After the first wave of artists that have broken the ice with their way of combining contemporary symphonic music with electronica and jazz on the European side (Olafur Arnalds, Nils Frahm, Max Richter) – now there is a new generation of young musician breaking boundaries on a new level. Especially in Germany there is a new wave of artists that bring the thing on a whole new level. These 20 – 25 year old people don't just imitate what the bigger names in the scene (the fathers) have done but develop the style to a totally different level and add new ideas instead of just copying what the older guys did. This new wave of artists have a huge musical knowledge, have studied at the best music academies, learned to play „classical“ instruments and know how to improvise on a very high level. They have been raised in 2 different world: Studied the history of (contemporary) classical music and also been influenced by what's happening in Electronica evolution of the last 25 years.

Ralph Heidel is one of these new kids in the German scene. Coming from Munich, the 25 year old extremely talented musician studied saxophone and composition at the Munich academy of music (known for being the best music school in Germany. Think Julliard or Berklee). He graduated in 2018. Leering everything about the music of 20th century composers (Charles Ives, Alfred Schnittke, Giöyrgi Ligeti etc). At the same time he grow up with the music of electronic producers like Alvo Noto, Boards of Canada, Jon Hopkins, Jan Jelinek, Four Tet since early days. And: he comes from a Jazz musicians family and has grown up by listening to the jazz collection of his father. Studied saxophone since age of 12 with a big passion for the more advanced Jazz.

In his own music all this comes together.
„Moments of Resonance“ are seven compositions full of brilliant little ideas, harmonic complexity, unheard music surprises, clever citations, dramatic evolutions, big explosive moments, meditative moments and euphoric high points. This album is an extremely emotional work of art for strings, saxophone, drums, bass and electronics.

Ralph Heidel and his 7 piece ensemble Homo Ludens connect contemporary chamber music with Electronica, Ambient, Post rock and avant-garde Jazz. On a highest possible musical level – without getting too abstract and incomprehensible.

Everything is composed and improvised. Nothing is sampled. You find wild Punk-Jazz parts that recall John Zorn or Mahavishnu Orchestra and romantic passages that make you think about European impressionistic composers like Ravel or Debussy. But nothing is imitated, everything gets broken up through an expressive new way of using harmonization and melodic composing. Sometimes the band flies through an ambient and drone universe but one moment later the music evolves into an explosive, impossible to describe musical moment. One of Heidel's biggest ability is to melt electronic and organic elements into a new unheard sound.

Richard Hell & The Voidoids

Blank Generation (40th Anniversary Edition)

    Consistently heralded as one of the most influential punk albums of all time, Richard Hell & The Voidoid’s “Blank Generation” celebrates its 40th anniversary this year with a 2CD and 2LP deluxe release for Black Friday, Record Store Day. With participation from Richard Hell, the album will be remastered and packaged as it was originally released in 1977 (unlike subsequent reissues) with a second disc of previously unreleased tracks including alternate studio versions, out of print singles and rare bootleg live tracks from their first appearance at CBGBs.  The booklet will contain additional photos (the iconic cover was shot by Richard’s ex-girlfriend, CBGB’s “house” photographer Roberta Bayley) with memorabilia and liners from Richard.

    Richard Hell & The Voivoids

    Blank Generation

      Consistently heralded as one of the most influential punk albums of all time, Richard Hell & The Voidoid’s “Blank Generation” is now available on coloured vinyl.


      Coloured LP Info: 140g Solid Orange Vinyl.

      Robyn Hitchcock

      Love From London

        Robyn Hitchcock's new album, 'Love From London' was produced and engineered by Paul Noble, and features Noble on bass, guitar, keyboards and vocals; Jenny Adejayan on cello and vocals; Lizzie Anstey on vocals and keyboards and Jenny Macro, Lucy Parnell and Anne Lise Frokedal on vocals.

        Hitchcock describes his songs as "paintings you can listen to". 'Love From London' "celebrates life in a culture imperiled by economic and environmental collapse," he says. "We are surfing on the momentum of chaos. If a consensus on global warming comes from the people, then the media, the politicians, and the corporations will have to adapt to it. Rock and Roll is an old man's game now, so I'm staying in it."

        Born in London in 1953, Robyn Hitchcock has written and recorded over 500 songs. Since founding the art-rock band The Soft Boys in 1976, Hitchcock has played with many respected musicians including John Paul Jones, Gillian Welch & Dave Rawlings, Peter Buck, Nick Lowe, Abigail Washburn, Grant Lee Phillips, Martin & Eliza Carthy, Howe Gelb, Krystle Warren, Graham Coxon and Johnny Marr among others.

        Robin Holcomb

        The Big Time

        Robin Holcomb is a genre-defying singer/songwriter similar in many ways to Jane Siberry, who mixes folk and classical elements in her songs and layers a jazz sheen over them. Clever, literate lyrics and vituoso piano work makes "The Big Time" another intelligent and at times daring collection featuring contributions from artists of the calibre of Bill Frisell, Kate and Anna McGarrigle and husband Wayne Horowitz. Two traditional folk songs "A Lazy Farmer Boy" and "Engine 143" are included in the twelve tracks on display here but their treatment is anything but traditional and as with most of her own compositions they feature arrangements that have an edge and intelligence about them that makes this album rather special.

        Ronnie C Hoyte

        Gimme Gimme Gimme Your Love

          After tackling the experimental fringes of neo-classical and musique concrète on recent releases, Michael Holland's ever-eclectic Ono imprint leaves the cassette deck to one side to concentrate on the rough, raw and resplendent sounds of Manchester's Ronnie C Hoyte. Now, while you might not know the name, there's every chance you've heard Ronnie sing. Also known as Marc Bolan (legally), Ronnie's been plying his outsider rock 'n' roll on Manchester's street corners for as long as anyone can remember and this latest recording is the best work in a colourful career. In the homely surrounds of Seed Studios in Trafford, Ronnie laid down the ten tracks here in record time, ably assisted on the desk by Raul for the full bodied band tracks and Andrew Hodson for the psyched out acoustic numbers. The result is an energetic fusion of DIY glam, ramshackle rock 'n' roll and classic songwriting which could charm even the dourest of misanthropes (even Mailorder Dave quite likes it!) and stands up against the more esoteric street music lauded in recent years. Brill! 

          Rollo Jackson

          Tape Crackers: An Oral History Of Jungle Pirate Radio

            ape Crackers: An Oral History Of Jungle Pirate Radio. Rollo Jackson is a London-based filmmaker who grew up immersed in the city's dance music culture of the mid-90's. His films, whether for the likes of Hot Chip, Man Like Me, or Warp Records bare the traits of someone whose formative years were spent clad in the brash hues of a Versace print shirt and the bright white of a fresh pair of Reeboks. Whatever his subject, the spirit of too many late nights spent doing homework to the crackling sounds of pirate radio, or of weekends spent in booming, sweaty warehouses on the outskirts of London is always threaded throughout. Rollo presents a documentary DVD entitled Tape Crackers, an oral history of Jungle music and an affectionate, touching, and, at times, incredibly funny, tale of bedroom obsessiveness. Told through Michael Finch’s tape collection which he recorded while growing up in Islington, North London, it’s also an untold (or more accurately unheard) history of UK underground music of the last 10 years – Jungle, Garage and Grime are all knitted into the story through the MCs and DJs who manned the decks and mics. Movers of the underground today such as Riko Dan and B Live are on some of the tapes played in the film. The D90s might be dusty but this music still sounds ultra-crisp. Warning, may contain: late days of Dream FM, middle days of Kool FM/MC Ruff and DJ Uproar on Dream FM/MC Fize and DJ Swiftly/Riko Dan on Pressure FM/Evil B on Rude FM/DJ Target and Maxwell D on Rinse FM/DJ Brockie, MC Five-O and MC Moose on Kool FM in 1993/DJ SL with Strings, Koji and Flinty Badman (Ragga Twins) + Demon Rockers.

            Ricardo Jefferson is a producer and DJ based here in Manchester. The roots of his sound are in funk, disco, space rock, prog rock, but he has melded them into a sound that is more than just the sum of these elements. This is funky, bass-heavy, trippy techno for the dancefloor. "A Brutal Truth" is a big tune that builds relentlessly. The track has an inclusive, celebrational, feel which simply invites everyone to lose it on the dancefloor. "Persons Unknown" is a tune to drop when everyone on the dancefloor is in the zone and locked into the groove. A finely crafted trip created with multiple delays skittering around the sound field, anchored by the funky bass heavy groove. "The Egg (Part One)" employs a tight kick drum of differing weights to propel the groove, overlayed with a circular keyboard motif. On the off-beat, add the processed sound of someone hitting a metal sheet, and viola! – one aggressively funky bomb! Lastly "God Of The Machine" has a simple 4x4 kick and handclap pattern pinning down a delicious oscillating bassline, under a classic descending four chord circular chord progression.

            Robert Johnson

            King Of The Delta Blues

            If one would ever have to start assembling a serious Blues collection, Robert Johnson’s King Of The Delta Blues Singers vol. 1 would be the best purchase. The mythical figure that inspired the worldwide Blues revival in the Sixties will forever be credited with inspiring guitar greats like Clapton and Hendrix to pick up a guitar.

            Johnson lived a short but impactful musical tenure in the Thirties. After apparently ‘selling his soul at the crossroads’, Johnson quickly became the best Country Blues singer in his time, however a tormented one. The devil eventually took his soul at a too young age of 27. The remastered audio of this original 1961 collection of material is simply stunning – Robert Johnson never sounded so alive.


            LP Info: 180g remastered vinyl pressing with insert.

            Robert Johnson

            King Of The Delta Blues Singers

              The story of influential blues musician Robert Leroy Johnson is the stuff of music legend. Stories go that as a young man in rural Mississippi he became part of a Faustian pact with The Devil to become a blues musician. Whether the tale was true or not does not take away from the immense legacy Johnson brought with him. Even though his recordings were released more than a decade and a half before the inception of rock and roll music, they provided a solid blueprint for the genre, as well as guitar techniques that were revolutionary at the time. Robert Johnson's music was only available on Grammophone singles until 1961, which saw the release of a definitive compilation of Johnson's recordings.

              King Of The Delta Blues Singers was a collection of 16 mono recordings cut from 1936 to 1937, and is widely considered the linchpin for the electric blues and blues-rock movement of the 1960s. The album was a critical smash, a badge of coolness during the time, and is now considered one of the greatest albums of all time. It was the first album to be inducted into the Blues Hall of Fame, and greatly impacted the development of artists like Bob Dylan, John Mayall, and Eric Clapton, who most famously had a smash hit on rock radio with his band Cream's cover of "Cross Road Blues

              Rickie Lee Jones


                Kicks is an eclectic album of ten cover songs - from "Mack The Knife" written in 1928 for a German musical (known in the U.S. as The Threepenny Opera) that became a jazz standard, to "Bad Company" the eponymous theme song for the British rock band written in 1974. The arrangement and instrumentation, by producer Michael Napolitano (Ani DiFranco), provides a fresh and modern sonic infusion on every song. Rickie Lee Jones skyrocketed to fame in 1979 when as a barely known artist she appeared on Saturday Night Live. Performing her biggest hit “Chuck E’s In Love” in her trademark red beret, Time Magazine instantly dubbed her “the Duchess of Coolsville.” Since then she has gone on to win two Grammy Awards, appeared on the cover of Rolling Stone twice, and was included in VH1’s 100 Greatest Women of Rock & Roll.

                FORMAT INFORMATION

                Coloured LP Info: Indies exclusive yellow and pink splatter on translucent green vinyl.

                Ruarri Joseph

                Tales Of Grime And Grit

                Cornish singer/songwriter Ruarri Joseph releases his debut single, "Tales Of Grime And Grit. A live favourite, it is the first physical format release from Ruarri. He's been touring extensively, both solo and band performances, supporting Wilco, Funeral For A Friend and others and is confirmed for a slew of festival appearances this Summer as well.

                FORMAT INFORMATION

                Ltd 7" Info: Limited edition rose pink vinyl includes "Dig Drifter Dig" on the B-side.

                New Ray K on cult label E-Beamz. One of the lo-fi house OGs that's broke out and found fame outside of the genre - namely on Arcane; here he returns to his roots for a four track cruncher for the vape generation. "Needless To Say" gets split across two parts. The first part is a steady climb, tumbling toms and ratcheting stabs creating a sense of excitement and tension; leaving what's around the corner purely to our imagination. Part 2 seems to up the tempo and the deepness in equal measure; straying away from the obvious and expected to plummet heads down into the speaker stacks for an amphetamine-fuelled fist-pumper of the highest order! I can feel the sweat flicking across the dancefloor now! "See Outside" offers from shimmering, reflective beauty, a contrast to the jagged and full throttle energy of side A, this revels in a seductive charm that'll get people moving closer to each other on the dancefloor. "Ray" concludes by cleverly matching Guy Called Gerald's "Voodoo Ray" to mechanized, slow-n-steady cerebral beats, flipping the mood of the original entirely and coming out with summat pretty heady and narcotic. Ace!

                Ryo Kawasaki

                Selected Works Part 2 - 1976 To 1980


                  Such was the warmth of reception granted NuNorthern Soul's debut EP of Ryo Kawasaki music, the label's Phat Phil Cooper has decided upon a follow up. And having made over 25 albums in his almost five decade long career, there's plenty of Ryo's music to choose from.

                  Once again, Phil Cooper has chosen to concentrate on Kawasaki's mid 1970s to early 1980s period, a time which saw the guitarist living in New York, surrounded by and often playing alongside some of the finest jazz players of the era. It was a time of much experiment with jazz music and few things propel Kawasaki more than experimentation.

                  His mid 1970s period saw him explore what was to become known as jazz fusion music, a sometimes heavy-sounding variation, wild with revolutionary, new electronic sounds and steeped in funk and rock influences. From that period Kawasaki lead several album projects and the band Golden Dragon, upon whose recordings Kawasaki's famous, personally modified guitar synthesizer really comes to the fore. As he moved into the 1980s some of his work was undertaken solo, Kawasaki mining the possibilities offered by the guitar synthesizer and also newly released drum machines before he span off on the trajectory of computer programming and then,
                  equally unexpected, to Estonia,
                  where he has lived for almost two decades.

                  FORMAT INFORMATION

                  Ltd 12" Info: One copy in stock

                  Robert Earl Keen

                  Gravitational Forces

                  Robert Earl Keen is the latest Lost Highway artist this year to release a top Americana album folowing in the footsteps of Lucinda Williams on the same label. This has the same bittersweet flavour as Williams' "Essence" with that wistful nostalgic sound that a lot of these alternative country players seem to be becoming increasingly fond of.

                  Richard H Kirk


                    Richard H. Kirk - #7489 (Collected Works 1974 - 1989) is an 8-CD box set, collating Kirk’s solo work from 1974-1989.  

                    Walking a tightrope of experimental and dance floor themed electronic music, Richard H. Kirk’s solo work precedes his output with Cabaret Voltaire and his releases continued alongside the band’s output. Cementing his reputation as a pioneer of electronic music, this box set amply proves Kirk’s inventiveness and sounds as fresh now as it did otherworldly then.  

                    Richard H. Kirk - #7489 (Collected Works 1974 - 1989) includes the 2CD Earlier/Later album as well as the newly re-mastered albums Disposable Half Truths, Time High Fiction (2CD), Black Jesus Voice, Ugly Sprit and an album of previously unreleased materiel Super Duper Soul.

                    Richard H Kirk


                      1st solo album in 5 years, recorded, produced and written by Richard H. Kirk, founding member of Cabaret Voltaire, the album was constructed at Western Works, Sheffield, over a three-year period. Work began with recording on midi and analogue synthesisers before guitar and vocals (Kirk’s first use of vocals in 10 years) were added. Kirk explains, “A lot of time was spent on post-production, editing and then living with the material and I think it benefited from stepping back and then revisiting after doing other things.”

                      Although not an overtly political album, it’s hard not to hear a reaction to recent years’ world events in the overwhelming urgency of ‘Nuclear Cloud’ or ‘20 Block Lockdown’ or in ‘New Lucifer / The Truth Is Bad’. When questioned Kirk admits, “It’s not really a political album, but over recent years – during the recording – all manner of horrorshow events have cropped up and now we seem to be in a rerun of the Cold War with Russia back as the Bogeyman.” The album’s title, Dasein (a German word meaning “being there” or “presence”, often translated into English as “existence”), is a fundamental concept in existentialism. Kirk explains “culture succumbs to nostalgia in much the same way that an individual looks back wistfully to adolescence or childhood - the nostalgia is partly for a time when he or she wasn’t nostalgic, just lived purely IN THE NOW.”

                      Romaal Kultan is a new producer / DJ who we think is based here in the UK, possibly London but we're not 100% sure. This is his first record and there's a distinctly UK thread throughout the 12". From the broken drum machine workout on "Isit" and the acid bassline on "New Levels" to the jungle-influenced programming on "High And Mighty" and final track "Turnin'". Romaal seems able and inspired to create modern compositions steeped in that classic streetwise demeanor - dusty, crackly breaks permeated with flurries of musicality and the odd casual nod to the warehouse cru.

                      Suave, ultra-slick and tastefully understated, expect lovers of breakbeats to come flocking when this one drops! One for the B-boys...

                      “ of the best, perhaps the best, on the label...displays the typical Tumbleweed combination of a loose, stoned ‘Astral Flash’ vibe and a classy production.” - Patrick Lundborg, - Acid Archives

                      Denver in 1971 was the right place, right time for musician Robb Kunkel. He’d just come off a year rambling around North America before settling in Colorado, landing a gig as a promotions rep for ABC-Dunhill. The weed was potent, magic was in the air, and Kunkel’s life was about to change forever.

                      The San Fernando earthquake had spurred industry pals Bill Szymczyk and Larry Ray to join forces to form their own label—and get the hell out of California. The duo reached out to Kunkel who helped set up shop for their burgeoning Denver enterprise, Tumbleweed Records. Kunkel secured a headquarters, helped staff the label, and brought in talent, including Danny Holien, Pete McCabe, Dewey Terry. But Kunkel was itching to make a record of his own. Perhaps to repay him, Tumbleweed agreed.

                      A longtime piano man and blues aficionado, Kunkel had the soul of a poet and the restless spirit of the jazz musicians he also worshipped. For his album, Kunkel wanted a jazz producer, and Szymczyk hired Ed Michel, then the head of Impulse Records, who brought on a string quartet and jazz legend Ray Brown and Wrecking Crew musician Jimmy Bond.

                      Ostensibly a pop album at heart, _Abyss_ brings all of Kunkel’s influences together and vacillates wildly in style. From folky ditties to pensive wailers, Kunkel’s songs are often piano-driven but rarely straightforward. Tracks regularly veer off into jazz or baroque string arrangements, but there’s a raw quality—in the production and in Kunkel’s literary and at times earnest lyrics. It’s the album of a young and uninhibited musician who has realized a lifelong dream and who takes it seriously, but not too seriously. 

                      FORMAT INFORMATION

                      Ltd LP Info: Limited edition pressing of 600 with hand numbering. Includes gatefold jacket and 8 page book with unseen photos and liner notes by Sarah Sweeney.

                      Temple is proud to present its 6th record to date, this time from Richard Wenger (R Weng) as Richard Lamb.

                      Drawing loosely on industrial, dub, and early Moog music, Automatic Tango is the result of a three-year experiment in minimal synth maximalism.

                      Often sentimental, mildly uncomfortable, and bordering on absurd, Automatic Tango will you have asking, who is Richard Lamb, and why is he so greasy?

                      Ray Lamontagne

                      Till The Sun Turns Black

                      This is a super follow-up to his much-loved debut and whilst the warm, woody soulfulness of primetime Van Morrisson still shines through there's enough new ground covered to prove that he is indeed a major talent in the making. There's country and blues to add to his rustic soul music, this time with echoes of John Lennon or even Ryan Adams. There's some unsettling, sparse stuff here too; it's an occasionally challenging as well as a comforting listen. Fans are going to love this record!

                      Ray Lamontagne


                      Recorded at the Alley and Studio 3 at Sunset Sound in Los Angeles, "Trouble" is a truly collaborative experience with Lamontagne playing guitar and singing and prducer Ethan Johns filling in on drums, bass and piano. The overall effect is a personal, warm sounding album that will thrill anyone who loves emotive singer/songwriters.

                      Grammy Award winning singer-songwriter Ray Lamontagne releases his seventh studio album on 18th May, via Columbia Records.

                      Written & produced by LaMontagne, this nine song album includes the singles "Such A Simple Thing" & "Paper Man".

                      STAFF COMMENTS

                      Barry says: Lamontagne brings us his newest LP, with tender folk stylings subtly woven amongst the stunning acoustic balladry, all accentuated with Lamontagne's heart-melting vocals.

                      FORMAT INFORMATION

                      Coloured LP Info: Limited edition clear vinyl.

                      Sound artist Richard Lerman composed musical pieces for bicycles that sounded like the gamelan music of south-east Asia. This collection includes his "Travelon Gamelon (Music for Bicycles)" set, which was using real bicycles as musical instruments and was performed live in 1970s-80s. Disc 2 features other various sound-works of Lerman's pieces performed and recorded through 1964-1986. Both discs are CD-EXTRA (CD enhanced) including movies of his performances on QuickTime and scores / diagrams for those works as PDF files.

                      FORMAT INFORMATION

                      2xCD Info: Japanese import CD comes with 36 page booklet featuring English / Japanese text with lots of scarce photos and liner notes written by Arthur J. Sabatini and Richard Lerman himself.

                      Rune Lindblad

                      Death Of The Moon & Other Early Works

                      Rune Lindblad was born in Gothenburg, Sweden in 1923 and began composing music in 1953. This was a time when composers in Germany and France were feuding over the merits of electronic music made by pure wave oscillators versus musique concrete, which used the tape recorder as its main instrument. Rune Lindblad however did not see these genres as mutually exclusive. In fact, Lindblad extended his work to incorporate other mediums along with his approach to music. Deeply involved with woodcuts and painting Lindblad was already experimenting with using damaged 16mm film in his "Optica 1" as early as 1959.

                      Not surprisingly, since Lindbad represented no institutionalized school of thought his experiments went unnoticed for many years with the exception of his demonstration of musique concrete in a concert at Folkets Hus in 1957 where the audience demanded their money back and the critics called his concert 'pure torture'. Until the LP retrospective published by RADIUM in 1989 there were only 2 recordings of Rune Lindblad's compositions. One was the single side of a 7" record released in 1957, the other a full length album published in 1975. Both of these recordings were poorly distributed and remain fairly unknown. Rune Lindblad has taught at Gothenburg University: among his students are Rolf Enstrom, Ake Parmerud and Ulf Billing. The music on this record has lain dormant for almost six decades. It was recorded at a time when Lindblad was forced to borrow equipment from the University in Gothenburg in the evening and have it returned by sunrise the next morning. These compositions are essentially tape music, where individual performances are fed back and forth between tape recorders in a style represented by the technical limitations during this time period. 

                      FORMAT INFORMATION

                      Ltd LP Info: Fully remastered editions of 500, hand numbered copies.

                      Once upon a time, in the glory days of the forum, a new generation of DJs and collectors were being introduced to a wealth of rare and exotic tunes; musics with life changing powers which spoke a universal language. Moonboots, Mike, Brewster, Broughton, Boardman, Mison and Dr Rob - all present and correct, all on hand to educate, entertain, inform and swiftly remind you that you had next to no chance of ever finding a copy. 
                      Well, times have changed, editmania has given way to the march of the reissue, and all those rare birds are coming home to roost - or at the very least nest nicely in your record collection.
                      This latest reissue from Italian imprint Best Records ticks another biggie off the collective wantlist, providing us all with an affordable, remastered and reissued copy of Roberto Lodola's Balearic classic "Marimba Do Mar". 
                      Lodola was one of the first Italian DJs and producers devoted to the Afro sound born in the Northern parts of Italy. As the 80s wore on, and Roberto found his way into the studio, his exotic tastes and sunny disposition perfectly translated into the Mediterranean masterpiece "Marimba Do Mar", a breezy, jazz flecked slice of tropical pop complete with DX7 panpipes, synth marimba, subtle percussion and swelling sax. Whether you opt for the largely instrumental 'Fusion Version' or the sweet and sensuous 'Vocal Version', you've got a certified classic on your hands. As a BIG brucey bonus, Best have also turned up a pair of previously unheard outtakes "Feeling Of The Sun" and "Hey George!", which slice your cocktail lime in different directions depending on taste and mood.

                      STAFF COMMENTS

                      Patrick says: Awwww yeah! Best Records hit us with another BIG Balearic classic, that's been super tough to find for the longest time. As Mediterranean as it gets, "Marimba Do Mar" takes tropical synth work, sleazy sax and jazzy grooves and flips it into a piece of true Balearic brilliance. Every home should have one.

                      Released on Paul Epworth’s Wolf Tone label via Polydor. Control demonstrates exactly why pioneering artists including Adele, Little Simz, The Invisible, Jamie Woon, Kwabs, Ady Suleiman and Ghostpoet have fallen for her talents. It’s an album that breaks loose from the confinement of expected genres - you’ll hear echoes of James Blake, The Weeknd, Laura Mvula and The xx in her original synth-soul soundscapes - and Lowe’s personality is also a pivotal part of the experience. Produced by Lowe with Dave Okumu (Jessie Ware, Paloma Faith, Kwabs, The Invisible). Previous singles ‘Right Thing’, ‘Who’s That Girl?’ and ‘Worry About Us’ all feature alongside a wealth of new material.

                      FORMAT INFORMATION

                      LP Info: Single heavy weight 180g vinyl - 11 Tracks + 3 extra digital tracks available on download - Ikonika & Cooly G remixes of Woman and exclusive Kwes remix of Right Thing.

                      LP includes MP3 Download Code.

                      Rosie Lowe


                        Produced by Dave Okumu (The Invisible, Grace Jones, Jessie Ware) and featuring The P Funk Choir of Jamie Woon, Jamie Lidell, Jordan Rakei and Kwabs, ‘Bird Song’ marks a new dawn for Rosie Lowe. The track was inspired, says Rosie, by ideas of “lust and desire, but with the lingering sense of insecurity and longing.” In its warmer, sensual and cosmic textures, ‘Bird Song’ acts as the perfect window into Lowe’s second album, ‘YU’ - a record that asks bigger questions of how the heart and mind works, and ultimately finds power through opening up both.

                        A songwriter, producer, multi-instrumentalist and DJ, Rosie Lowe’s work digs into a richly complex mix of musical and emotional experiences. On debut album ‘Control’ she was striding out alone, tackling politics, feminism and modern relationships. But if ‘Control’ was about self, ‘YU’ – says Rosie – “is about other. I wanted to write about my experience of sharing my life with another as a lover, friend and partner.” These are intensely songs of the mind, which makes sense after all when you consider the fact that Lowe is also training in psychotherapy. And it’s a process of analysis which allows ‘YU’ the broader scope to interrogate life as a twentysomething in London, as a woman empowered and in control.

                        As much as it pushes into new sounds and stories, ‘YU’ also sees Rosie Lowe look back on her life, and all those things that make ‘YU’. She grew up as one of six kids in rural Devon, having learnt the saxophone young (which she still plays and adores) and been exposed to a broad mix of soul, jazz, funk and R&B; influences which come to glorious fruition on her second album, where inspiration ranges from Childish Gambino, Gabrielle Garzon Montano and Thundercat to childhood heroes like Ella Fitzgerald or Charlie Parker. Lowe realised early on, too, that love was a fragile, difficult thing, her parents splitting up resulting in weekends spent living out of a bag. Time spent at Goldsmiths and later working behind the scenes at big labels reinforced Rosie’s need to operate outside of the regular rules (whether in relationships or making music). One listen to ‘YU’ and the strength achieved when you broaden these horizons becomes immediately apparent – which for Lowe, in part involved allowing others in more. Released in collaboration with Paul Epworth’s Wolf Tone and reuniting Rosie with producer and co-writer Dave Okumu, the record also features a rare appearance from Jay Electronica, The P Funk Choir, and leading lights across the UK’s dance and jazz circles (Floating Points, Shabaka Hutchings, Alfa Mist).

                        Despite its richly classic feel, what’s emerged on ‘YU’ is an album on thoroughly modern, twenty-first-century love: its childhood myths and more pragmatic realities, its utopias and difficult weathers. Those moments when you find out how you are, who you are, and if you’re brave enough, you let it all bleed through. On her stunning second album, ‘YU’, Rosie Lowe has also done just that.

                        Riccardo A. Luciani

                        Inchiesta Sul Mondo

                        INCHIESTA SUL MONDO is a mainly electronic experimental concept album, , on topical problems of the period in which it was released. The two records have two different arguments: STATI D’ANIMO (STATES ON MIND) and DIAGNOSI ECOLOGICA (ECOLOGICAL DIAGNOSIS). Luciani is a well-known artist in the library music scene. His affable style is the result of musical studies from childhood that allowed him to achieve a diploma in composition, choral music, choral conducting, and more. The avant-garde and contemporary classical approach places Luciano among contemporaries like Egisto Macchi.
                        The album comes out with a minimal graphic design as the original but with heavy cardboard gatefold cover with an original photo of the Maestro inside.

                        Rob Marr

                        Addicted To Drama

                        "Addicted To Drama" is Rob Marr's debut. Produced by Lou Reed's musical director Rupert Christie and Gorillaz bassist Al Mobbs, these four stunning tracks offer up a thick slice of Rob's unique take on love triangles, safety pins and dirty weekends. With its dynamic use of piano-based melodies, soaring harmonies and eloquent lyrics, "Addicted To Drama" is as crisp as a freshly laundered pillow case.

                        Rose McDowall

                        Our Twisted Love

                          The Our Twisted Love E.P. constitutes the most contemporary recordings by Rose McDowall available, heralding her return to live performance and songwriting. Building on the groundwork laid by McDowall with her group Sorrow, and various collaborations with key figures in the post industrial landscape, it features a full band recording and long-form songwriting that draws heavily on both McDowall’s keen sense of pop melody and melancholy.

                          Breaking into a harmonium drone and Rose’s instantly recognisable, vocal, the epic title song unfurls at a glowing, glacial pace. Never hiding her love for the Velvet Underground, Our Twisted Love reminds the listener of 70s-era Nico, but McDowall’s fragile vocal has a spine-tingling fragility of its own. Guitarist Dru Moore provides shimmering chords that dress the melody, itself framed with multi instrumentalist Eilish McEvil’s plucked violin strings. Rose’s gorgeous twists with the vocal erupt into a full band jam, with bassist Clay Young, acclaimed cellist Jo Quail and drummer Lloyd James joining in for a neo-folk, dronist excursion that elevates the song into psychedelic territory.

                          Hot on the heels of appearances at Exit festival in Serbia and in the final of the prestigious Red Stripe Music Awards, 21 year old Norwich troubadour Rory McVicar releases his highly anticipated debut album on Series 8 Records. Wielding a guitar, a spellbinding voice, yearning lyrics and sublime melodies, McVicar is ready to bring his sound to a bigger audience.

                          This classic Brazilian album from master drummer Ronald Mesquita was originally released in 1972 and features songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others. Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his ‘Bossa Tres’ outfit, along with his own group, ‘Ronie E A Central Do Brasil’, that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.’s ‘Embalo’ album that Mr Bongo recently reissued. The killer track ‘Balanca Pema’ was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation ‘Dancefloor Jazz Volume Four’. Madlib sampled ‘Balanca Pema’ on his Medicine Show Number 2 ‘Flight to Brazil’.

                          Those (spooky) soundtrack specialists at Lakeshore are at it again, giving us the first ever vinyl pressing of the 'Hellraiser III: Hell On Earth' OST, on a chilling smoke and blood red transparent vinyl no less. Composed by Randy Miller (library and soundtrack composer, not X-rated relation of Windy...) the set is high on dramatic strings, doomy brass and dread-heavy orchestral business, channeling hell throughout.

                          FORMAT INFORMATION

                          2xColoured LP Info: Red with black smoke coloured vinyl, cut at 45rpm for optimal sound.

                          Roger Miller

                          Big Steam

                            Roger C. Miller – vocals, guitar, bass, organ. Larry Dersch – drums. Roger Miller has been a Boston music icon for more than three decades and is currently active with two perennially-popular groups: Mission of Burma (guitarist / vocalist) and Alloy Orchestra (keyboards). This is a rare rock/guitar/vocals-driven Roger Miller solo release, featuring two original compositions, one with vocals. According to Miller, it is “a deliberate sonic referencing of Pink Floyd's Piper at the Gates of Dawn.” Mission of Burma’s new CD Unsound was released worldwide to unanimous acclaim on Fire Records in July. Mission of Burma will be touring throughout 2012.

                            Robert Montgomery

                            Love Song About You

                            Robert used musicians from Ripple to record four self penned songs as a vanity project which remained unissued, two of which have since been released as a Soul Junction 45 the modern soul dancers ‘Time Of The Day/Take Me High’ (SJ537). While a third track, the excellent ballad ‘Love Song About You’ made it’s initial debut as part of the popular ”We Got A Sweet Thing Going On “ (Volume 3) cd compilation series to great acclaim, following requests for it to put on a 45 we have duly obliged placing it back to back with Robert’s remaining previously unissued track the more dance orientated “I Love You So” complete with girl backing singers. Thus in doing so, we have now completed the trilogy of Robert Montgomery’s recording output.

                            Roy Montgomery


                              Despite praise and acclaim throughout his career, Roy Montgomery hates his singing. From his point of view, it’s done out of necessity, when he doesn’t have anyone else around to substitute. Roughly one quarter of Montgomery’s epic multi-album 2016 release R M H Q had his singing, and those are his least favorite tracks. Grapefruit has done the best they can to argue that his basso undertones are the center of his appeal throughout his entire body of work, from the first The Pin Group single on Flying Nun in 1981, through his work in Dadamah, Dissolve and on to his legendary ’90s solo releases. However, is it a surprise he jumped at the idea of composing an album for other vocalists? This began as a series of alternate takes of the material on Tropic Of Anodyne, the tracks with vocals off his last release. That concept morphed into assembling vocalists to sing on new songs, and he conceived instrumental material that would fit each singer. Half of the songs came together, resulting in Suffuse.

                              The album charts a slow progression from those who share similarities with Montgomery’s rumbling vocal technique to those who come at singing differently, with minute contrasts throughout. Haley Fohr (Circuit des Yeux) and Jessica Larrabee (She Keeps Bees) bring the first two tracks, with Katie Von Schleicher following with a raw expression of emotional loss, and the sisters Clementine and Valentine Nixon (Purple Pilgrims) expressing emptiness by stripping away words, weaving their voices together through Montgomery’s elastic webbing. Julianna Barwick adds drive and nuance to the foamy sonic waves of “Sigma Octantis,” as “Landfall” crashes in slow motion chaos over Liz Harris’s (Grouper) multitracked layers. These compositions generously embrace their guest leaders, and for the first time in his career, Roy Montgomery has made a cogent artistic argument as to why he shouldn’t be singing these songs himself.

                              R. Stevie Moore & Gary Wilson

                              Fake News Trending

                                R. Stevie Moore and Gary Wilson have recorded Fake News Trending -- their first-ever collaborative album together. The historic and long-awaited collaboration is big and welcome news around the world for fans of both of these DIY/underground music legends. Although their separate and compelling stories have included sporadic intersections (both made repeated appearances in vintage Trouser Press editions, and they have also shared the bill at live shows in New York and Los Angeles), Fake News Trending is the kindred duo’s only recorded work together. While both Wilson and Moore are already touted by an illustrious roster of artists that includes Ariel Pink, Tyler the Creator, Beck, Questlove, Henry Rollins, Earl Sweatshirt, and Jello Biafra, Fake News Trendingis a crucial contribution to both artists’ bodies of work. The album not only cements their legendary status within underground circles, but will also surely reach new and appreciate fans around the globe in the months and years to come.

                                Fake News Trending boasts a formidable cast of supporting guest artists, including:
                                • Jason Falkner (Beck, Air, Daniel Johnston, Paul McCartney, Jellyfish)
                                • Jad Fair (Half Japanese)
                                • Ryan Sinnott (The Distillers)
                                • and Pall Jenkins (The Black Heart Procession, Three Mile Pilot) among others

                                Although both R. Stevie Moore an Gary Wilson are each the subject of their own documentary (Cool Daddio, and You Think You Really Know Me, respectively), clearly the narrative of these two underground heroes is still evolving, and Fake News Trending will doubtless be regarded as a highlight in both of their winding, weird, and wonderful careers. 

                                R. Stevie Moore And Jason Falkner

                                Make It Be

                                R. Stevie Moore and Jason Falkner are both brilliant solo artists but, as Make It Be loudly announces, their voices, performances, and arrangements make for a match made in heaven that's been realised here on earth.

                                What happens when R. Stevie Moore and Jason Falkner get together to record, arrange, and mix R. Stevie's songs? We get to hear an audacious realization of the tracks full potential in an epic collaboration no one saw coming.

                                Moore and Falkner burst through your door with "I H8 Ppl" and take you on a journey through rock, pop, and experimental textures. Anchors such as "Play My Self Some Music" and "Sincero Amore," keep the effort focused, while guitar-only interludes and spoken word pieces push boundaries.

                                Before they met up, both artists had long and storied careers, but their paths to cult status take completely opposite routes. Moore is widely considered to be the godfather of the DIY recording aesthetic. Dubbed a “lo-fi legend” by the New York Times, he started his career in the late 60’s, gaining widespread underground recognition during the 70’s punk explosion. Anticipating the viral internet era, Moore made innumerable cheap but brilliant videos. Luckily, many of them eventually found their way to YouTube where a whole new generation of fans discovered his work including the likes of MGMT, Mac DeMarco, The Vaccines and collaborator Ariel Pink.

                                Falkner was involved in various major label deals as a group member and solo artist. He started with Paisley Underground pioneers The Three O Clock, joined supergroups Jellyfish with Andy Sturmer and Roger Manning, and the Grays with Jon Brion, finally scoring a solo deal with Elektra. He’s gone on to release numerous solo records and has worked with a wide range of artists, including Beck, Air, Brendan Benson and Paul McCartney.

                                Recorded by Jason Falkner at his Rhetoric Studio in Hollywood with the majority of songs composed by Moore, with one by Falkner, one co-written by the pair, one co-written by Roger Ferguson. There's a wonderful rendition of Huey Smith & The Clowns "Don't You Just Know It."

                                FORMAT INFORMATION

                                Ltd LP Info: Vinyl comes with a digital download code including bonus tracks.

                                R. Stevie Moore


                                  This guy again. The Godfather of DIY home recording. Hundreds of self-released albums over the past 50 years. Dozens issued on countless indie labels since 1976. Pop craftsman, crafty grandpop, notorious curmudgeon. Blah blah blah blah blah. Most recently teamed with Jason Falkner on the album Make It Be.

                                  Since R. Stevie can't make a decent living on his music, he's trying to accomplish the task in the Afterlife. This album is an upgrade from the lo-fi, damaged-equipment home recording process for which RSM has become legendary. With a career-long sweep, R. Stevie took some of his best home-recorded lo-fi songs and re-recorded them with full-studio sparkle. All recordings were made in the past 15 years, with tracks captured in five U.S. states. Some compositions date from the 1970s to the 1990s, and there's a few newer tunes. The album lacks one thing: filler. Lou Reed famously said about his final Velvet Underground album: "I gave them an album loaded with hits," then he walked away. Afterlife is R. Stevie's Loaded—an album full of hits. He's walking away with a cane, a bum knee, and cataracts.

                                  Afterlife was compiled and produced by Irwin Chusid (who oversees the musical estates of Sun Ra, Raymond Scott, and others). Chusid, a WFMU DJ since 1975, has been a compatriot of RSM since they met in 1978 after R. Stevie relocated to New Jersey from his native Nashville (to which he returned in 2010). It's often been pointed out that RSM's daddy Bob played bass with Elvis. But we won't dwell on that here.

                                  A heady mix of electronic dance anthems, soul-stirring pop songs, deep, dark electro-funk and quirky lyrical genius, "Overpowered" is a thrilling and contemporary marriage of edgy pop and irresistible disco. Working with the likes of Seiji, Andy Cato (Groove Armada), Jimmy Douglass, Ill Factor, and Parrot and Dean of All Seeing I / I Monster, Roisin has brought her love of the dancefloor right to the very heart of the album. "Overpowered" is the place where pop meets dance and gives birth to a glitter-drenched masterpiece.

                                  A singular presence in 21st Century pop, Róisín Murphy is a genuine maverick. Her seminal 2007 album Overpowered received widespread acclaim from music critics yet, arriving at a time of waning major label interest in vinyl, it was released only as a hyper-limited double LP. Accordingly, in the decade since, it has been obscenely difficult to find. It is a true honour to finally reissue this thoroughly modern dance-pop classic on Be With. Whilst remaining true to the loud pink and orange wax of the original release, this remastered edition enjoys the bonus inclusion of fan-favourite “Parallel Lives”, finally making an appearance on vinyl.

                                  A sumptuous, all-killer electro-disco gem, every song could’ve been a smash. With its heavy disco influence - deep beats, lush synths and subtle horns and strings - Overpowered was focused solely on the dancefloor. Inspired by the Eighties proto-house of D Train, Mantronix and Gwen Guthrie, but also recalling the intelligent pop of Yazoo and early Eurythmics, Overpowered presented sensual electronic soul for the heads and the hips.

                                  Her collaborators, including Timbaland mentor Jimmy Douglass, Bugz In The Attic and Richard X, constructed a gleaming shrine to the spirit of Bobby O and Giorgio Moroder by stitching together crisp synthesised beats with the slicker tics of early house. The lead single and title track lifted the bassline squelch from the dawn of cosmic disco -- La Bionda's "I Wanna Be Your Lover" -- and the follow-up, "Let Me Know", effortlessly incorporated the chorus of Tracy Weber's 1981 boogie bomb "Sure Shot".

                                  The wonderfully dank, sticky R&B of “Primitive” is Murphy’s favourite track from the album: “I mean, who gets to put primordial soup in the first line of a song? That idea of not always being in control of the primitive parts of yourself, the bits that fall in love or the bits that dance or lose the plot or drink too much, and putting that across … that’s pop for me. It’s playing with all the different colours of the rainbow of life.”

                                  Murphy’s blistering vocals are versatile enough to elevate the icy textures of "Dear Miami", the sexed up kaleidoscopic funk of "Footprints" and the grace of "You Know Me Better". Sharp, witty and heartbreaking, here Murphy laid claim to being the kind of strident disco singer “Dusty Springfield never quite had the abandon to become”, as Pitchfork noted in their original, glowing “8.0” review.

                                  Overpowered was considered an instant classic and, sounding deeply prescient, it has aged gloriously. There has long been an acknowledgement of Murphy’s influence on other artists’ gonzo fashion, and many musicians have spent the last decade crafting dancefloor tracks that embrace piano house and disco, even if they’d pale when held next to "Let Me Know". Shifting from the glam pop of "Movie Star" to the buzzing acid of "Cry Baby", when the dubby ballad for her dad, "Scarlet Ribbons", wends its way to the sweetest of endings, you realise you've been immersed in the best grown-up dance-pop album since Madonna's Ray of Light.

                                  STAFF COMMENTS

                                  David says: Much needed and beautiful reissue of Roisin's 2007 debut album. Inspired pop music for the discerning adult in your life...

                                  FORMAT INFORMATION

                                  2xLP Info: Pink and orange coloured double vinyl.

                                  After Music From Memory brought overlooked Italian ethno-musicologist Roberto Musci into the contemporary consciousness via an excellent retrospective, Soave step in with a full reissue series. First came 'the complete sessions' of "The Loa Of Music", Musci's debut album from 1984, and now we have 1988 milestone "Urban & Tribal Portraits". A key collaboration with fellow sidereal world traveler Giovanni Venosta, which sees the duo create a sonic ecosystem that is  both aleatory and concrete, ephemeral and durable.
                                  Like much Italian experimental music from that magical decade of the 80s this is not your bog standard fourth world music, marred by the ambiguous aestheticism of ‘unifying’ some not so well defined primitivism of ‘world ethnic styles’ with the futuristic sounds of whatever ‘advanced electronic techniques’ were the platter du jour. Here the 8-bit sounds of the E-Mu Emax is as primitive as the Jews Harp while the electronically treated Pygmy chants turn out to be as futuristic as the multi-timbral capacities of the OB-8. From the funk ostinatos of “El Lamento de Los Ayatollah” where Venosta showcases his straight piano playing to the rarefied queer guitar arpeggios in “Tamatave”, the peaceful ripples in “Dialogue Between a Dreamer and Others”, the playfulness of “Starfish & Kangaroos” or the post-punkish This Heat/Cabaret Voltaire aggression in “The Fear of a Soldier” this is destabilization as praxis, a shifting of the ground. The new cover image, that replaces the ethno patchwork of the original sleeve (beautiful as it was) is indeed more to the point: Sven Hedkin’s photograph of early 20th century Tibetan death masks is at once urban and tribal, surrealist in its uncanniness. 

                                  Rina Mushonga

                                  In A Galaxy

                                    Mushonga doesn’t follow a linear path. The artist’s music - a blend of Afropop, indie and electro flourishes - is informed by her own zigzagging life journey: Mushonga emigrated from Zimbabwe to the Netherlands, then to the diverse South London suburb of Peckham, where she now lives and works. Having read ‘Metamorphoses’ for the first time, Mushonga’s self-confessed ‘year of transformation’ ensued, drawing upon myriad ideas and personal experiences.

                                    Full of reflections on the cosmos and our place within it, ‘In A Galaxy’ is the musical embodiment of these musings, whilst Mushonga also admits there’s more than a passing nod to the opening text on ‘Star Wars’ but on the whole refers to how relative space and time are in how we interact. Four years in the making, ‘In A Galaxy’ was recorded in Mushonga’s adopted home in Peckham with producer Brett Shaw, whilst having laid much of the foundations of the tracks together with musical bestie and synth whisperer Frans Verburg in his Rotterdam basement studio. The resultant cornucopia of intelligent, diverse pop - that Mushonga herself describes as sounding like “Paul Simon in a sweaty, African dancehall club” - is a welcome introduction to 2019.

                                    Robert ÆOLUS Myers

                                    Talisman - Inc. K. Leimer / Pharaohs Mana Mix / Dreems 'Natürliche Liebe' / Lieven Martens Moana Remixes

                                    Over two years in the making, 'Talisman' is a retrospective and re-interpretative celebration of the work of American musician Robert ÆOLUS Myers. Touched first by the emotional depth of the music, and subsequently by the warmth and wisdom of the man, Origin Peoples sought to capture a snapshot on this special vinyl release.

                                    This newest chapter of the ÆOLUS myth seen for the first time on vinyl are five of his most expressive pieces, alongside a quartet of remixes by kindred spirits from all corners of the globe. This is the first time his music has been interpreted by others, and Robert's delight at the result speaks volumes of his adventurous and open-minded attitude. Approaching the often intangible new age genre with a humanist approach, Robert creates immersive and expansive pieces which connect with the listener on a spiritual and emotional level.

                                    Archetypal narratives are retold through nuanced electronics, evocative motifs and empathetic flute, the varied compositions informed by Myers' classical training, spiritual pursuits and study of ethnomusicology. Part retrospective, part remix project, 'Talisman' is the perfect reflection of Robert ÆOLUS Myers, a musician whose timeless expression of theme and emotion has enriched minds, bodies and souls for almost 40 years.

                                    Robert Normandeau


                                      500 copies only of this new Rephlex CD. An album of "Acousmatic music" - cinema for the ear?!

                                      Ryan O'Reilly

                                      I Can't Stand The Sound

                                        Recorded between the chaos and bustle of a New York cinema on Bedford Avenue, Brooklyn and the windswept loneliness on the south-side of the Isle of Wight in the spring of 2017, I Can't Stand The Sound is the second album from Berlin based English/Irish songwriter Ryan O'Reilly. Produced by David Granshaw and in collaboration with Canadian, Tyler Kyte the album is an exploration in searching for meaning, the meaning in a fatal car accident, the beauty and darkness on the streets of Berlin, comprehending the American landscape at the end of 2016 and trying to filter out the noise of relentless opinions on 24 hour news TV and online.

                                        Littered with snapshots from myriad conversations; A Grandmother's warning that ghosts are never as dangerous as humans, talking to a loved one after a terror attack, a fall from a horse, with a hangover whilst reading in the bath and the faceless people who blithely tell you to 'live your dreams' the characters and conversations restlessly change locations and perspectives.

                                        I Can't Stand The Sound began life on the journey between New York and Tennessee in the aftermath of the American election in 2016, the long conversations, the search for conclusions and reasoning in a void of reason. Written on municipal Frisbee-golf course in East Nashville, a front porch in Hamilton, Ontario and along side the beautiful, dirty Spree in Ryan's adopted hometown of Berlin each place finds it's way into the heart of the album. In May 2017 Ryan, Tyler and Dave travelled back to New York. Joined by members of Toronto's Dwayne Gretzky and Ryan's European touring partners The O'Pears to begin recording of I Can't Stand The Sound in the Cinema/bar where the journey towards the album began six months earlier. 

                                        Ryo Okumoto

                                        Coming Through

                                        Ryo Okumoto is a keyboardist with a rather impressive resume. He has worked with the likes of Phil Collins and Eric Clapton. He is also the keyboardist for Spock's Beard and this work is an extension of his work with the band with added jazz and fusion elements.

                                        Ruggero Deodato’s House On The Edge Of The Park is obviously inspired by Last House On The Left (even down to stealing Last House star David Hess), the films a notorious 1980’s Italian Horror movie and was banned in several countries including the UK. It’s vicious and nasty, reveling in its own depravity. The score by Maestro Riz Ortolani is is the complete opposite, side 1 is bright and airy featuring the absolute stole cold disco classic ‘Do It To Me’ as well as the beautiful melody of ‘Sweetly’ featuring vocals by Diana Corsini, whilst Side 2 features the wonderful mellow track ‘Love Sequence’ as well as the more ominous ‘Terror Sequence’. 

                                        Lucio Fulci directed this dystopian sci-fi epic in 1984. In 2072 the world is ruled by TV networks. Two of these networks are locked in a bitter rating battle and in finding more ways to outdo each other one of them decides to host a Roman centurion style battle to the death featuring convicted murderers fighting each other on motorcycles (wait is this a documentary?) As you would expect from Fulci it’s outrageous, silly, super entertaining and full of over the top violence. The score was composed by Maestro Riz Ortolani and here he delivers one of his most bombastic, striking (and fun) scores. Loaded with killer synth lines, chunky riffs and pounding synthetic drums.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Red vinyl, limited to 150 copies in the UK.

                                        First-generation American Primitive guitarist Richard Osborn studied with Robbie Basho in the late 60's. 40 years later, Osborn finally recorded, appearing on Tompkins Square's 'Beyond Berkeley Guitar' comp in 2010. 'Endless' is his first widely available solo guitar album. "[Osborn has] an unhurried, quiet spirit of adventure, a love of ringing strings and slowly revelatory meditations on the natural world."- Acoustic Guitar "He's a student of mine and he's better technically than me or Fahey." - Robbie Basho

                                        Robert Ouimet

                                        Disco Edits

                                          The Godfather of Montreal disco, Robert Ouimet put his magic touch on three tracks for Basic Fingers. Ouimet's career as a DJ started in the early 1970's, DJ'ing at The Limlight where he became the main resident between '73 - '81. In 1977 Robert also went on to win Billboard Magazine's Best Canadian DJ Award. Similarly he received Gold records for introducing his public to such artists as Boney M, Donna Summer, Musique and Gino Soccio to name but a few, plus a special commemorative plaque / mirror from the "Saturday Night Fever" soundtrack!

                                          Robert was also the driving force behind the Montreal live performances of The Salsoul Orchestra, James Brown, Grance Jones, to name but a few.

                                          He co-produced many records licensed in the US by such labels as TK Records, RFC / Warner Bros., Arista, and Quality Records of Canada.

                                          Three big, bolshie, barnstorming disco tracks here. No fuckin' about, these bang hard! Surely big with Tomas Bullock, Devin Dare, Will Tramp! and Neil Diablo, not to mention the Horse Meat Disco crew. Yowzer yowzer yowzer!!!

                                          STAFF COMMENTS

                                          Matt says: Nice collection of snips n tweaks from this Montreal native that'll keep the uptempo disco dancefloor jiving till morning.

                                          FORMAT INFORMATION

                                          12" Info: One copy in stock

                                          Roy Panton & Yvonne Harrison With Friends

                                          Recordings 1961-1970

                                          Roy Panton and Yvonne Harrison are central to understanding Jamaican music and its evolution. For some time, all over the world, thousands of followers and lovers of these Jamaican rhythms have tried, sometimes with luck and some with dismay, to get some of the recordings presented here today on vinyl, in what is the first compilation dedicated to Roy Panton & Yvonne Harrison.

                                          Some of these you can find on this LP. Unfortunately, after Millie’s departure to England under the management of Chris Blackwell, Roy found himself without a partner. However, this should not be for long. In the autumn of 1962, discovered by TIP TOP Label’s Lynden Pottinger, Yvonne and Roy met for the first time at the West Indies Studios (WIRL) of Edward Seaga and recorded their first ever single, “Two Roads” with the B-side “Join together”. The magnificent performance of both, and perfect compatibility of their voices “joint together” Roy and Yvonne in what would be one of the most requested duets in the country. 

                                          Stamping the passport this time round we have DJ Ric Piccolo by way of Buenos Aires, who takes lost and obscure Argentinian records and injects them with a turbo shot of discoid overload. If you've just got onboard the Passport to Paradise spaceship, don't fret- PTP13 is the perfect introduction for the aspiring cosmic voyageur.

                                          Ric Piccolo kicks off with the heady throes of 'Fuck All Nite' . You've heard it before but you can't remember where. Take the advice- this is your 3am matchmaking tool. Then head onto A2, 'Passage', where the wind whistles through tropical vines and monkeys play Moogs on the rainforest floor. TIP!

                                          On the flip side we have '1, 2, 3..', sounding like the lost credit track to a 1980s Latin horror b-movie, where flare-clad zombies with glasses of fernet rock and sway with drunken senoritas. It could well be. Finally, B2, Venus rounds of the release in true cosmic disco style.

                                          STAFF COMMENTS

                                          Sil says: What's not to love with a song title like 'Fuck All Night'. Beyond the title, it is a great 12". It reminds me a bit of Serge Santiago, read that as Italo feast. Great edits all round.

                                          Richard Pinhas is one of the most important French electronic space rock musicians. Following five albums with Heldon, his band, he released solo records from 1977 on. His transition to 'solo' material gave the guitarist and synthesist an opportunity to work on material that was a little lighter and less constrained. 'Chronolyse' was his second solo album. At the time of "Chronolyse"’s gestation, Pinhas had been listening to a lot of classical music. Bach, Scarlatti and Wagner were key. So too were the new wave of American minimalist composers; Philip Glass in particular. After the out of this world "Variations" on the A-side, skip to the flip for the Dune inspired tone poem "Paul Atreides".

                                          Fourth solo album by French spacerock mastermind Richard Pinhas. 'East West' was his first and only album to be released by a major label (CBS). Some say it is his most commercial one, Pinhas doesn't see it that way. East West contained some surprises for those who were used to Heldon’s extended jams or the sparse and moody atmosphere of the previous year’s Iceland.

                                          East West’s average track length is four minutes, indicating greater accessibility. It also has a David Bowie cover, although Pinhas naturally chose one of the thin white duke’s more avant-garde moments: the foreboding 'Sense Of Doubt' from Heroes. East West’s synth-centric tracks, resemble siblings to the groundbreaking work of Kraftwerk. Others evoke Brian Eno or Tangerine Dream but hold their own distinct flavour.

                                          Richard Pinhas


                                            Originally released in 1979, Iceland is Richard Pinhas’ third solo album and his first following the breakup of Heldon. While moving away from the maximalism of his old band, paring down Heldon’s hybrid of otherworldly sci-fi imagery and pummeling psych-prog riffs, the journey through Iceland is decidedly more inward. Consisting of longer, brooding synth-based pieces as well as short proto-industrial études and interstitial sketches, Iceland features Pinhas’ delay-ridden electric guitar, pulsating machine rhythms and analog synthesizer washes—all vivid in texture and timbre, notwithstanding an undeniably chilling ambience. This first-time vinyl reissue includes “Wintermusic,” an immersive 25-minute bonus track recorded in 1983 and appearing here on vinyl for the first time. Pinhas’ excursions channel the season’s stillness and sublimity, its majesty and its threat. Without a doubt, one his finest moments. Recommended for fans of Cluster, Mica Levi and Fripp & Eno.

                                            Following the vaguely poppy shapes of 1980's album East West, his fith album L'Ethique saw ex-Heldon guitarist and synth wizard Richard Pinhas return to bigger and bolder band-like methods. After the release he disappeared from the limelight for nearly a decade and returned in the 1990s.

                                            Interviewed by "Electronics & Music Maker" magazine in 1982, Richard Pinhas spoke in buoyant terms about the future of his recording career. Having just unveiled his fifth solo album, L'Ethique, he was already scheming towards its follow-up. The next record. It would see him shift from analogue-based methods to digital systems. He expected the album to arrive in 1984. Little did anybody know that the mooted record would not actually materialise.

                                            The year after that interview took place, Pinhas was plunged into a long period of depression. "I stopped everything and didn't think I would ever come back to music," he remembers. "I decided music was no longer for me. I'd said what I had to wanted to say, and it was done. It was out of my head and out of my life." Thus, he sold all his synthesisers and tried to survive on their profits along with royalties from his back catalogue. L'Ethique now looked as though it was Pinhas' final artistic statement. It was a strong collection to go out on. L'Ethique saw Pinhas return to bigger and bolder band-like methods. His collaborators included bassist Bernard Paganotti and Clément Bailly, both of whom performed stints in the prog band Magma. Moog player Patrick Gauthier made a reappearance too. The line-up brought a phat and forceful feel to the crunching jazz-rock fusion of 'Belfast' and 'Dedicated To K.C.', a vibrant space-rock stomper that lurks on some distant planet between the extraterrestrial habitats of King Crimson, Pink Floyd and Hawkwind.

                                            Part 1 of 'The Western Wall' has a particularly fast tempo. Interspersing these rockers sit some mellower moments. The title of the gorgeous synth rumination 'Melodic Simple Transition' seems far too modest. Despite its dark and brooding synth chords, the second instalment of 'The Western Wall' has a strangely calming effect on the senses. Pinhas disappeared from the limelight for nearly a decade under the weight of his depression. On the strength of this record, not to mention the works that preceded it, there's little wonder that so many labels and promoters were falling over themselves to persuade Pinhas to return to music, which he eventually did in the 1990s. "The real miracle is that I reconnected with the music-making process," says Pinhas on overcoming his reclusive years. "It is easy to fall, but very difficult to come back."

                                            Rozi Plain has been making music since her brother taught her a few chords on the guitar aged 13. Raised in Winchester, she spent a few years studying art and painting boats in Bristol, where she began collaborating with long-term friends Kate Stables (This Is The Kit) and Rachael Dadd among many others on a thriving local scene. It was there that Rozi made her first two albums, 2008’s Inside Over Here and 2012’s Joined Sometimes Unjoined, each works of deliciously sad and beautiful pop full of heart-wrenching harmonies dotted with unexpected instrumental flourishes. Released in April 2015 on Lost Map and featuring contributions from Hot Chip’s Alexis Taylor among others her last album Friend was a deeply meaningful and wonderfully measured ode to memory, place, companionship and music’s remarkable power as an emotional salve. A companion album of remixes, unreleased tracks and radio sessions, Friend Of A Friend, was released in 2016.

                                            STAFF COMMENTS

                                            Martin says: Rozi Plain's distinctive, gentle delivery is the glue that binds this follow up to the sublime "Friends" together - it's a fuller, more coherent release than it's predecessor and no less gorgeous.

                                            FORMAT INFORMATION

                                            Dinked Edition LP Info: Glow in the dark vinyl (same colour as indies-only version).
                                            Exclusive alternate glow in the dark screen-printed cover.
                                            Very limited 300 pressing.

                                            Dinked Edition LP includes MP3 Download Code.

                                            Coloured LP Info: Glow in the dark vinyl.

                                            Coloured LP includes MP3 Download Code.

                                            LP includes MP3 Download Code.

                                            Robert Pollard With Doug Gillard

                                            Speak Kindly Of Your Volunteer Fire Department

                                              Guided By Voices brings you 20th anniversary vinyl reissues of two early gems from the Fading Captain Series. Originally issued as small vinyl pressings (1000 copies) in 1999, used copies of these Guided By Voices “side-projects” have regularly re-sold for hundreds of dollars each. Both have been remastered from the original analog tapes. Speak Kindly of Your Volunteer Fire Department is the first album of Robert Pollard’s fruitful collaboration with long-time guitarist Doug Gillard (later to be known as Lifeguards).

                                              Gillard recorded all the instruments on Tascam 4-track cassette in Cleveland, then sent them via US Postal Service to Pollard who added vocals in a studio in Dayton. Eleven Pollard compositions followed, along with four songs which Pollard wrote and recorded melodies over Gillard-penned instrumentals, starting an unusual songwriting process that Pollard pursued for several years with various long-distance collaborators. Nearly half the songs on the album became staples of the GBV live set for several years, including “Pop Zeus,” “Tight Globes,” “Frequent Weaver Who Burns” and “Do Something Real,” which was featured in the Stephen Soderbergh film, Full Frontal.

                                              FORMAT INFORMATION

                                              Ltd LP includes MP3 Download Code.

                                              Robert Pollard

                                              Kid Marine

                                                Guided By Voices brings you 20th anniversary vinyl reissues of two early gems from the Fading Captain Series. Originally issued as small vinyl pressings (1000 copies) in 1999, used copies of these Guided By Voices “side-projects” have regularly re-sold for hundreds of dollars each. Both have been remastered from the original analog tapes. Kid Marine, the first-ever release of the Fading Captain Series and Robert Pollard’s third solo album, features “Far-Out Crops,” “Submarine Teams,” and the sublime “White Gloves Come Off.” Pollard handles all guitar and keyboard duties as well as vocals, joined by GBV’s Greg Demos (bass) and Tobin Sprout (piano) and The Breeders’ Jim MacPherson (drums), soon to join GBV for Do The Collapse.

                                                FORMAT INFORMATION

                                                Ltd LP includes MP3 Download Code.

                                                Robert Pollard

                                                Faulty Superheroes

                                                  Neither snow nor rain nor heat nor gloom of night stays Robert Pollard from the swift completion of his latest brilliant record. Faulty Superheroes jets off Pollard's vinyl-grooved runway like the prototype for some new super-sonic power pop fighter jet, and at this point in his career is anyone surprised that the twelve tracks on his latest effort are uniformly awesome? The answer is no. Exactly no one is surprised. The biggest thing Pollard has to contend is his own miraculously consistent greatness. That he rarely if ever stumbles is some kind of marvel, and perhaps implies superpowers of his own. If you see what we did there.

                                                  Faulty Superheroes has a tossed-off, effortless magnificence that the rash of indie-whatevers trailing in his wake from Bee Thousand to the present constantly strive for, and fail to achieve. The constant sense of surprise, of wonder, of discovery that you routinely find in superbly-structured instant bomp classics like "Faster The Great" is not something that can be taught, or learned, or imparted, or copied. Pollard pretty much abandoned the four-track for twenty years now and still gets tagged as "lo-fi," which is a word that makes even less sense now in the days of digital recording than it did then in the days of occasionally tape-hiss smothered coulda-shoulda- been hits. "Take Me To Yolita" in lesser hands could have been not much more than a bad one-liner stretched to fit a pop song, but Pollard reverse-engineers the titular pun to build a Kinks-like mini-epic that elevates the raw material of the song to transcendent heights. "She walks to him but that's not him." Damn. And so it goes. Are there bum notes here and there? Recording accidents-on-purpose left in like crushed empty beer cans strewn around the miniature, glimmering pop/ rock/ psych/ prog construction sites left standing in the wake of each of Faulty Superheroes' finished/unfinished songs? You betcha.

                                                  The Guided By Voices aesthetic was formed and developed and continues to be improved by Pollard, which makes all the more puzzling the hand-wringing that accompanies every announcement of a so-called GBV "break-up" (or for that matter, "reunion."). "You only need one," he sings on the song of that title. As long as we have Bob, we need nothing else. And we have Bob. If you're counting your blessings, don’t forget that one. It's kinda crucial.

                                                  Robert Pollard - Guitar, Vocals, Todd Tobias - Bass, Guitar, Keyboards. Kevin March – Drums. Stephen Hopkins - Bass on "What A Man". 

                                                  Robert Pollard

                                                  Jack Sells The Cow

                                                    Even for a guy whose famously abundant output makes a joke of the word prolific, this has been a spectacularly prolix year for Robert Pollard. Jack Sells The Cow is his second solo album in a year that has already seen the release of two reunited Guided By Voices records and will see yet a third before it's done, along with a fair amount of touring.

                                                    So what makes this a Robert Pollard record as opposed to a Guided By Voices record? The best answer is that it's just a matter of nomenclature, but the absence of contributions from other members of the reunited GBV is probably the easiest way to put Jack in its box, if putting things into boxes is your thing. "I'm as true as true can be," Pollard sings on the pithy pop anthem "Big Groceries," from which the album at least obliquely derives its title (in the sense that one verse, at least, seems to refer to the old English "Jack and the Beanstalk" folk-tale, or something like that), and much of Jack seems preoccupied with larger themes: "Pontius Pilate Heart" with judgment, "Winter Comes To Those Who Pray" with the faith/doubt schism, "Big Groceries" with objective vs. subjective truths, and on and on and over and out. At least, that's our reading. That reasonable people might disagree on the precise meaning of Pollard's lyrics doesn't mean they make no sense, as those who take the trouble to handle with care will likely discover. And if not, hey, that's cool. The superabundance of melody and densely-packed stylistic swerves and flourishes on Jack rival anything he's recorded recently, and while five albums in a year might strike some as overkill, you have to imagine Pollard's relentless output is a less than calculated move — a smarter businessman would hold back product so as to build demand, but Robert Pollard has never been a businessman. He's an artist, full stop, at a time when it seems that every artist/musician is expected to have an M.B.A. He puts out records because he likes the records (Bogq knows he's scrapped enough proposed albums to fill many another group's entire discography). And he hopes you'll like them too.

                                                    Jack Sells The Cow sails over the moon of your heart in a snappy thirty-two plus minutes, and despite its relatively heavy subject matter comes off as perhaps the sprightliest, most light-footed music Pollard has recorded this year. Of the quincunx of Bob-related releases this year, we'd suggest you put this one in the center, and hold tight. These suckers move.

                                                    Has any artist had a run like Robert Pollard since he struck out on his own with the launch of GBV Inc. in 2008? With the release of "Moses On A Snail", Pollard has put out an unbelievable twelve albums in a span of roughly two years—and that's not even including all the various EPs, singles and a (third) box set of outtakes and unreleased tracks. "Moses On A Snail" contains a dozen amazingly strong Pollard compositions. Even for the ridiculously prolific songwriter, this was a notable writing session as ten of the twelve songs were written in one sitting. As Pollard describes the process, he started with a notebook of working song titles, and penned 22 songs in a single afternoon's creative burst. He discarded over half, and ten songs were picked to later revise and flesh out. He made demos to send to frequent producer / collaborator Todd Tobias, who recorded the instruments before Pollard did his final vocals. This batch of songs finds a somber, more reflective, yet ultimately triumphant Pollard on such instant classics as "Arrows And Balloons", "Each Is Good In His Own House", "It's A Pleasure Being You" and the enormous title track, which culminates in a dramatic (and a typical) minute-long guitar lead to close the album. Elsewhere, the elegiac "Teardrop Paintballs" delivers seriously heartbreaking melodies, and the (dare we call it) mellow "The Weekly Crow" reminds us to mention that there will be a Pollard composition on the forthcoming Glen Campbell album. Clocking in at a concise 36 minutes, "Moses On A Snail" begs to be played over and over again as it reveals itself more with each listen. It's an album that prompts the question: 'What is Robert Pollard going to do next to top this one?'

                                                    R. Elizabeth

                                                    Every And All We Voyage On

                                                      R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch.
                                                      The songs are full of air and light; infectious, melodic and off-the-cuff.

                                                      Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language – divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes, realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of repetitive listening.

                                                      Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless, conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting. The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
                                                      grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble provides aural snakes for the listener’s ear to follow. Spiritual To Symphony is the brightest, most unabashed example of what R.Elizabeth achieves on Every And All We Voyage On. It’s utopian, bright and hypnotic: over a repetitive hook, a double tracked vocal intones a kind of post-structuralist, feminist manifesto: “A different kind of intimacy, a kind of female masculinity, I sense how to be, from vision to visuality.” It’s the perfect example of a piece of music that can be taken on its own terms, enjoyed as pure sound massaging the receptors in the brain or as something that can be dissected, it’s a microcosm of the album as a whole. Effortless and endlessly playful, the album is constantly shifting in and out of focus, from airy imagination to earthy reality. R. Elizabeth invites you to take the sound however you want it. Maybe she doesn’t really care, maybe she does. Who really knows? 

                                                      R. Missing


                                                        R. Missing is the enigmatic music project of New York based vocalist Sharon Shy and musician Toppy.previously known as The Ropes. Unsummering, the first release under their new moniker R. Missing, expands on The Ropes' previous palette of Morrissey tinged lyrics and darkwave, but manages to be even more isolated lyrically than their famously nihilistic previous work, fully embracing complete detachment. Musically, fraught guitar and synth textures paint an image of an unstable world, held together only by tightly quantized electronic drum beats.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: White vinyl.

                                                        Coloured LP includes MP3 Download Code.

                                                        LP Info: Black vinyl edition.

                                                        LP includes MP3 Download Code.

                                                        Stop press: REM used to be one of The Greatest Bands Ever! It's true! Coming out of post-punk (US style) and all its anti-mainstream super-individuality, this lot jangled and strummed their totally unique way into the hearts and minds of 'alternative' music-lovers in little pockets (of resistance!) of Europe, and college dudes in the US. So you're sick of Michael Stipe now? Back then he was a poet, a mystic, a super-enigmatic drifter, and the unbelievably atmospheric, incredibly melodic, sometimes meandering sometimes rocking folk-pop of his band was shrouded in mystery. They were like an American Smiths, but with a broader template, and somehow more exotic....That was then, and we don't have to concern ourselves with now: this 82-87 best of is beautifully packaged, and with notes from the band, 9 previously unreleased tracks and a few other rarities, it really is one for old fans and the curious alike. Superb!


                                                        Street Reaper

                                                          When R.I.P. came crawling out of the sewers of Portland, Oregon, last year, their grimy, sleazy street doom was already a fully formed monstrosity, quickly infecting the minds of everyone it encountered. Now, borne from the band’s declining mental health and an increased focus on songwriting, Street Reaper is even more unhinged and menacing than their debut In The Wind. Borrowing equally from ’80s Rick Rubin productions and Murder Dog magazine aesthetics, this latest album is a streamlined yet brutally raw manifesto of heavy metal ferocity hearkening to the era when both metal and hip hop were reviled as the work of street thugs intent on destroying America’s youth.

                                                          Throughout, Angel Martinez’s guitar and John Mullett’s bass are inextricably interlocked like a massive sonic steamroller, while drummer Willie D keeps the beat solid and simple for the most powerful impact. Plus, the band’s extensive touring and excessive virgin sacrifices have provided singer Fuzz evermore agile vocal chords to drive it all home with extreme precision. Operating on the belief that doom is not tied to a tuning or a time signature, but rather a raw and terrified feeling, R.I.P. eschews well-trodden fantasy and mysticism tropes of the genre and focuses on conveying the horror and chaos inherent in the everyday reality of the human mind.

                                                          From Fabrizio Modonese Palumbo: '"In Pink" is the 3rd (r) album. I've worked on it for almost 2 years, both 'cause I've been very busy with Larsen and XXL as well as touring and working in the studio with other bands, and 'cause it came through troubled and sometimes painful, but anyway intense times. Whereas the previous "Under The Cables, Into The Wind" was a very warm and relaxed album, and also my favourite so far, "In Pink" is a pretty extreme one, swinging between joy and fear, introspective moody songs and explosions of - desperately optimistic - energy. Still it is more a diary than an exorcism, filled with songs about death and transfiguration, including my version of an Irish traditional theme (which also Johnny Cash interpreted on one of his American albums) and Joy Division's classic "Atmosphere" (which I list among the best songs ever written). It is also my most arranged and colourful album where my recent experiences as producer for other bands have converged, and the most 'band' oriented among my solos.

                                                          Shuckin' and jivin' like a Paisley gloved Mayweather, Leeds' brilliant Balearic Social Records hit us with a one-two combo of musical wonderment this week, scoring a hat-trick of 2017 releases with a little help from Japanese genius Mori Ra. If you're a regular customer here you'll have heard us bang on about this deep digger, dope collector and editing expert time and again - and as usual, he lives up to even the loftiest of expectations. Bathed in a neon glow and psychedelic shimmer, Mori Ra sits on the cosmic fringes of the Balearic universe - imagine Starchild, not the Level 42 track but the evolved form of David Bowman from Arthur C Clarke's epic space opera. How better to start this set then, than with the astral lullabye of "Dream Will", a gorgeous combination of free-flowing aquatic piano, hypnotic drum machine rhythms and the immersive swell of undulating waveforms. Kinda kosmische, but with bossa's beat and the Balearic spirit, this is holodeck exotica worthy of any FTL craft. Flip the disc and the outer rim exploration continues with "Pcych", a swaying, soothing journey through Tangerine Dream sequences, subtle percussion, swooning synth strings and plenty of space tones. With the baggy beat holding it down for the beards and the expansive soundscape working wonders for the cosmic kids, "Pcych" lights up our collective consciousness before a stunning piano melody melts all the worldly trappings away. Simply jawdropping. Mori ups the intensity and pushes the tempo for EP closer "Exodus", locking into the woody and weird sounds central to the cosmic music of Japan. As the moon shines over the enchanted forest, the constant tumble of tuned percussion clatters out a ritualistic beat, driving the mystical koto melodies and squals of proggy guitar through the night. Truly transcendent dance music for late in the session!

                                                          STAFF COMMENTS

                                                          Patrick says: Here we have "Akebono" (Dawn to you and me...), the first of two Mori Ra masterworks on Balearic Social delivers kosmische hypnotism, blissful Balearic bossa and a properly proggy trance-dancer! Majestic stuff from the Japanese hero.

                                                          Since grabbing attention with a couple of classy reworks for Macadam Mambo back in 2014, multi-talented Osaka based DJ, Blogger, & Re-Editor Mori Ra has been on fire, dropping diverse and obscure edits on a host of hot labels while rocking dancefloors all over the globe on a slew of DJ tours. The latest release on the excellent Passport To Paradise label sees Ra teaming up with frequent collaborator ASN for a pair of A-side goodies, while going it alone for some B-side badness! Poses struck? Let's get to it!

                                                          The A-side gets underway with the simmering cosmic bubble of "California Real", a killer fusion of linen-suited West Coast grooves, propulsive prog and solar flare synth work, expertly extended and expanded by Mori Ra & ASN. The groovesome twosome keep the pressure on with the spaced out synth pop of "Actual Flash", bouncing an echo drenched astral projection off the moon mirror before channeling it directly into the A2 of this wax wonder. Aided by an on point bassline, the track skips through pitch bent sine waves and echo drenched percussion before opening up into a dreamy chorus awash with oriental melodies and YMO-style keys.

                                                          Mori goes solo on our asses for the B-side, harnessing the lush, laid back stylings of his recent Forest Jams 12" for the verdant "Mermaid". Crystalline sequences pulse, glittering in the sunlight to form a mesmeric backdrop for the oceanic piano, ethereal vocals and anthemic 80s melody which carry us home. It wouldn't be a Passport To Paradise especial without a deep and dreamy Balearic bomb, and Mori holds back right till the last, letting loose with the gorgeous "Synchroid". Sumptuous strings and woozy pads are the expansive setting for the Lynchian vocal samples, majestic mallets and intricate guitar which Mori paints into a rarified masterpiece.

                                                          STAFF COMMENTS

                                                          Patrick says: Japan's man of the moment touches down on Passport To Paradise with a quartet of obscure treats to move your feet(s). Cutting a rug between cicadas and sakuras, skyscrapers and city pop and satellites and space ships (stretching this 's' thing a bit) Mori brings us boogie, synth-pop and a total Balearic bomb - Super.

                                                          Ra Ra Riot

                                                          A Manner To Act / Each Year

                                                          I was expecting this to be a shouty pop thing going off the name of the band (and the label to some extent) but it's actually nothing like that at all! Hailing from Syracuse, New York, Ra Ra Riot blend the fury of post punk with melodic orchestral sensibilities to create this sublime pop song full of gently distorted guitars and subtle violins topped with a vocal that swoops and soars beautifully. Very good indeed!

                                                          Ra Toth And The Brigantes Orchestra

                                                          Acid Sea

                                                          At the third New Interplanetary Melodies' astral journey stopover, it was mandatory to catch an Italian project deeply inspired by the Sun Ra visionary realm, expressing contemporary trials of hybridising jazz with artful electronica. So Ra Toth and The Brigantes' Orchestra landed on vinyl grooves for the label, after having previously appeared on the likes of Mathematics and Berceuse Heroique. Behind the sound, we find the elusive and unpredictable genius of the well-respected producer Marcello Napoletano.

                                                          NIM received the distorted sound signal from Napoletano taken over by the Egyptian deity born from the lips of Ra. Who knows if those noises were coming from a parallel dimension, outer space, or some otherworldly sphere...? Submerged in dark bottom waters, the stormy waves of the 'Acid Sea' are made of convulsive afro-flavoured percussion with sharp synths looming out like the ivories of some freakish abyssal creatures.

                                                          For fans of Indietronic, Dreampop, Lofi.

                                                          Bio: Basically we know very little about Frank Rabeyrolles... a PHD in Philosophy, a endless love for funny analog drum machines and tambourines and many dedications in his albums to his beloved cats Leo & Elliot ...Anyway today he's putting the final touch to his 8th album so let's dig up some more about this discreet and unclassifiable French human character.

                                                          Discovered in 2004 with "Life Behind A Window " under the Double U alias, he manages to surprise and seduce the public and the press in France (teacher's pet of Les Inrocks) with his dreamy hybrid-pop/songwriting. International press (De bug, Xlr8r,Lodown...) fall as well for the charm of this other vision of "French touch". Frenetically productive, Frank R. keeps up the pace since then, releasing a new album every year, first with Double U then with Franklin, new name which translates his serious desire of continuous mutation.In 2006, he also creates his label Wool Recordings, releasing on vinyls exclusive tracks of Laetitia Sadier, Stereolab's grand lady, Castanets split EP and re-issueing rare sought-after 70's estonian vocal jazz, also inviting new talents like Peter Broderick, Benoit Pioulard...

                                                          Without a proper carrier plan, Frank Rabeyrolles manages anyway to remain the same but keeps surprising his followers: with " Artificial light " in 2011 a new step comes along, this solar album meets a better international exposure through a brilliant remix by Com Truise, his synthetic layers and dancing beats seducing as much fashion hipsters than geeky bloggers. Frank Rabeyrolles feels now ready to issue a piece under his own name, putting his soul out in the wild : poetic, fragile and pictural, this upcoming album "#8" loves playing with the rules of contemporary pop.

                                                          He says: "The idea of labelling the album with just its rank number in my production is like my own private joke to those who keep looking endlessly for the "next big thing" . Music is a lot more to me than a "genre". It has to be at the crossing of imaginary worlds and mine is somewhere between handmade "Songwriting" and playful electronic variations ...I hope many listeners could bond to those different universes."

                                                          With the release of 'Communion', the follow up to his acclaimed EP (and Tri Angle debut) 'Baptizm', Rabit shows no signs of letting up. As a sound designer Rabit has continued to push himself into new and compelling territories, reshaping various ‘club’ sounds into something alien and unpredictable, but with the release of this album he’s heavily politicized his music in a way he’d only hinted at before.

                                                          The deeply personal aspect of his creative process, and what has been described as an “intangible something“ in his music, resonates with listeners on a gut level, both pushing and pulling the listener into a world of destruction and rebirth. ‘Communion’ is a complex, disorientating album, and one that feels especially timely considering it was primarily inspired by issues relating to sexuality, gender, ownership of our natural bodies, societal and governmental injustices, and media manipulations, the discussion of which have been so prevalent of late. Consequently ‘Communion’ runs the full gamut of emotions; confusion and bewilderment transforming into anger and confrontation, finally ending up in a place of possible hope; the sound of earthly chains on the soul being broken.

                                                          Race Horses

                                                          My Year Abroad

                                                          A group who thrive in their songcraft while picking apart the everyday to find the hidden relationships within, Aberystwyth’s Race Horses return with new album ‘Furniture’ and lead-off single ‘My Year Abroad’.

                                                          Indicative of the new album’s tight, compact songwriting, ‘My Year Abroad’ sees the band make their most defined steps forward yet and hone in on the pin-sharp pop that lead singer Meilyr Jones has cited as recent influences, such as Soft Cell, Dexy’s Midnight Runners and Queen.

                                                          ‘My Year Abroad’ is typical of Jones’ lyrical perspective. It focuses on the tale of a businessman on a trip to Tokyo, but digs under the surface level to find, as he puts it, “the grim reality, not the glamorisation of excess, using things and people, cheap thrills.”

                                                          Features Welsh language B-side ‘Cysur a Cyffro’.

                                                          Limited to 500 bright yellow coloured 7”s with postcard and tracing paper insert. Includes business card with phone number - fans are invited to leave messages for the band.

                                                          STAFF COMMENTS

                                                          Andy says: Pin-sharp pop influenced by Soft Cell, Dexy’s Midnight Runners and Queen. Limited to 500 bright yellow coloured 7”s with postcard and tracing paper insert.

                                                          "Acid Or Blood" is Racebannon's most caustic, abrasive, fluid, and balls-out riff-heavy endeavor. Eleven tracks of unchecked emotion (recorded by Mike Bridavsky of Russian Recording and mastered by Bob Weston) unfurl as the band unleashes its working-class destruction without a care in the world for convention or marketability. Songs like "The Hard Way", "Terror And Dread", "Translucent Lifeforce", and "Vampyric Solution" showcase this killing machine at their most lethal and original. But just in case you didn't get the memo, Racebannon doesn't give a fuck what you think, and make sure you take your shoes off when you step on their carpet. Brace yourself for the impact of "Acid Or Blood", which will take no prisoners, and make no apologies.


                                                          Satan's Kickin Yr Dick In

                                                          Racebannon craft a sordid tale of woe, depression, excitement, accolade, fear, rise, fall, alpha and omega through a five part aural aria of the pleasures and pain of the rock'n'roll lifestyle. Tracks often go from a funeral dirge to defiant and pompous to a spaced out overdose. One for fans of The Melvins, Icarus Line and Jesus Lizard.

                                                          The Race

                                                          In My Head It Works

                                                            New album from The Race, on legendary Oxford label Shifty Disco.

                                                            'Help Us Stranger' is The Raconteurs' third studio LP and first new album in more than a decade. It sees the mighty combo reassembled, stronger and perhaps even more vital than ever before as they continue to push rock 'n' roll forward into its future, bonding prodigious riffs, blues power, sinewy psychedelia, Detroit funk, and Nashville soul via Benson and White’s uncompromising songcraft and the band’s steadfast musical muscle. With 'Help Us Stranger' The Raconteurs have returned right when they are needed most, unified and invigorated with boundless ambition, infinite energy and a collectivist spirit operating at the peak of its considerable powers, once again creating a sound and fury only possible when all four of its members come together.

                                                            White and Benson wrote all the songs on 'Help Us Stranger' except one cover, “Hey Gyp (Dig The Slowness),” which was written by Donovan. Recorded at Third Man Studio in Nashville, TN, the album was produced by The Raconteurs and engineered by Joshua V. Smith. Longtime friends and musical collaborators helped make 'Help Us Stranger', including keyboardist/multi-instrumentalist Dean Fertita (The Dead Weather, Queens of the Stone Age) and Lillie Mae Rische and her sister Scarlett Rische. The album was mixed by Vance Powell and The Raconteurs at Blackbird Studios in Nashville.

                                                            STAFF COMMENTS

                                                            Mine says: After focusing on his solo career and his label Third Man Records, Jack White is reuniting with his Raconteurs for their first studio album since 2008. They pick up where they left off (ish) and, taking it up a notch, create an album that feels more energetic than its predecessors. Fans of Jack White's latest solo album will probably dig this.

                                                            The Raconteurs

                                                            Consolers Of The Lonely - Vinyl Reissue

                                                              Third Man is ecstatic to induct into the standard catalog Consolers of the Lonely, the critically-lauded, fan-adored, Grammy Award-winning sophomore LP from the beloved quartet known as the Raconteurs.

                                                              Before surprise releases were common, the Raconteurs ambushed the world with the sudden, unannounced release of Consolers of the Lonely on March 25th, 2008, a time when coordinating a worldwide physical and digital surprise release was even less easily accomplished than it is today.

                                                              Consolers finds the Raconteurs at their mightiest, exploring what it means to be a contemporary rock band in a classic sense, full-on bombastic horn arrangements and gut-wrenching murder ballads sit side-by-side while the swagger and confidence of riffs and licks for days firmly establish this album as one of the pre-eminent releases of the 2000s.

                                                              SWEET VINYL REISSUE OF THIS CLASSIC! IN TIME FOR THE NEW ALBUM RELEASE!!

                                                              Radar Brothers


                                                                Longtime Merge and Chemikal Underground band. Radar Brothers return with Eight, a very special new vinyl-only release. Featuring an expanded band of brothers including Stevie Triechel and Be Hussey from The Illustrated Garden as well as new members Dan Iead (Cass McCombs, The Broken West) on guitar/pedal steel, Brian Cleary on keyboards and Ethan Walter on piano and synthesizers. Between the two keyboards and Iead and Putnam’s guitars, the band orchestrates a swirling fervor that glides over Triechel and Hussey’s rhythmic aggressions. Eight may well be Radar Brothers’ darkest, hardest rocking, most psychedelic, and yet most intensely personal album to date. From Putnam’s tribute to Joni Mitchell’s cover art (The Hissing of Summer Lawns) to the surreal, picturesque lyrics to the unidentifiable textures and sounds that pour from your speakers like liquid paintings - this may also be the band’s most visual album to date.

                                                                FORMAT INFORMATION

                                                                Ltd LP Info: Vinyl is limited to 1000 copies. Vinyl includes a bonus CD of the album.

                                                                Radar Eyes

                                                                Positive Feedback

                                                                On the toes of their sophomore LP, also due out on HoZac this year, this single slings two tracks that really define a new direction for the band. Since the last release, Radar Eyes have gone through a line-up change, now including Russ Calderwood, known from such Chicago luminary bands as The Brides, The Dirges, and most recently, The Runnies.

                                                                "And for those who couldn’t keep their ears off the their “Shakes” or “Miracle” singles, don’t fret, that soaring psych-pop and those twangy guitar harmonies haven’t eluded their deep clutch on modern rock’n’roll songwriting. The A-side, “Positive Feedback,” has the same brilliant and glorious vocal interplay and ardent guitar strangling that sold us on them years ago, and all your panting over the Paisley Underground and JAMC comparisons will still be relevant, and we guarantee it will get you laid." –

                                                                We've been waiting for this moment from Radar Eyes for years. This debut album is more of a pinnacle of modern noise pop than just another invigorating album to get warmed up to on a cold morning. Soaring guitars and heavenly vocal interplay, all screaming along with such interstellar melody and power, you'd think they were on the brink of signing to Creation Records. They have been quietly building an explosive array of hits for the past few years, and now their incredible shine has become unavoidable as they crush together spacey noise with pop hooks so devastating, we just had to ask them to put out their debut album.

                                                                Here, finally on the LP format they're best suited for, they've aligned their angelic guitar transcendency to come to full fruition, heralding a fresh new layer of palpitating excitement to their timeless sound they've honed to such a fine point. This is a band that understands how to control themselves under all the constraints, firing off powerfully direct, gigantic synthesized pop anthems that twist and turn with the best of their influences and lock themselves deep inside your head.

                                                                RIYL: Spacemen 3, Ride, Bubblegum Lemonade, The Ponys, The Seeds, Meat Whiplash etc...

                                                                STAFF COMMENTS

                                                                Darryl says: Ace indie-jangly 60's fuzz-drenched guitars on the debut album from Radar Eyes. This is exactly the sort of album that Creation Records would of licensed back in the day. Recommended!

                                                                One of the many musical entities the French collective Simple Music Experience sent to earth to vociferate electronic incantations, Radiante Pourpre is the name of a duo comprised of Alex and Leopold as well as the name of their 2017 debut album on Antinote. Last year, they have released an acclaimed LP on Kneklehuis under another moniker, Violent Quand On Aime, but the place from which they keep on transmitting musical signals has not changed: a post-exotic world ("No Zone") where the only remains of the societies we live in are barbwires, battered radio transmitters ("Takato") and deserted oil rigs the duo uses as fictional shelters.

                                                                From their precarious haven, they send us field recordings of waves mixed with analog glitters ("Interlude"). From their lost at sea run down tower, they record the cries of ominous seagulls ("Small Talk") and a bewitching Spanish voice ("Mala 800"), incorporating these to primitive drum machine patterns… And then…

                                                                A miracle happens when the record is flipped: a Balearic hit for post-apocalyptic times ("Lemanja")! Begining exactly like the opening track ("The Cops, The Jazz, The Birds"), in an unexpected twist of fate, it summons the angelic voice of Galadriel Andrade for a delicate Brazilian conjuration. There might even be a sunny spell lurking in the spirited closing tune ("Ms Butterfly"): “No Borders, No Cops, No Problems”.

                                                                Radiante Pourpre

                                                                Radiante Pourpre

                                                                Born in a cave in Bordeaux, Radiante Pourpre is one of the many children of Simple Music Experience, a collective and label floating somewhere between Marseille, Paris and Bordeaux which has inexorably attracted to itself many outsider experimentalists from the French electronic scene for the past few years. For their latest release, amazing Parisian imprint Antinote reissue a long out-of-print tape that the duo recorded in 2014 in Brussels’ art space Komplot.
                                                                Locked in a smoky basement somewhere, Alex & Léopold, the two halves of Radiante Pourpre, learned how to give life to their desolated mental landscapes, leaving the ruined city in search of Muslimgauze and Genesis P-Orridge. Embarking on long and immersive sessions surrounded by Korg synths and scorched tape players, the duo gradually found form for their abstract oddities and gloomy soundswells. Their music is ghostly. Suffering endless manipulations at the duo's hands, fragments of sonic material, little by little, lose their consistency to become nothing more than a faint reminder of their previous life, a dilapidated version of their past-self.
                                                                Manipulating the very essence of the sounds sampled, the duo lurk on the fringes of dub, industrial and musique concrète. By their multiple tape manipulations the two musicians reshape our world’s map, as the whim takes them, fostering the most improbable meetings: faint synths crash themselves against a solid wall of Irakian percussions while Brazilian voices melt into field recordings of fearsome machineries. 

                                                                STAFF COMMENTS

                                                                Patrick says: Antinote scoop up an out of print Simple Music Experience cassette and introduce it to a wider audience. Operating in fast flowing stream of electronic experimentalists, Radiante Poupre manipulate tape, slice samples and push envelopes to create a dark and mysterious post-industrial landscape.

                                                                Street-ready dancehall / grime / dubstep hybrid here from Radikal Guru who enlists DJ Madd in on remix duties. Full of JA flavour, "Back Off" contains a vocal call to arms and is transformed into a black dread steppa from DJ Madd's exquisite production, full of darting squelches and trembling low brass stabs. With the attitude-riddled vox and tight, upfront beats, this is bound to appeal to anyone with a penchant for MCR's Levels / Dub Phizix / Hit N Run cartels...

                                                                T'other OG, on side B; keeps the reggae-mash-up vibe strong by pairing a raggamuffin vox with stabby digi-steppas beat complete with wubbing B-line.

                                                                Radio 4


                                                                Melodic, angular guitar tunes with a heavy Gang Of Four / Mission Of Burma influence, along wih hints of Wire and Joy Division. Produced by Tim Goldsworthy and James Murphy (the guys responsible for DFA - LCD Sound System, The Rapture)

                                                                Radio 4

                                                                Live In France

                                                                One time only fan club pressing of this Radio 4 "Live In France" LP. It was recorded live in Paris in the spring of 2003. The sound quality is great, in fact it sounds like it came straight off the board. There were 1000 pressed and when they are gone, that's more will follow.

                                                                Radio 4

                                                                Packing Things Up On The Scene

                                                                Taken from their acclaimed "Enemies Like This" released earlier this year "Packing Things Up.." showcases a dynamic pop twist to their trademark dance party-infused agit-punk sound.

                                                                FORMAT INFORMATION

                                                                CDS Info: The CD single includes "Pretty Good Lie" on the B-side.

                                                                12 tracks of shake your ass, swing your hips, garage punk rock. The Radio Beats first release is imbued with catchy Devil Dogs riffs, guitar speed of the Dwarves, and it is actually louder than Iggy Pop's "Raw Power". Listen to this release and the Radio Beats will have you dancing the night away like you were hepped up on speed or downing ephedrine all night. The Radio Beats travelled all the way from Pittsburgh, PA to Virginia Beach to record this record with their idol, Steve Baise of Devil Dogs and Vikings fame. Steve in a weekend power session, recorded these twelve tracks and dug deep down in the mix to bring you all the hooks that any garage punk rock band needs.

                                                                The long wait is finally over! The Radio Department's "Clinging To A Scheme" is without doubt this year’s most eagerly anticipated Swedish indie pop album. It’s been four long years, but a simple press on Play and you'll know it's been worth every second. "Clinging To A Scheme" combines the best components from their previous albums "Lesser Matters" and "Pet Grief" with soul guitars, P-funk, cut/paste-beats and 70s futuristic orchestra. Breathtaking!

                                                                The Radio Dept. arrived with their album "Lesser Matters" in 2003 which is commonly referred to as the most important Swedish indie pop album of the 21st century. It was embraced by press and fans all over the world. They had no less than two 'Single of the week' in the NME and it, not surprisingly, ended up Top10 on the NME's 'Album of the year' - list. In 2006 Sophia Coppola chose to feature three of their songs in the film Marie Antoinette that further helped them to achieve worldwide recognition and the same year the chart-topping and critically acclaimed album "Pet Grief" was released. In the end of 2009 "Lesser Matters" came to be one out two Swedish albums to appear on NMEs Greatest Albums of the Decade-list.

                                                                The Radio Department’s releases have been referred to as the perfect mix between Saint Etienne and early The Jesus and Mary Chain and The best songs Pet Shop Boys never wrote and the album you’d hoped My Bloody Valentine did after ”Loveless”. And perhaps both comparisons makes sense. In a way. But the truth is that Sweden’s No. 1 alternative pop geniuses only sound like one band - themselves.

                                                                STAFF COMMENTS

                                                                Andy says: This band simply write brilliant pop songs. This is my favourite album, so far, this year.

                                                                The band’s fountainhead Parker Griggs, along with partners-in-crime Anthony Meier (bass) and Paul Marrone (drums), have cultivated yet another blues-rock masterpiece that crossbreeds late ‘60s psych-rock and face-melting guitar histrionics with the foundation-crumbling rhythms from early ‘70s hard-rock, and even includes a couple of harrowing tracks built from the bedrock of rural Delta blues. But more than merely digging up fossils from rock’s revered past, Griggs & Co. manage to translate the myths of rock-n-roll’s golden age into modern day truths for a new, younger generation.

                                                                Radio Moscow

                                                                The Great Escape Of Leslie Magnafuzz

                                                                Radio Moscow’s popularity is growing rapidly, as more and more fans tune in to their unique brand of American psychedelic blues rock. Radio Moscow’s music is rooted in the power trio sound of the late sixties and early seventies, and they have been compared to Blue Cheer, Hendrix, Cream, Ten Years After, and similar bands from the golden age of rock’n’roll. The band is the brain child of guitarist/drummer/singer/songwriter Parker Griggs, with Zach Anderson on bass, and Cory Berry handling the drums on stage. They released their first “self-titled” album on Alive Naturalsound records in 2007, produced by Dan Auerbach of the Black Keys. The record received rave reviews and praise worldwide, and in 2009 their second album, the hard-grooving stoner rock album “Brain Cycles” was released, also on Alive Naturalsound.

                                                                This, their 3rd album, is their most psychedelic and powerful work to date. It was recorded, mixed, and mastered analog at the legendary Prairie Sun recording in Northern California. In order to achieve the true natural sound they were looking for, the band used vintage Supro, Gibson, and Alamo amps, as well as other off-beat gems, while Parker Griggs sometimes ran his vocals through a tape echo, a Leslie cabinet or an old Gibson reverb tank. The Great Escape of Leslie Magnafuzz is an amazing album that updates an old-school style with craft, passion and plenty of psychedelics.

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