concludes with a laugh. “We’re putting our hearts on our sleeves—and then apologizing for it.” The result is nothing less than one of the standout records of 2018.


            STAFF COMMENTS

            David says: The antipodean onslaught continues with New Zealand's The Beths. 'Future Me Hates Me' is the shortest, sharpest most bittersweet collection of three minute pop songs we've heard this year.

            FORMAT INFORMATION

            Coloured LP Info: Transparent aqua coloured vinyl.

            Coloured LP includes MP3 Download Code.

            The Beths

            Warm Blood

              First time available on vinyl, this EP is the prequel to their debut album Future Me Hates Me which is out now.

              The Beths’ Warm Blood is a strong contender for the catchiest record you’ve never heard. Formed when four jazz students at the University of Auckland bonded over their shared love of the pop-punk sounds of their youth, The Beths bring new energy to the genre. This 5-song debut EP, a deliriously pleasurable statement of purpose, comes crammed with enough blissful hooks to carry through most bands’ careers.

              Listeners for whom the tag “New Zealand indie rock” brings to mind the Flying Nun sound of bands like The Clean and The Chills may be surprised to find Warm Blood’s five unstoppable tunes landing closer to artists like Slant 6 and The Breeders. The nimble guitar work here moves from heavy riffing reminiscent of Sleater-Kinney to hazily bending lines that would make Stephen Malkmus and Mary Timony beam, while the joyous vocal harmonies from all four members bubble and swell to ecstatic crescendos that channel The Zombies’ Odessey and Oracle.

              With impeccable production from guitarist Jonathan Pearce and stellar musicianship across the board, Warm Blood is a non-stop delight. Tracks like leadoff track and first single “Whatever,” the ridiculously addictive standout “Idea/Intent,” and “Rush Hour 3,” a playful ode to romance in this era of download-and-chill franchise films, take delight in the challenge of breathing new energy into the limitations of the 3-minute pop song. 


              FORMAT INFORMATION

              Ltd 12" Info: Limited pink vinyl.

              Ltd 12" includes MP3 Download Code.

              The Bevis Frond

              Bevis Through The Looking Glass

                THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                The main strength of the Bevis Frond is the exquisite songwriting, with pithy and poignant lyrics delivered in a very uncompromising English roots accent.” The Quietus. “Saloman has remained a niche concern amongst purist psych fiends these past 30 years” MOJO. Originally released in a signed limited-edition record of 500 copies, then reissued as a double-LP set on Reckless Records in 1988, this year’s Record Store Day sees the record reissued on double clear vinyl alongside ‘Triptych’ and ‘The Auntie Winnie Album’ as part of the 30th Anniversary. This historical collection of Bevis Frond songs includes ‘Rat In A Waistcoat’, ‘The Shrine’ and ‘I Can’t Get Into Your Scene’. Closing track includes ‘Alastair Jones’ recorded in 1967 when Nick was just 14 years old. A labour of love and fiercely independent, his prolific output has seen as many releases in as many years and an uncompromising vision under his own label Woronzow. Hailed as “a Hendrix devotee every bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies” by Rolling Stone’s David Fricke, his immense psych-stoner-rock has seen him become a cult figure in his own right. The Bevis Frond’s legion of loyal fans includes Teenage Fanclub, Dinosaur Jr and Mary Lou Lord, who have all covered his music. 

                FORMAT INFORMATION

                2xColoured LP Info: Clear Vinyl, Download Card, 1000 only.

                The Bevis Frond

                Sprawl

                  1994’s ‘Sprawl’, originally released on Woronzow, features Nick with Jimmy Hastings (flute), Tony Aldridge (violin) and Andy Ward on drums. Vocals here were provided by Ade Shaw, Dean Carter and Mick Donovan along with Current 93’s David Tibet guesting with spoken word on the spiritual ‘Right On (hippy dream)’. Hypnotic 12 minute psych piece ‘Awake’ is interspersed with instrumentals and the grungy guitars of ‘The Puller’ are offset by Aldridge’s strings. The tenth studio album release in less than a decade since and ‘Sprawl’ - once again - demonstrates Nick’s immeasurable song writing power. 

                  FORMAT INFORMATION

                  2xLP Info: Double LP, gatefold sleeve, printed inners, art insert, download postcard

                  The Bevis Frond

                  The Auntie Winnie Album

                    THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                    The Bevis Frond have successfully traversed the ‘traditional’ side of songwriting to produce a prolific and un-comparable body of genuinely beautiful, yet genre baiting songs that are hard to ignore” Louder Than War. Released on 12” purple coloured vinyl for Record Store Day 2017, ‘The Auntie Winnie Album’ will be reissued for Record Store Day alongside ‘Bevis Through The Looking Glass’ and ‘Triptych’ as part of the band’s 30th Anniversary. Initially released in 1988, the companion piece to ‘Bevis Through The Looking Glass’ comprises of unreleased material from the Woronzow archives. The last of his earlier releases that sees the influential multi-instrumentalist Nick Saloman perform solo throughout. A labour of love and fiercely independent, his prolific output has seen as many releases in as many years and an uncompromising vision under his own label Woronzow. Hailed as “a Hendrix devotee every bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies” by Rolling Stone’s David Fricke, his immense psych-stoner-rock has seen him become a cult figure in his own right. The Bevis Frond’s legion of loyal fans includes Teenage Fanclub, Dinosaur Jr and Mary Lou Lord, who have all covered his music. 

                    FORMAT INFORMATION

                    2xColoured LP Info: Purple Vinyl, Download Card, 1000 only.

                    The Bevis Frond

                    Triptych

                      THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                      The Bevis Frond emerged fully-formed from the skull of British rock. A cult favourite” Pitchfork. Released on 12” white vinyl for Record Store Day 2017, ‘Triptych’ will get a special reissue for Record Store Day alongside ‘Bevis Through The Looking Glass’ and ‘The Auntie Winnie Album’ as part of the 30th Anniversary. The heavy third offering from Nick Saloman bursts with 60s-psych and includes epic track ""Tangerine Infringement Beak"" clocking in at nearly 20 minutes, ‘Into The Cryptic Mist’ and ‘Lights Are Changing’ a song that went on to be covered by Mary Lou Lord. A labour of love and fiercely independent, his prolific output has seen as many releases in as many years and an uncompromising vision under his own label Woronzow. Hailed as “a Hendrix devotee every bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies” by Rolling Stone’s David Fricke, his immense psych-stoner-rock has seen him become a cult figure in his own right. The Bevis Frond’s legion of loyal fans includes Teenage Fanclub, Dinosaur Jr and Mary Lou Lord, who have all covered his music. 

                      FORMAT INFORMATION

                      2xColoured LP Info: White Vinyl, Download Card, 1000 only.

                      The Bid-On (Giuliano Sorgini)

                      Sorry Puppet

                        Reprint of the rare 1972 library LP by Maestro Giuliano Sorgini under the pseudonyms of Raskovich and The Bid-On. Originally released in just a few copies for a small label owned by a friend of Maestro Sorgini, this LP includes 12 really beautiful tracks with positive vibes. From jazz dance, bossa nova, funk, and some killer breaks, with lots of percussion, growling flute and honking sax.

                        Reissued with the original minimal artwork designed by Giuliano Sorgini drawn with chalk on a black sheet. Glossy Cinedelic cover. Limited to 600 copies.

                        One band who have been threatening a big breakthrough is female four-piece The Big Moon, who in 2016 were dubbed the coolest young band in Britain are destined to be huge in 2017 with their Slits and Elastica-inspired punky gems.

                        “Definitely a band to watch” - London On The Inside
                        “With each new release, they continue to reach brand new heights” – The Line of Best Fit
                        “Another sign of the band's blossoming maturity and growing confidence as songwriters” – Clash
                        “London’s most exciting new quartet ... The Big Moon are readying to shoot for the stars” - NME
                        “Another introduction to one of the buzziest new bands on the scene, it’s proof that they’re making all the right moves on their road to the top" – DORK

                        The Big Moon

                        Walking Like We Do

                          The British gang arrived like a breath of fresh air with their Mercury Prize nominated debut album ‘Love In The 4th Dimension’ back in April 2017. Fronted by Juliette Jackson, The Big Moon unleashed song after song fizzing with melody and charm.

                          The forthcoming second album, Walking Like We Do, was recorded in Atlanta alongside Grammy Award winning US Producer Ben H. Allen III (M.I.A./Deerhunter/Bombay Bicycle Club).

                          The band are Juliette Jackson, Soph Nathan, Celia Archer and Fern Ford. 


                          FORMAT INFORMATION

                          Coloured LP Info: Orange Heavyweight vinyl.
                          Gatefold with spine.
                          A3 poster.
                          Download card.

                          LP Info: Black Heavyweight vinyl.
                          Gatefold with spine.
                          Download card.

                          The Nat Birchall Quartet

                          The Storyteller - A Musical Tribute To Yusef Lateef

                          With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet – a tribute to the legend that is Yusef Lateef.


                          "When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was "Where on earth do I start?" Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world."

                          "I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning & Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation (Love Theme from Spartacus, Ringo Oiwake). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making."

                          "I also wanted to utilise as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4."

                          "Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller." - Nat Birchall

                          STAFF COMMENTS

                          Millie says: Absolutely livinggg for this jazz! A tribute the incredible Yusef Lateef, which you think would be a daunting thing but Nat Birchall makes it look like a breeze. A must for any jazz collection!

                          The Bitter Springs

                          Firm Family Favourites EP

                          Hot on the heels of "That Sentimental Slush" the sixth critically acclaimed album in a row from Hampton's finest sons The Bitter Springs comes this brand new four track EP of "Firm Family Favourites".

                          The Black Angels

                          Directions To See A Ghost

                          Originally released in 2008.

                          Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide "Directions On How To See A Ghost". If you're familiar with "Passover", the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it 'hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of 60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel 'We' and – in Christian Bland's words – 'psychic information from the past and future.'

                          This is the sound of a bad mescaline trip in the searing heat of the desert. It's the sound of 60s psychedelia reinvented through post-millennial angst. It's dangerous, it's dark and it's Texas-sized in scope. It's "Passover", the debut album from Austin's The Black Angels, and the sound they describe as Native American Drone 'n' Roll. Built on rumbling drums, searing guitars and an ever-present droning organ, "Passover" is a stunning, raw debut that's keen to address the big issues of the day.

                          We live in dangerous times. We are blinded by control vectors that separate us from reality. And The Black Dog returns with a viral antidote: an album of de-programming material which they’ve called "Nether/Neither".

                          This record continues the work they started with "Further Vexations" and "Radio Scarecrow". Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation being totally exposed, mocking our impotence, yet complete in their power. We are all proles now; all are expected to maintain a mental state of "Neither/Neither", of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else’s script.

                          We are surrounded and occupied by systems of platitude generation that are empty and self-referential. All is surface and all is hollow. From the Tories’ election propaganda to David Icke, they’re all the same, all meaning filtered to nothing by a lack of substance, science and humanity. Falsehood becomes reason, no matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer.

                          False prophets and the modern day snake oil salesmen parade their viral vampirism, grasping for our time, money and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic; repeat, pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumours become truth then they become action and policy that in the cold light of the day make no-sense at all. No one’s sure where they heard it but they have. The spectral offer of change, which actually sustains the stasis of confusion. They spin us on a ball of confusion we live on continues to turn and as long as they have us in a state of "Neither/Neither" they will always maintain control. Fight Back! 


                          The Black Fire

                          Cream

                            'Cream' by The Black Fire is a nearly impossible to find Italian LP from 1973. A Library album that mix several themes including sexy and psychedelic whispered scat vocals, space synth lounge, lazy bossa with harpsichord, fender rhodes and a lot of congas, bongos and insane flutes; it also includes the killer wah-wah funk tune “Alcoholic” used years later as the opening song of the kung fu movie Operation Cobra aka Squadra Omicidi Chiama Cobra.

                            Original colourful artwork by the painter G. Pinna in a glossy Cinedelic cover. Limited to 600 copies.


                            Pazy (real name Joseph Etinagbedia) started playing music in the Fire Flies in the city of Warri in Nigeria in 1973. The area was in the midst of an oil boom, and like most bands on that scene, the Fire Flies played American and European pop hits mixed with Jazz and Highlife for the largely expat audiences in local clubs. Along with an influx of foreigners, the oil boom also gave rise to an emerging Nigerian youth market, and soon Pazy formed the Black Hippies to play the uniquely African style of hard rock that was favored by this new audience.

                            They quickly found success and were appearing alongside other Warri-based artists such as Tony Grey. In short time, they came to the attention of EMI and their legendary producer Odion Iruoje, who recorded this album. By the time it was released in 1977, though, Disco and Funk were starting to take over and the hard fuzzy rock of The Black Hippies first album was somewhat behind the times. As a result, the album was barely released and is now virtually unfindable, unseen by all but a few of the most hardcore collectors. Pazy would go on to form a new line up of the Black Hippies that played mostly Reggae but this remains by far the best album.

                            Featuring whiplash funk drumming, searing fuzz guitar, raw vocals and that uniquely West African organ sound, The Black Hippies first album is a definitive classic of the genre.

                            Beautifully remastered with restored artwork, this release stands alongside our Ofege and Psychedelic Aliens releases as restored gems from a largely unknown but incredibly vital Rock scene in 70's West Africa.

                            The Black Keys

                            Chulahoma

                              The Black Keys need no introduction; taking the world by storm in recent years and delivering some of the finest music around with releases like "Rubber Factory", "Thickfreakness" and "The Big Come Up". Recorded by the band in their own Akron, OH studio The Black Keys epitomize DIY. "Chulahoma" is a collection of songs that were originally written by the late Junior Kimbrough, reworked and recorded. The Keys capture the very essence of Junior's style better than any other musician today. Roomy and sparse in production the drums/guitar duo fill out every inch of these songs with distorted guitar, drums, and Dan's soulful vocals.

                              The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” 

                              “Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”

                              Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’

                              Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.

                              Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:
                              Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.

                              Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

                              STAFF COMMENTS

                              Barry says: Having always epitomised the fuzzy groove-led party vibe, it's no surprise that their latest is the most danceable and head-nodding instalment yet, but here it is. Bluesy, sleazy and heavy but crisp and beautifully presented. Black Keys do it again!

                              FORMAT INFORMATION

                              Ltd LP Info: Heavyweight 140 gram high-performance vinyl.

                              In early 2006, The Black Keys returned to their basement to record "Magic Potion", their fourth full-length album. Despite its title, "Magic Potion" is ironically the sound of The Black Keys getting their signature sound down to a science — it's the band at their heaviest, grittiest and most powerfully stripped down. From the nasty, sweaty strut of "Your Touch" to the sublimely narcotic devotional ballad "You're The One" on down to the stomping, house-rocking call to arms "Modern Times" The Black Keys have made another fantastic album.

                              The Black Keys

                              Rubber Factory

                                Fantastic album from the acclaimed guitar and drum, Delta blues-infused rock duo from Akron, Ohio, The Black Keys. The album takes a few listens to get into - mainly down to the fact that the songs are, in general, quite understated rather than big catchy blues numbers, that grab you on first listen, but you're bored of within a week. You imagine that if Jack White could possibly get himself off the rock 'n' roll treadmill he'd love to kick back and make albums like this!!! A swaggering blues rock masterpiece!!

                                FORMAT INFORMATION

                                LP Info: 180 gram vinyl.

                                The Black Keys

                                Thickfreakness

                                  Raw, soulful blues-rock from this duo from Akron, Ohio. This is the awesome second album (their first in the UK) from Dan Auerbach and Patrick Carney. With a stripped back guitar, drums and vocal line up this is top notch blues, set apart by Auerbach's distinctive fuzz guitar. Recommended.

                                  FORMAT INFORMATION

                                  LP Info: 180g vinyl pressing.

                                  Produced by Danger Mouse, Dan Auerbach and Patrick Carney, 'Turn Blue' features 11 new tracks including the first single, ‘Fever’, which can now be heard at theblackkeys.com, YouTube and Soundcloud.

                                  'Turn Blue' was recorded at Sunset Sound in Hollywood during the summer of 2013 with additional recording done at the Key Club in Benton Harbor, MI and Auerbach’s Easy Eye Sound in Nashville in early 2014.

                                  Carney comments, “We are always trying to push ourselves when we make a record – not repeat our previous work but not abandon it either. On this record, we let the songs breathe and explored moods, textures and sounds. We’re excited for the world to hear Turn Blue.”

                                  This is the eighth full-length album from the duo and follows 2011’s critically and commercially acclaimed El Camino, which is now certified RIAA Platinum. Internationally, El Camino is Gold in Belgium, Spain, Italy and Holland; Platinum in Ireland, France and the U.K.; and double Platinum in Australia, Canada and New Zealand. The record also resulted in three awards at the 55th annual Grammy Awards – Best Rock Performance, Best Rock Song, and Best Rock Album. The band now has a total of six Grammy Awards including three in 2010 for their breakout, RIAA Platinum album, Brothers.

                                  STAFF COMMENTS

                                  David says: What happens when a blues man separates from his wife whilst recording his new album? The answer, 'Turn Blue', is their darkest, most melancholic album to date. It finds the band taking a detour from their traditional blues rock, heading down a psychedelic, swamp of a side road, to great effect.

                                  The Black Seeds

                                  Into The Dojo

                                    Similar to Fat Freddy's Drop, The Black Seeds are already superstars in their home country of New Zealand. The eight piece band, who have been active for nearly 10 years, have gold and double platinum status at home. Finally, with the release of their third album "Into The Dojo", it's now time to introduce The Black Seeds to people further afield.

                                    The Black Velvets

                                    3345

                                    "3345" is a rousing, pounding, foot stomping anthem written in honour of the bar on Liverpool's Parr Street that the band have developed a love / hate relationship with.

                                    FORMAT INFORMATION

                                    10" Info: Limited edition plectrum shaped picture disc 10" backed with the track "Soul Saviour".

                                    The Irishman in Berlin, Timothy Blake (not to be confused with the Englishman in Hawkwind) follows releases on Dirt Crew and Kleine Reise with a storming debut for It's A Lectric World. "The House Auteur" sees the producer in restless form, shuffling through a variety of styles and moods as he makes the dancefloor move. "R&B Restitution" gets the party started with its decidedly leftfield fusion of mid-80s Prince and synthetic house, working a purple leadline over some hard hitting percussion and spectral experimentation. "Showtime" half inches the Purple One's disco ball and runs with it as Tim gets maximum juice out of a sleazy bassline and some filter house synths. This is gonna get your dancefloor soaking, no doubt about it. Meanwhile on the flip things are getting a little euphoric as "Soaring & Crashing" comes on strong like a high school boyfriend or your first pill, getting all your sesnses tingling. Tim's thrown everything including the kitchen sink at this one, managing to combine gospel chords, chirruping acid basslines, astral leads and intense UK techno drum fills into six glorious minutes of audio joy! "Bee My Victim" closes the set with a flourish thanks to the joyous disco samples, upbeat soloing and thumping drum track. In some ways reminiscent to the sampledelic sounds of S-Express, but operating in a whole new sonic galaxy, this belter closes the set perfectly.


                                    AUS Music continue to bolster an ever expanding roster in uncovering an adroit and overlooked producer - the Dublin born producer Timothy Blake. In amongst those in the know, Blake is an artist whose reputation reaches back over 20 years and one whose releases have touched the likes of Dirt Crew, Fatty Fatty Phonographics and Kleine Reise. For his first ever outing on AUS he teams up with man of the moment Marquis Hawkes in delivering ‘The Stormy Search’ EP. Now residing in Berlin, Blake’s idiosyncratic productions have been described as ‘joyous freewheeling Funk’ by Infinite State Machine as sounding ‘like Stephen King decided to start making house music’ (Trevor O'Shea Bodytonic) and also ‘kinda like some lost Prince demos from an alternate world’ according to Golf Channel’s Dan Selzer. That goes part way to elucidating his creations and - as you’d expect from these descriptions his latest offering is a meld of jubilant synth lines, bumping 909 drums and Funk-indebted bass grooves. Having originally made the introduction to Will Saul which eventually lead the record - Marquis Hawkes offers up a remix of the title track which he additionally co-produced. Also on remix duties of the title track - Hawkes does as he does best in dimming the tenor, driving percussion through purring tape machines and adding in the signature dose of granular soul that’s been his calling card throughout releases on Dixon Avenue Basement Jams, Houndstooth, Clone and Créme Organisation.

                                    The Blakes

                                    The Blakes

                                      The band formed when brothers Snow and Garnet Keim moved from Vancouver Island to Seattle and met up with Bob Husak – the trio then moved to Los Angeles (all staying in one cheap hotel room till they'd written a bunch of songs), started gigging and came to the attention of influential US label Light In The Attic who signed them up. Dirty, nasty, blues-rock'n'roll!

                                      The Blanche Hudson Weekend

                                      How Many Times Have You Let Me Die

                                        500 CD only. The Blanche Hudson Weekend refuse to stay in one place musically. During their 3 years together, they've gone from straight ahead 3 chord lo-fi fuzz pop to 1960s girl group influenced tunes, from experimental, almost atonal drone music to stripped back production on their previous album... and now on this particular release, they delve into electronic beats, crackle, fizz. The band were formed from the ashes of The Manhattan Love Suicides in 2009 by Darren and Caroline and have carved out a cult following since their early lo-fi pop. Their previous albums were all released on Squirrel Records and this one sees the band releasing on Odd Box Records (home to an early EP and the lead singles from this new long player).

                                        The Bleachés, pronounced ‘bleeshays’, formed in Manchester in 2016. One of their early shows were described by The Afterword as “Clearly in thrall to the Brian Jonestown Massacre, they’re a bit ramshackle but in a good way... they get a proper psychedelic, garagey racket going and they whip up some nice choppy guitar riffs that should stand them in good stead. I like them.” After supporting a number of touring bands such as Os Mutantes, Elephant Stone, Tracy Bryant and Flyying Colours, The Bleachés recorded and released their debut EP – “Easter Island” digitally in May 2018. The six track EP was recorded across two studios in Manchester by two friends Billy Morley & Alex Burnett-Scott. The tracks blend between hazy, melodic jams to upbeat garage rock, with Chloe’s soothing vocals entwined throughout. Easter Island was reviewed by Local Sound Focus shortly after its release: “There are hints of West Coast psychedelic pop, psych, a haze of dream pop, hints of 4AD bands like the Cocteau Twins, bits of strange freaky 60s European pop and that sort of post rave slightly fuzzy danceable rock… The best I can do is to say that if you like music made with care, music that takes you to a great place, music with a groove, music that takes a whole load of influences and puts them together in a way you’ve not heard before, then try this, you won’t be disappointed.”


                                        Macadam Mambo put pay to any misty memories of the season of goodwill with their first release of 2017, a very special EP of radical dance music by the German band The Blech revisited by Hamburg's Wosto. Working industriously and industrially between 1985 and 1996, The Blech released 6 fizzing LPs of the dark wired sound. These cult recordings have become a treasure-trove of extravagant, groovy dancefloor artistry, at once hypnotic, irritating and erotic. Here, Hamburg's Wosto (one half of Fallbeil) selects two tracks from 1987's "Zip Zip" LP, "Nichts Wie Vorher" and "Zip Zip", and "Die Einame Trane" from 1989's "Ich Wollte Meine Schuhe Zerschneiden", and transforms them into bristling metal dance cuts. "Die Einsame Trane" dives off at the NDW deep-end in search of rusty industrial wreckage. Churning bass, squealing horrorscore synth-strings and guttural vocals set a queasy tone, occasionally punctured by brief outbursts of metallic percussion. The steady intro of "Nichts Wie Vorher" grows from post punk dirge into a weird and warped mutant disco cut, alive with undead orchestral samples, snapping drum rolls and arabesque vocals. It's already an unhinged winner, but you'll be punching the ceiling and stomping like a berserker when Wosto drops the 303! The B-side belongs to Wosto's "Power Dance Mix" of "Zip Zip", a teutonic technoid slammer which sees tough beats punctuated by cut and paste sampler work, yelped German vocals and dreamy synth work. If Yello had pursued a career in the scuzzy world of the new beat underground, then this would be their "Oh Yeah". All hailz the Dark Wired Sound...

                                        STAFF COMMENTS

                                        Patrick says: Hamburg's Wosto gets 2017 underway for Macadam Mambo with three dark dancefloor treatments of NDW heroes The Blech.

                                        The Blind Shake, three intense men from Minneapolis creating dense, mystical music: in 1974, Bernie Taupin, feeling on top of the world as Elton John’s “Rocket Man” soared up the charts in 1972, suffered a sudden sense of vertigo outside the Spanish villa where he was vacationing. In a beam of black light he saw and heard the future of the future, a loud vision of The Blind Shake, making music that made Elton John’s “starman as everyman” song seem like so much pastel tissue paper, wet and dissolving in a pretty porcelain toilet.

                                        The real deal, Celebrate Your Worth is an intense web of connections of bands and sounds unknown to Taupin, strange sounds from Chrome through Bailter Space through Michael Yonkers and John Reis and with tendrils extending throughout an incredible universe of fantastic unknown bands and sounds. “What the hell am I doing?” Taupin cries, now on his knees, staring at the sky. Witness the Blind Shake in all their mystical, wonderful strangeness and energy.

                                        FORMAT INFORMATION

                                        LP includes MP3 Download Code.

                                        Doncaster bred and Manchester based, The Blinders are Thomas Haywood (guitar, vocals, word), Charlie McGough (bass guitar), Matthew Neale (drums, backing vocals). Influenced as much by the daily news as music, their impact, even at this early stage, cannot be over stated.

                                        Out 3rd May, ‘L’etat C’est Moi’ is the new single from Manchester based trio The Blinders and the second track to be taken from their forthcoming debut album. Described by the band as “A self-proclaimed war-dance told by the Idiot King himself. The first-person perspective of a madman, and his obsessive fantasies for power over all, and insolence from none.” The quote is attributed to Louis XIV declaring “I am the state” at the end of the 18th century.

                                        The track is the follow up to ‘Gotta Get Through’ which has been featured heavily on 6 Music (they played their first session for the station last week on Steve Lamacq’s show who described them as "the fastest emerging UK band at the moment") and hit the number 1 slot on Amazing Radio. The band have been playing several shows since the start of the year including many sold out dates. The have a busy summer planned live with headline shows in Manchester and London and festivals, many more of which are to be announced.

                                        The track was produced by Gavin Monaghan at Magic Garden Studios in Wolverhampton and is released on Modern Sky UK.


                                        STAFF COMMENTS

                                        Barry says: Manchester's Blinders bring the classic rock vibes with their debut outing, Columbia. Brimming with Arctic Monkeys swagger but imbued with a subtle psychedelic edge and semi-spoken lyrical fire, these young upstarts have set a great precedent for things to come. In the meantime, this should definitely sit well in your collection.

                                        The Blood Tub Orchestra, set to be 2015’s most interesting and innovative outfit, are delighting and enthralling listeners with their wholly unique idea. Unearthing Victorian and Edwardian music gems from often long-forgotten artists, The Blood Tub Orchestra evolve the pieces into fully-formed 21st century creations that still possess the characteristics and soul of the original historic works. The ghost is firmly spooking the machinery.

                                        When we look into our histories, we often do so with a rose-tinted and fantastical idealism of what entailed in those previous years, belying the actual truth whilst embracing the myths. This music most certanly isnt that! With the cosy mothball whiff of fancy dress nostalgia removed, a straight bare knuckle fight between the song and the performers is left to find its place creating the most mouthwatering proposition since The Rolling Stones re-introduced Blues to America. Great Britain, this means you!

                                        The songs on this EP are selected for their timeless relevance and irreverance, We’re Glad You’ve Got A Gun, of which no known original recordings exist, is a chilling call to arms propaganda song aimed at the popular music markets of it’s day. The Modern Mephistopheles is a damning a bitter whimsical mocking version of a song about poverty and ‘domestic bliss’ that was popular in its day.

                                        The Blood Tub Orchestra is comprised of a ragtag assortment of musical waistrels. Tim Whelan (Transglobal Underground, Furniture etc), Ashley Davies (Project Dark, London Dirthole Company etc), Kirsten Reynolds (Project Dark, LDC etc), Rob Lewis (Pulkas, LDC etc), Debbie Smith (Echobelly, Ye Nuns etc) plus various guests

                                        The Bloody Hollies

                                        Yours Until The Bitter End

                                        “Yours Until the Bitter End ” is The Bloody Hollies follow up to the highly praised “Who to Trust, Who to Kill, Who to Love” which was released in 2007 on Alive Naturalsound. Many who are familiar with the band’s sound know them by their trademark murder-themed blues/rock anthems that remind listeners of the 60’s and 70’s golden age of rock & roll. The new album still embraces the dark side of raw garage punk, but comes armed with a more eclectic array of songwriting and musicianship. But don’t let the touches of organ, violin, and xylophone fool you, the band’s hybrid of blues and rock & roll continue to shine more impressively than ever.

                                        The Bloody Hollies recorded in San Diego, but enlisted the expertise of Jim Diamond in Detroit, a familiar friend of the band’s that helped bring the sound of this record to its full potential. “Yours Until the Bitter End” is a work that reflects a lengthy career that fully embraces The Bloody Hollies’ vast influences while at the same time maintaining the band’s unique sound of explosive, over-driven mayhem balanced with intelligently thought-out songwriting. What is most impressive about The Bloody Hollies, however, is the diversity of their strengths, ranging from 70’s classic rock, Americana blues, to an even power-pop songwriting style. Wesley Doyle’s voice is stronger than ever and continues to shine, complimenting Joseph Horgen’s unique slide blues guitar style. The rhythm section of Matthew Bennett (drums) and Erik Noorgard (bass guitar) are as solid as ever and work together perfectly on this record which will go down as The Bloody Hollies’ most impressive to date.


                                        The Blow

                                        The Concussive Caress, Or, Casey Caught Her Mom Singing Along With The Vacuum

                                        Khaela Maricich is the Blow, also a member of the Dub Narcotic studio gang. Khaela recorded this entire album on the Dub Narcotic 16 track tape deck, producing it herself, with guest appearances by a few friends: Susan Ploetz, Anna Oxygen, Mirah, Nora Danielson, Jason Anderson and Jenn Kliese. Like secret mantras, these are adult versions of children's rhymes adapted for more complicated situations, songs people want to sing for their loved ones, but probably never will.

                                        The Blueprint

                                        Zero*Zero*One

                                        Impeccable credentials, The Blueprint are made up ex-members of Pitchshifter, Earthtone9 and Consumed. It's a six track mini album that's heavy, heavy, heavy. Probably the most exciting thing to have emerged from Nottingham for quite a while.

                                        The Bluetones

                                        Expecting To Fly (2CD 20th Anniversary Edition)

                                        On 12th February 1996, The Bluetones released their debut album, “Expecting To Fly.” It knocked Oasis’ ‘What’s The Story Morning Glory’ off the top of the charts in the week the Mancunians scooped an armful of BRIT Awards and signaled the start of a hugely successful career. The Number 1, platinum album is now re-issued with a second disc featuring 13 previously unreleased tracks including demos, live and session tracks. The demos are from the Proper Demo Thing cassette that got the band signed to A&M Records and taken from a copy recently found in drummer Eds’ archives.

                                        There is a complete concert of the band playing one of their earliest gigs. Supporting Supergrass in March 1995 at the LA2 in London, the small sister venue of the legendary Astoria venue, this recording captures the vibrant energy and spirit of a band taking the first steps on a hugely successful career. The seven track set features the songs that would go on to become some of their most famous tracks. Also included are each band member's favourite b-side from the era plus the stand-alone single ‘Are You Blue Or Are You Blind?’, the band’s first hit single, making this a fitting package to celebrate the 20th anniversary of the album. The 2CD comes in a tri-fold sleeve with new artwork and sleevenotes from guitarist Adam Devlin, plus contributions from the Eds, Scott and Mark.

                                        The Body Doubles

                                        Atomica

                                        They all grew up in Salford, Manchester, all went to the same school, and all dig Metallica, Iron Maiden and Motorhead. Beer drenched rifftastic metal action excellently described by themselves as: 'Riffs, beer, headbanging, big f***ing songs you can sing along to, more headbanging!' And like they say: 'If your friends don't own this record, your friends are losers!' How can you resist?

                                        ‘The Making Of’ lands blow after blow. Featuring early singles XXX and Swarm, alongside Radio 1 playlisted To Die For and Where You At, the album is two barrels' worth of electrifying tunes and crackling 21st Century rock and roll.

                                        The Bohicas are rock and roll painted in vivid primary colours. Hi def, loud, fast, shiny and above all fun. A barrage of killer hooks, razor blade riffs and choruses that slap you in the face, grab your hand and lead you onto the dance floor. All shot through with pulp imagery torn from the pages of a graphic novel.

                                        ‘The Making Of’ was produced by Mark Rankin (Queens Of The Stone Age, Bombay Bicycle Club), Chris ‘Merrick’ Hughes (Tears For Fears, Adam And The Ants) and Oli Bayston (Toy, Boxed In).

                                        The Bohicas are Dominic McGuinness, drummer Brendan Heaney, guitarist Dominic John and bassist Adrian Acolatse. The Bohicas’ story began in Essex where, as schoolmates, McGuinness, Heaney and John first came together over a love of The Beatles, The Kinks, Ray Charles and the new wave of guitar bands who emerged at the start of the century after the scrag ends of Britpop had finally limped off.

                                        FORMAT INFORMATION

                                        LP includes MP3 Download Code.

                                        The Boils

                                        Pride And Persecution

                                        Second album from Philadelphia punk rock anarchists the Boils. They've toured, and gigged and gigged and toured and are a slick as shit and twice as pustulose as a snot grobblin' band has any right to be. "Pride And Persecution" has been a long time coming, and it proves to be well worth the wait. An adrenaline-amped mixture of old school punk and hardcore.

                                        Bahnsteig 23 offshoot Duca Bianco deliver not one but two 7" smashers this week, as Berlin digger Tom Bolas follows hot on Cherrystones' heels. As with Bahnsteig 23, the vibe is obscure, unconventional and impossible to resist. Tom's outing begins with Kangham funk, a slow and syrupy bit of Korean synth pop, uncovered from the 80s and reworked with the thick and slick bass groove at the forefront. Optimistic pop vocals and a slightly weird chord progression? Sounds undeniably Balearic to me. On the flipside Tom treats us to Senopati Punk, a bright and sparkling foreign language (I'm guessing South East Asia, but could be waaaaay off) version of Mick n Keef's "Under My Thumb" in a similar vein to Devo's "Satisfaction".

                                        The Bonzo Dog Band

                                        Let's Make Up And Be Friendly

                                        Neil Innes and Vivien Stanshall, were the back bone of this band formed in the 60s by the art school students. They started life as The Bonzo Dog Dada Band, then becoming the Bonzo Dog Doo-Dah Band, and then finally just the Bonzo Dog Band. They were originally seen as a 20s revival act but quickly developed into one of the 60s most virulent satirical acts.

                                        FORMAT INFORMATION

                                        CD Info: This expanded remastered edition includes six bonus tracks.

                                        Neil Innes and Vivien Stanshall, were the back bone of this band formed in the 60s by the art school students. They started life as The Bonzo Dog Dada Band, then becoming the Bonzo Dog Doo-Dah Band, and then finally just the Bonzo Dog Band. They were originally seen as a 20s revival act but quickly developed into one of the 60s most virulent satirical acts.

                                        FORMAT INFORMATION

                                        CD Info: This expanded remastered edition includes five bonus tracks.

                                        The Bonzo Dog Band

                                        The Doughnut In Granny's Greenhouse

                                        Neil Innes and Vivien Stanshall, were the back bone of this band formed in the 60s by the art school students. They started life as The Bonzo Dog Dada Band, then becoming the Bonzo Dog Doo-Dah Band, and then finally just the Bonzo Dog Band. They were originally seen as a 20s revival act but quickly developed into one of the 60s most virulent satirical acts.

                                        FORMAT INFORMATION

                                        CD Info: This remastered and expanded edition includes five bonus tracks.

                                        The Books

                                        Freedom From Expression DVD

                                          The Books were one of modern musicʼs most vital players of this still-young millennium. Over the course of four albums in ten yearsʼ time, they eschewed genres and pigeonholes so effortlessly and earnestly that they ultimately pioneered a new genre (or three) in the process. And for all the speechlessness their recordings inspired, their videos were every bit as beguiling: a surreal mix of bizarre found footage, home movies, and psychedelic animated imagery that fit their music so well that the two became virtually inseparable in their live performances.

                                          Freedom From Expression collects every video ever made by the Books, compiled in chronological order. Itʼs enormously satisfying and fulfilling to map the progression from humble bedroom curiosities through to hilariously warped experimental art films masquerading as music videos. At over two hours in length across 21 videos, it is an invaluable piece of the Booksʼ universe, one that demands constant replays, and delivers as many emotional and cerebral twists and turns as anything else in their absurdly unique and forward-thinking catalog.

                                          The Books

                                          Thought For Food (2016 Reissue)

                                            And so it began. When multi-instrumentalists and sound enthusiasts Paul de Jong and Nick Zammuto first came together, they surely could not have foreseen their debut album, Thought For Food, becoming such a beloved genre-defying masterpiece, an album that rests firmly in countless Top 100 Albums of the Decade lists. Filled with endearing and enduring songs, the Books revisit their wide-eyed beginnings with this remastered Thought For Food, repackaged with all-new artwork and expanded to include lyrics for every song for the first time ever. Carefully and thoughtfully remastered from the original mixes by Zammuto at his new studio outside his home in Vermont, TFF now boasts a warmth and clarity that surprisingly reveals an increased harmonic depth. Having combined and refined their compositional and recording processes over the course of four albums, addressing the technical limitations of these earlier recordings offers the chance to marry the technical, musical and emotional aspects of these songs in a way like never before. To be sure, the differences are subtle, but for a band who have transformed minutiae into modern art, that subtlety is downright sublime. 

                                            FORMAT INFORMATION

                                            LP Info: Classic debut album digitally remastered from original mixes. Features all new artwork, including never-before-seen lyrics and images

                                            The Border Surrender

                                            Lean Season EP

                                            Following on from the remarkable and gloriously haunting single “Oh Mary”, The Border Surrender return with their second EP “Lean Season”. Having firmly established themselves in amongst the fray of the UK’s most exciting new acts, the North London quartet demonstrate their remarkable ability to evolve and build upon their own foundations with this, a mesmerising recording that delicately drifts away from the earlier proclaimed tags of Americana Folk that were drawn upon on their debut EP, and shifts itself towards the other Southern state influences of Blues and Gospel. Released on Smoky Carrot Records, “Lean Season” places itself in the unusual territory of being not only technically comprehensive and steeped in heavily educated influences, but of also being filled with overwhelmingly anthemic choruses and masterful pop driven hooks.

                                            Although utterly unique in their production and execution The Border Surrender, to a certain degree, take pride in wearing their influences on their combined sleeve. In fact, each of the four songs included on this record were specifically chosen to represent the different styles and genres that the quartet have drawn upon to create their sound. Opening the EP in magnificent style is the ethereal and euphoric melody of “If You Pass Me By”. Written with the sound of Springsteen’s Nebraska album in mind, but resulting in a more muscular full band sound that has drawn comparisons to The Arcade Fire, this composition is best described as experimental-country, and could be viewed as the centre piece to the entire EP. The lyrics follow the feelings of an unfortunate soul, who can only look on at people enjoying the spoils of success while he walks the streets with his memories of a grand dream that in hindsight and passing looks more like grand delusion. Whereas, the rallying, almost biblical, “Call To Prayer” and the wistful “What Happened at The Estuary” are gleefully infected with an honest Blues tint, which the band proclaim is largely due to a love of modern blues based artists such as The Black Keys and Nick Cave. However, sandwiched between in the middle, we can hear an audible difference in the approach to the more pop-driven folk sound of “The Mariners Wife” whose bouncing verse and joyful chorus sits in stark contrast to the lyrics of its two worn out subjects. These words recall a tale of a retired navy captain, who looks back on his life with a woman who he left his position to marry. She now lives under his shadow and has almost completely lost her own identity, being now constantly referred to as the Mariners wife rather than her own title. On listening to this superlative EP in its entirety, the complexities and comfortable contradictions of each recording truly find their way to the front and mark this out as a highly accomplished and poignant record; one which will no doubt dominate the listeners ear phones for quite a time to come.

                                            The Boy Who Trapped The Sun

                                            Fireplace

                                            The Boy Who Trapped The Sun is 25 year-old Colin MacLeod - the 'Boy Who' moniker, he says, 'feels bigger and less lonely'. Originally from the Isle of Lewis, a windswept outcrop of the Outer Hebrides, MacLeod was discovered swinging round the rafters of an Aberdeen bar, dishing out Deep Purple covers and, he says, 'generally acting like an arse'. Having smashed his guitar and knocked himself unconscious on stage, he set to cleaning up both the broken instrument and his act. Thus The Boy moved to London, to become a solo artist and an adult.

                                            And so emerged "Fireplace", with MacLeod playing all the instruments bar the strings himself. Hazy opener "Golden" sets the scene, with MacLeod gently drawing the listener into his world. New single "Katy" is more upbeat, a catchy paean to avoiding commitment. Title track "Fireplace" was written when MacLeod was housebound for four days as a fierce storm battered Lewis, while the loose, bluesy "Home" was written in London, about being displaced in the big city - 'This city's not a home, but it's somewhere to get lost'. "Walking In The Dark" is an achingly pretty piano-led track, while the waltz-y, wry "Dreaming Like A Fool" is the tale of ex-girlfriend who tried to stab MacLeod. 'Lately it feels like we're drifting apart', he sings. 'It could be because you're insane'.
                                            Riding on a dream-like descending riff "Copper Down" features exquisite harmonies and a deft, mid-song change of pace. The final track is the haunting, beautifully arranged "Antique Cobweb". There follows the hidden spoken-word outro "Poem", its second verse in Gaelic, wonderfully evocative of the Isle of Lewis and the sea that defines it. "Fireplace" is a beautifully realised debut from an authentic new talent. Listen again and again.

                                            Can it really be thirty years since The Brand New Heavies first sashayed into the public eye with a romantic’s heart, a hedonist’s spirit and a Superfly sensibility?

                                            A heady cocktail of Chic-style funk-pop, sunshine grooves and scorched soul balladry, the release of TBNH sees The Brand New Heavies writing a new chapter in what has been an illustrious journey whilst also marking a return to their spiritual home, Acid Jazz Records.

                                            Today The Brand New Heavies share a breath-taking version of Kendrick Lamar’s These Walls recorded with long-time associate and vocalist N’Dea Davenport and produced by uber-fan Mark Ronson. It was that line-up of the band that had originally brought the funk into his life having caught their show in New York in 1991, later inviting them to play at his 40th birthday party. Insistent once more to reconvene that line-up, successfully reunitingN’Dea and The Heavies for his production of this trackfor their 30th anniversary album.

                                            TBNH is released across all formats including a double vinyl album set and available to pre-order here

                                            The album’s heart, both musically and physically is a friendship that can be traced back to the mid-Eighties - more specifically the shared experiences growing into adulthood on the western reaches of London for Simon Bartholomew (guitar) and Andrew Levy (bass) and a return to the formula that saw the band score sixteen Top 40 hits and three million album sales.


                                            STAFF COMMENTS

                                            Millie says: Thirty years on and they’ve still got it! The Brand New Heavies are back home on their label Acid Jazz Records showcasing their soul-drenched grooves, including a Kendrick Lamar cover with Mark Ronson pulling the production strings, make sure you don’t miss this one!

                                            A slamming slice of beatnik blues boogie indelibly cast with the spectre of the Standells, this lo-fi fuzzed-out beauty shimmies and shakes like a recently unearthed 60s nugget. Jaa! Sweden's new garage-rock kings have a debut album that delivers everything you want from a style-conscious, but not nostalgic retro band – pulverising guitars, screeching, snotty caveman singing, maximum grooving and guaranteed male chauvinistic lyrics. The Troggs, Namelosers and Bo Diddley are key words in this fuzz-crossword puzzle. But their influences are so cleverly dissected and reconstructed that you will just find yourself dancing (and sweating) in front of your gramophone. Hailing from Malmö in southern Sweden they are fronted by Englishman Lee Tea (former bassist with Thee Exciters) who is responsible for the raw vocal and crushing guitar sounds while John Krantz on bass and Anders Hansson make up the driving rhythm section. The Branded have taken their interpretation of the sixties garage band rockin' rhythm'n'blues sound around half of Europe already and they've only been together for just over a year.

                                            The Bravery

                                            Fearless

                                            More 80s infused pop from The Bravery. Wailing Robert Smith-esque vocals over chunky synths riffs and choppy guitars that create a relentless, infectious rhythm.

                                            FORMAT INFORMATION

                                            DVD single Info: The DVD single features the video for "Fearless", a live video of "No Brakes" and a photo gallery.

                                            The Bravery

                                            The Bravery (Special Edition)

                                            Five more cool but still fun New Yorkers, this lot make post-punk electronic rock / pop just like it's England in 1982. You could fit them in with Franz or The Killers today, but really it's poppy Cure, early Duran Duran or the pre-rock Simple Minds that spring to mind. By the way: this is a Good Thing. The New Romantic era was full of exhuberance and the music was made to get you up and out as much as it was to listen to. And with songs as catchy and uplifting as this, The Bravery will surely go far.

                                            FORMAT INFORMATION

                                            Ltd CD Info: Superb limited edition with deluxe embossed silver sleeve!!!! Last ever copies at a BARGAIN price!!!!!!

                                            The Breadwinners are Alan Redfern and anyone else he happens to work with. Al is a multi-instrumentalist, composer, recording / mixing engineer and producer. Sometimes it seems it would be easier to list the instruments he doesn’t play - the album features him on drums, bass, keyboards, guitar, percussion and harp - that’s harp as in 'harp' not 'mouth harp'. Whilst he plays the majority of the instruments on the album he is also joined by several guest musicians, most notably the sax and flute player known only as 'Stally' who features prominently throughout, weaving his magic with his languid, lyrical style - nothing flash, just pure niceness!

                                            This vinyl edition of “Dubs Unlimited” is that rare beast, the Triple A: 'All Analogue Album', recorded on analogue multitrack, mixed to quarter inch analogue tape and cut direct to the lathe – not a ProTool in sight!

                                            This is NOT the same as the CD-R version of the album which has been knocking about for a bit. The CD-R contains early mixes of the tracks, whereas the King Spinna release features brand new mixes with lots of overdubs - brass, flute, harmonica and vocals. The new analogue mixes give the album a warmth and richness, especially in the bottom end, which is lacking on the CD-R version.

                                            The album has been totally re-sequenced, and professionally mastered by the one and only Kevin Metcalfe at The Soundmasters, London.


                                            STAFF COMMENTS

                                            Matt says: Can't believe I've been sleepin' on this for so long... So very authentic, Andy thought it was late '70s Lee Perry! 'Cept it's post millennial, Stockport-based Al Redfern! #OMG

                                            The Break

                                            The Break

                                            The Break are an aggressive, rapid assault of uplifting punk rock, loaded with loud guitars, intense vocals and enough bottom end to make you feel funny.

                                            The Breeders

                                            Last Splash

                                              Originally released by 4AD in August 1993, ‘Last Splash’. By the time this album was released, Tanya Donelly had left the band to for Belly and Kim Deal had been joined by her sister Kelley. The album features possibly their best known song, the late 90s indie-disco classic ‘Cannonball’.

                                              The Breeders

                                              Pod

                                                The Breeders were formed by The Pixies Kim Deal and Throwing Muses Tanya Donelly. This was their debut album originally released by 4AD in May 1990. The album, produced by Steve Albini combines the energy and angular pop sensibilities of their other bands, bolstered by creative songwriting and clever arrangements. It features iconic Vaughan Oliver artwork.

                                                All Nerve – the first new album from The Breeders in a decade – reunites band members Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson, the line-up behind the iconic and platinum-selling record, Last Splash.

                                                The quartet returned to the stage in 2013 to celebrate the album’s 20th anniversary and have been quietly working on new material since then.

                                                Featuring singles ‘Wait in the Car’ and title track ‘All Nerve’, recording took place at Candyland, Dayton, Kentucky, with Mike Montgomery; Electrical Audio, Chicago, with Steve Albini and Greg Norman; and with Tom Rastikis at Fernwood Studios, Dayton, Ohio. Artwork was conceived by Chris Bigg, who has worked with The Breeders since their first album, Pod.

                                                STAFF COMMENTS

                                                Barry says: It's hard to not to get tingles down the spine when hearing Kim Deal's voice. As one of the most recognisable vocals in grunge history. Deal's role in the pixies was unarguably important, but this really takes that iconic backing vocal and brings it rightfully to the forefront. This is a confident, rocking delight, as nuanced as it is heavy.

                                                FORMAT INFORMATION

                                                LP Info: 180g black vinyl LP.

                                                The Breeders

                                                LSXX - Last Splash: 20th Anniversary Edition

                                                ‘LSXX’ is available as a deluxe three CD package. Many of the recordings included in the set have never been released before, or are rare / fanclub only gems.

                                                Cover and individual sleeve artwork has been created by renowned British graphic designer Vaughan Oliver, who described it as “an irreverent conceptual and visual reimagining” of his original ‘Last Splash’ artwork.

                                                The release coincides with the Breeders’ ‘LSXX World Tour’, which marks the first time Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson have performed together since 1994.

                                                Though ostensibly a side project of The Pixies' Kim Deal and Throwing Muses' Tanya Donelly, The Breeders' 1990 debut, "Pod", has held up as a classic of late 80s/early 90s off-kilter alternative pop, surpassing the contemporaneous work of their main bands. Though Deal would really hit the big time 3 years later with the Breeders' follow-up, "Last Splash", and Donelly would do the same with her next band, Belly, "Pod" is the band's finest, most coherent, album and perhaps the high point in both their careers. Engineered by the legendary Steve Albini.



                                                The Brian Jonestown Massacre

                                                +/- EP

                                                  On the '+ - EP' are 3 brand new and exclusive tracks recorded by Anton Newcombe in his studio in August 2014 after the band’s successful European tour .

                                                  This release brings the traditional Brian Jonestown Massacre sound mixed with eastern influences and bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe.

                                                  The Brian Jonestown Massacre

                                                  Give It Back!

                                                    Give It Back! was the sixth studio album by American psychedelic rock band The Brian Jonestown Massacre, originally released in 1997 by record label Bomp!. First time on 180g audiophile vinyl. Notably, this is the only album that features Peter Hayes, who later founded the Black Rebel Motorcycle Club. The sessions for the record were filmed for the documentary Dig!. Though only a couple of minutes of these sessions appear in the film.

                                                    The Brian Jonestown Massacre

                                                    Mini Album Thingy Wingy

                                                    Mini Album Thingy Wingy are 7 brand new & exclusive tracks recorded by Anton Newcombe in is his studio in Berlin in 2014 & 2015. Running at over 34 minutes, the mini album is co produced, engineered & mixed by Fabien Leseure. This release contains four self written songs by Anton Newcombe, a co write of the band’s first Slovakian song (Prší Prší) with Vladimir Nosal, another co write (Pish) with Tess Parks and a cover of the 13th Floor Elevator’s track “Dust” which features Alex Maas from the Black Angels on jug.

                                                    Originally, Anton Newcombe was heavily influenced by The Rolling Stones' psychedelic phase, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

                                                    This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.

                                                    FORMAT INFORMATION

                                                    LP Info: The LP is available on clear vinyl and has different artwork from the CD and double 10”.

                                                    2x10" LP Info: 1 COPY LEFT!
                                                    Double 10” is on red vinyl and numbered and limited to 1000 copies.

                                                    The Brian Jonestown Massacre

                                                    My Bloody Underground

                                                      After spending time writing and recording in Liverpool, England and Reykjavik, Iceland; "My Bloody Underground" is the thirteenth full length album released by the band, and is released on Anton Newcombe's own record label A Recordings. Fans and critics of Brian Jonestown Massacre who have eagerly awaited a new album for a little over four years now will not be disappointed with its musical content, quality and controversy to follow. The opening track titled "Bring Me The Head Of Paul McCartney On Heather Mill's Wooden Peg (Dropping Bombs On The White House)" begins and soars into an echoing wave of tambourines and trancelike acoustics, that continues for 12 more tracks and 75.87 minutes, stirring visions of sunny Californian communes to New York City bars on the Lower East Side. From Rishikesh to Reykjavik, the entire album provides provocative glimpses into Anton Newcombe's head, both the darkness and the light, so clearly and so beautifully self produced.

                                                      FORMAT INFORMATION

                                                      2xLP Info: 180 gram double vinyl.

                                                      Revelation is the first album that was fully recorded & produced at Anton’s recording studio in Berlin. It is the 14th full length release from the Brian Jonestown Massacre recorded from late 2012 to early 2014. With Anton Newcombe refining the 13 tracks that appear on the album.

                                                      Featuring Ricky Maymi an original member of the band playing on this album. It also features Joachim Alhund (Les Big Byrds), Constatine Karlis (Dimmer), & Ryan Van Kriedt (Asteroid #4). Plus vocal performance in Swedish by Joachim Alhund (Les Big Byrds) on the opening track.

                                                      This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe.

                                                      The Brian Jonestown Massacre

                                                      Tepid Peppermint Wonderland Volume 1

                                                        This comes for the first time on 180grm black vinyl in a gatefold sleeve. Re-mastered for a vinyl release . This 15 track compilation spans the years 1995 – 2004 featuring key tracks from all their albums as well and live recordings and many unreleased tracks. Volume 2 will be released in early 2014. The album is seen as a classic Brian Jonestown Massacre release the CD was originally released in 1997.

                                                        The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

                                                        The Brian Jonestown Massacre

                                                        Thank God For Mental Illness

                                                          At the risk of further belabouring a rather obvious point, with "Thank God For Mental Illness", their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning — rarely are bands quite so productive, or quite so consistently amazing. "Thank God" is the BJM's down-and-dirty country-blues outing, all 13-odd tracks supposedly recorded on a single July day at a cost of just $17.36.

                                                          The Brian Jonestown Massacre

                                                          Third World Pyramid

                                                          Third World Pyramid is the first album that was fully recorded & produced at Anton’s new Cobra Studio in Berlin . It is the 15th full length release from the Brian Jonestown Massacre recorded from early 2016.

                                                          Featuring Ricky Maymi , Dan Allaire , Joel Gion , Collin Hegna & Ryan Van Kriedt from the band .Also Emil Nikolaisen from the Norwegian band Serena-Maneesh joins the band on this album , plus vocal performance Tess Parks and Katy Lane .

                                                          Anton Newcombe has been a very busy man these past 2 years, kicking off with the critically acclaimed Brian Jonestown Massacre album ‘Revelation’ in May 2014. After a successful UK and European tour, the BJM followed this up with the ‘+-‘ EP (Nov 2014). 2015 saw the release of ‘Musique de film imaginé’ (April); an imaginary film soundtrack album featuring the track ‘Bonbon’ which has, ironically, been used in ‘Dheepan’; the Palme D'or winner at Cannes film festival 2015. In June, Anton and Tess Parks embarked on a well received tour of the UK and Europe to support the release of ‘I Declare Nothing’. Anton finished the year with a BJM mini-album release entitled ‘Mini-Album Thingy Wingy’. 

                                                          STAFF COMMENTS

                                                          Barry says: Encompassing aspects of wandering psychedelia, meditative drone and anthemic indie balladry, this newest outing from Newcome and co. is their most diverse and exciting yet, cementing them as one of the most defining and prolific acts in modern music.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: 180 gram magenta coloured vinyl.

                                                          The Broken Blackbird Ensemble

                                                          Gadzooks!

                                                          "Gadzooks!" is the first album by new 6-piece experimental group The Broken Blackbird Ensemble. It features James and David from Big Eyes, but there the comparison ends. TBBE feature players previously and currently immersed in noise / sound experimentation, klezmer, folk, classical and acid-rock, but this, their first album, contains nothing that could be specifically classified under any of these categories. The album was recorded and improvised in one day (in September 2004), with some tracks from the vaguest principle, others conceived from scratch. Theirs is the sound of creaking wood, gothic ragas, horrored drones, a choir of pipes and oh-so hushed melody. Is free-folk the right term? Who knows, but there is definitely some music common ground between the New Weird America artists and TBBE.

                                                          Back in 1976, The Brothers were an emerging disco soul septet whose blistering arrangements and ferocious playing had earned them a cult following and a major label deal. Little did they know that only a few years after the release of 'Brothers Theme', it would be a huge record on the dance-floors of NYC's Paradise Garage and Chicago's Music Box with both Larry Levan and Ron Hardy hammering the record behind the controls every night. The playing of the group paired with the production prowess of the legendary producer, writer and arranger Warren Schatz (Frankie Valli, Dolly Parton, Vickie Sue Robinson and more) combined to make a fairly heady brew of disco, orchestral overtures and incediary dancefloor bombast. This is proper disco music in its purest form, and it's still doing damage today!
                                                          Often sought after by the deepest of diggers on a white label promo 12" this rare EP now sees a fully legit reissue, sourced from the RCA vaults using original materials and remastered and repressed to the highest standard for 2018 and featuring all original 1976 RCA label artwork. Accept no substitutes!

                                                          STAFF COMMENTS

                                                          Patrick says: So enamoured was I with the unrivalled groove of "Brothers Theme", I spent about three years trying to make my own edit of it. After countless attempts, I can confirm that the track is, in fact, perfect and when you get it on your deck I'm sure you'll agree.

                                                          FORMAT INFORMATION

                                                          12" Info: *ONE COPY FOUND*

                                                          The Edgar Broughton Band

                                                          Out Demons Out! The Best Of....

                                                          Live the Edgar Broughton Band brought their brand of Beefheartesque blues rock to heights they rarely acheived on record but this excellently compiled collection really does have some great songs and for once there are no real omissions this really is the only Broughton album you'll need.

                                                          Tracey Browne

                                                          Tracey Browne

                                                          Tracey Browne created Earthscension Records at the age of 20, in order to produce and release her own music. Directly inspired by Ani Difranco, who did the same thing 15 years ago. Thirteen tracks of mellow, acoustic-guitar and piano based music, the lyrics are inspired by girls, life and imagination. When singing with rock band Minusoneraver, Tracey's vocals have been likened to All About Eve singer Julianne Regan, or Evanescence's Amy Lee; here, they are stripped bare and fluid, recorded to allow the natural sound of her voice to be heard. A truly independent release, this album was written, produced and performed by Tracey, and serves as a strong debut for a singer-songwriter who will continue to release music regardless of trends.

                                                          The Dave Brubeck Quartet

                                                          Time Out

                                                          Dave Brubeck's "Time Out" ranks alongside Miles Davis' "Kind Of Blue" as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of "Time Out", with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon.

                                                          The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented piano style, and the airy, delicate "Everybody's Jumpin'" showcases the lyrical splendor of saxophonist Paul Desmond. With bassist Gene Wright and drummer Joe Morello keeping the tricky rhythms agile and swift, the Dave Brubeck Quartet blended complexity and accessibility for pure jazz pleasure on "Time Out", an album everyone should own.

                                                          FORMAT INFORMATION

                                                          LP Info: Limited 180g pressing.

                                                          The Brunettes

                                                          Paper Dolls

                                                            The Brunettes have a meticulous craft in the studio. Writing pop songs, that most fickle of forms, requires a precision that comes naturally to the band, and their records ring perfection in every note. Their sense of fun firmly intact, The Brunettes inject their new batch of songs with a sense of modernity on "Paper Dolls". Opener "In Colours" and closer "Thank You" are the entrance and exit into this world, as both sit comfortably with previous efforts; in between, however, principal songwriter Jonathan Bree augments his pop leanings with drum machines and an intimidatingly wide array of synths to fantastic effect. Lyrically, the album combines clever call-and-response levity, an undercurrent of smoldering romance, and a penchant for idiosyncratic storytelling. A concise 35 minutes, "Paper Dolls" reaffirms the glory of a simple melody. 'Thank you for the time', Mansfield sings to close out the record. So polite, those New Zealanders!

                                                            Tracy Bryant

                                                            Parachute

                                                              Two songs by the LA-based former Corners frontman. "Protect Your Head" recently used in DC Shoes/Thrasher skate video. First LP Subterranean released on Burger Records in Feb. 2016, new LP 'A Place for Nothing and Everything in Its Place' out Oct. 2017, also on Burger. 

                                                              The first-ever comprehensive single-disc retrospective of the legendary singer-songwriter's groundbreaking, genre-defying work! Falling somewhere between way ahead of his time and timeless in the truest sense of the word, legendary singer-songwriter Tim Buckley's far-reaching genius spanned both a multi-octave vocal range and a multiplicity of genres. Now one of the most mythologized figures in rock history, Buckley was born in Washington, DC and raised in Orange County, CA, first emerging as a folk-rock icon with his self-titled '66 debut LP. His fragile, soaring melodies became more intricate and free-form on subsequent albums, where psychedelic and improvisational elements were heightened as well. Buckley also followed his muse through avant-garde jazz explorations, soulful self-expression and constant stylistic redefinition, all coloured by extraordinarily fluid vocals. One of music's most influential, complex and visionary talents; Buckley died tragically young in 1975 at age 28, cutting short a creative spirit that knew no boundaries. Spanning 1966—1974, this album covers all the essential tracks totalling over 77 minutes of music. 18 tracks that draw from Buckley's entire catalogue of studio albums. All the tracks are remastered to sound better than ever.

                                                              Buckley's second album, and a quantum leap on from his first. Recorded in 1967 when the world was still feeling the recent after-effects of "Sgt. Peppers", this album's scope was immense, and a few tracks were even co-written by poet Larry Beckett. Cited by many as Tim Buckley's best album, this was certainly the pinnacle of Tim's more traditional folk side.

                                                              His third album released in 1969, this saw Buckley really spreading his wings and incorporating more jazzy elements into the sound. The album featured just six tracks, many of them lengthy and evolving opuses of passion and pain, but there was now more depth and space to his music which complemented his amazing vocal range to complete perfection.

                                                              Tim Buckley

                                                              Morning Glory-The Anthology

                                                              If anyone could be termed a tortured genius Tim Buckley could. The self induced damage he did to himself, the anguish and pain in some of his songs are a bitter mirror image to the purity of his voice and the hope for love and a better world in other tracks. This is a superb anthology - 33 tracks, many rare or previously unreleased plus all his great works like "Song To The Siren" and "I Must Have Been Blind".

                                                              Tim Buckley

                                                              Tim Buckley & Goodbye And Hello

                                                                Tim Buckley died on June 29th 1975 less than a decade after these, the first, of his albums were issued. In that period the 'tenderest of troubadour' image was replaced by the vulnerable, emotionally complex and damaged tortured artist of his later work. Drugs and inner demons played a bitter part in his story but there is a freshness and joy on these early recordings that have no echo of the pain to come. Remastered and reissued as part of Elektra Records 50th Anniversary these are gifted and insightful delights.

                                                                Tim Buckley

                                                                I Can't See You (1966 Demos)

                                                                  This is the first ever release of these four Tim Buckley demos, mastered from the original tape by Bill Inglot and Dan Hersch. They are believed to have been recorded in 1966, after the Orange County demos of November 1965, but before the recording of debut album “Tim Buckley” in August 1966.

                                                                  The annotation on the inner sleevehas been written by LA-based Buckley expert Pat Thomas. He has interviewed Larry Beckett, Buckley’s school-friend, and co-writer of many of his early songs, including three of these.Beckett identifies the lead guitarist as Brian Hartzler (rather than subsequent mainstay Lee Underwood), the bass player as Jim Fielder (later of Buffalo Springfield, The Mothers, and Blood Sweat & Tears), and the drummer as possibly himself. Three of the four songs (“It Happens Every Time”, “I Can’t See You” and “Grief In My Soul”) on this EP were re-recorded for the debut album with a different set of musicians – this release affords the Buckley fan the opportunity to hear the songs before Buckley signed to the Elektra label and the professionals got hold of them

                                                                  Tim Buckley

                                                                  Look At The Fool

                                                                    The list of '60s and '70s singersongwriters is long and full of legends; but perhaps the most talented of that very talented bunch was Tim Buckley. Certainly when it came to singing Buckley was at the very top; his range was unmatched, capable of covering several octaves and acres of emotion in one breath, from sweet, tenor tenderness to hoarse, cracking anguish.

                                                                    And his songwriting showed a similar wide range; in the course of eight short years Buckley went from baroque, psychedelic folk rock to jazzy, even avant-garde ravings to blue-eyed soul. This extreme eclecticism, of course, worked against Buckley commercially. But it's also one of the reasons why his reputation has steadily grown in the years since his untimely death in 1975.

                                                                    Countless listeners only familiar with his early Elektra albums have found themselves floored by his later output. Which is where we find ourselves with 1973's Sefronia and 1974's Look at the Fool, the last two records Buckley released during his lifetime and probably the two most controversial albums of his career. Long-time fans decried these records as sellouts, and indeed their soft '70s funk feel is jarring to those used to his more adventurous work. But Buckley proves himself to be one helluva R&B singer on these albums, which deserved a much larger audience than they got (by this time Buckley was on Frank Zappa and Herb Cohen's label DiscReet).

                                                                    Now, Real Gone Music is proud to present both Sefronia and Look at the Fool on vinyl for the first time since the late '80s, in versions newly remastered from the original master tapes by Bill Inglot. These releases mark a significant upgrade in sound from what's heretofore been available, and to celebrate, we're offering each of these records in two different versions: for audiophiles, a limited edition of 400 copies in 180-gram black vinyl, and for collectors, a limited edition of 300 copies in colored vinyl (Red for Sefronia and Blue for Look at the Fool). It's high time these albums were reappraised; these vinyl releases show them at their very best!

                                                                    STAFF COMMENTS

                                                                    Andy says: Tim Buckley gets funked up again on what would be the final album of his life. Mega

                                                                    FORMAT INFORMATION

                                                                    LP Info: Black vinyl.

                                                                    Tim Buckley

                                                                    Sefronia

                                                                      The list of '60s and '70s singersongwriters is long and full of legends; but perhaps the most talented of that very talented bunch was Tim Buckley. Certainly when it came to singing Buckley was at the very top; his range was unmatched, capable of covering several octaves and acres of emotion in one breath, from sweet, tenor tenderness to hoarse, cracking anguish.

                                                                      And his songwriting showed a similar wide range; in the course of eight short years Buckley went from baroque, psychedelic folk rock to jazzy, even avant-garde ravings to blue-eyed soul. This extreme eclecticism, of course, worked against Buckley commercially. But it's also one of the reasons why his reputation has steadily grown in the years since his untimely death in 1975.

                                                                      Countless listeners only familiar with his early Elektra albums have found themselves floored by his later output. Which is where we find ourselves with 1973's Sefronia and 1974's Look at the Fool, the last two records Buckley released during his lifetime and probably the two most controversial albums of his career. Long-time fans decried these records as sellouts, and indeed their soft '70s funk feel is jarring to those used to his more adventurous work. But Buckley proves himself to be one helluva R&B singer on these albums, which deserved a much larger audience than they got (by this time Buckley was on Frank Zappa and Herb Cohen's label DiscReet).

                                                                      Now, Real Gone Music is proud to present both Sefronia and Look at the Fool on vinyl for the first time since the late '80s, in versions newly remastered from the original master tapes by Bill Inglot. These releases mark a significant upgrade in sound from what's heretofore been available, and to celebrate, we're offering each of these records in two different versions: for audiophiles, a limited edition of 400 copies in 180-gram black vinyl, and for collectors, a limited edition of 300 copies in colored vinyl (Red for Sefronia and Blue for Look at the Fool). It's high time these albums were reappraised; these vinyl releases show them at their very best!

                                                                      STAFF COMMENTS

                                                                      Andy says: Tim Buckley had long since left his pure folk roots behind, but to get the groove and swing this late on was a startling new chapter for him and his fans. This has his glorious take on Fred Neil's "Dolphins" on it: worth the price of admission on its own.

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Limited red vinyl

                                                                      LP Info: Black vinyl

                                                                      Tim Buckley

                                                                      Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions

                                                                      13 previously unissued solo acoustic demos
                                                                      * Remastered from the original analog tapes and acetate
                                                                      * Book includes in-depth interview with Buckley’s lyricist Larry Beckett

                                                                      In 1967, the face of rock was changing. In that year alone there were debut albums from The Velvet Underground, The Doors, and Pink Floyd, to name a few. The Beatles had combined orchestration with their music—the result was Sgt. Peppers in June, the same month that Tim Buckley recorded Goodbye & Hello.

                                                                      Buckley was no longer just another singer-songwriter with an acoustic guitar; he was drenched in acid-folk tinges of harpsichord and harmonium. Lyricist Larry Beckett embellished Tim’s songs with introspective lyrics at times, worldly views at others. It was the first major triumph for Tim as an album artist, partially because there were a remarkable amount of pre-production demos that led to it.

                                                                      Available here for the first time are these newly discovered master tapes, recorded by Goodbye & Hello’s producer Jerry Yester, along with an ultra-rare acetate, found to be in co-songwriter (and best friend) Beckett’s possession.

                                                                      Of the 13 previously unreleased solo acoustic songs contained here, six of them did eventually appear with more expansive instrumentation on Goodbye & Hello (along with another four not included here). However, the crown jewel of this package is seven never-before-heard compositions. These will be new to even the most devoted Buckley fan. Arguably, two of them crept out decades after Tim’s death (albeit, much different recordings than what you have here) but with little fanfare.

                                                                      So much has been written about Tim Buckley but so little of it by people who actually knew him. This booklet, however, includes a detailed interview with both Larry Beckett and Jerry Yester, providing real insight on how these recordings came to be and attempting to uncover the man behind all the myths, the real Tim Buckley.

                                                                      Several rarities releases in the 1980s and ‘90s shed light on his talent, especially the live recordings, but all of the studio material has generally been alternative versions of songs that fans already knew—until now. This is the first-ever posthumous release that reveals a wealth of previously unreleased and unheard tracks from Tim at the peak of his career. In short, you need this!


                                                                      Thoma Bulwer returns with "Jandaze", his latest EP on Parasol Culture featuring long-time partner in crime Anna Wall. It follows Parasol 001, their first joint vinyl release, that sold out on the shelves gaining support from the likes of Mood II Swing and Cab Drivers plus on the airwaves via NTS. Their "Jandaze" EP has already been doing the rounds on the DJ circuit in Hackney Wick and beyond.

                                                                      "Patience" was the result of a late night jam session with sync boxes, groove benders and the classic TR-909. After much fine-tuning, it’s been tried and tested by Cinthie on her recent Australia tour and is set to be a staple club cut for this summer.

                                                                      Although "Insouciant" means a casual lack of concert, a lot of work went into making this one tick. It’s the most laid-back of the bunch, with Smallville-esque Juno 106 melodies perfect for the afterparty or warm up session. This goes out to the post-NYD loft party crew in The Wick where it was played for the first time. Try pronouncing this one at 7am in the morning…

                                                                      "Fridge Speed" is a minimal house cut influenced by Thoma’s garage roots. Think rudely placed analogue synth stab melodies, ‘tuff’ skippy drums and big subs ideal for early hours and the capital's penchant for upfront house tackle.

                                                                      "Egress" was made with long jam takes from Thoma’s modular system. Deep, dubby beats, evolving synths and textures make up this track that’s been road-tested on the world famous Fabric Room 1 sound system by Voigtmann in his extended set before Ricardo Villalobos.

                                                                      Current support comes from Maya Jane Coles, Archie Hamilton Franck, Roger, Cinthie, Voigtmann, John Dimas. 


                                                                      Tim Burgess & Peter Gordon

                                                                      Same Language, Different Worlds

                                                                        The Charlatans frontman originally met New Yorker Peter Gordon in 2012 and they decided then on a music collaboration. Burgess had been a long time fan of Gordon’s work with Arthur Russell and The Love Of Life Orchestra. The album was produced by Gordon in New York and features many of his and Tim’s previous collaborators: Ernie Brooks who played with Arthur Russell on the first Modern Lovers album, trombone player Peter Zummo, conga player Mustafa Ahmed and Nik Void from Factory Floor.

                                                                        "What I love about working with Peter is that in the late 70s with Peter Zummo and Arthur Russell and all the New York cats at The Kitchen, they were all making futuristic records," Burgess enthuses. "Now Peter in his mid-60s is still looking to do that. It's the world that I want to be in."

                                                                        STAFF COMMENTS

                                                                        Laura says: If you're only aware of Tim Burgess from his Charlatans releases, then you may be surprised by this album. Working with veteran composer and musician Peter Gordon, Tim explores more experimental / avant soundscapes, with his softly sung vocals floating over pulsing beats while keyboards bubble and whoosh, saxophones wail and trombone, congas and guitars drift in and out of the mix.

                                                                        FORMAT INFORMATION

                                                                        2xColoured LP Info: Limited clear vinyl.

                                                                        Vinyl comes with CD version of the album enclosed.

                                                                        Tim Burgess

                                                                        Tim Book Two

                                                                          In 2012, Tim Burgess of the Charlatans published his hugely successful and critically acclaimed memoir, Telling Stories. Tim really enjoyed his new role as an author, and so here it is: Tim Book Two - a tale of Tim's lifelong passion for records, the shops that sell them, and the people who make them.

                                                                          In some ways, the biggest events in Tim's life happened in the couple of years after he had finished writing his first book rather than in the forty years before. So he had more to say, but instead of another autobiography he chose a different way of telling the story. Tim set himself a quest. He would get in touch with people he admired, and ask them to suggest an album for him to track down on his travels, giving an insight into what makes them tick. It would also offer a chance to see how record shops were faring in the digital age - one in which vinyl was still a much-treasured format.

                                                                          Tim assembled his cast of characters, from Iggy Pop to Johnny Marr, David Lynch to Cosey Fanni Tutti. Texts, phone calls, emails and handwritten notes went out. Here is the tender, funny and surprising story of what came back.

                                                                          Tim Burgess is a singer-songwriter and record label owner, best known as the lead singer of one of the defining bands of the 1990s, The Charlatans.

                                                                          Tim was born in Salford but grew up in a village near Northwich, Cheshire. Leaving school at 16 to work at ICI, his real love was music and soon afterwards he was invited to join new band, The Charlatans. They went on to have 3 number 1 albums and 17 top 30 singles. For 12 years, Burgess lived in Los Angeles but now lives back in the UK. 


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