Newly remastered. First time on vinyl in decades. Includes “The Weight,” “The Night They Drove Old Dixie Down,” “Up On Cripple Creek,” “Ophelia” and many more!

TRACK LISTING

LP Tracklist:
A1. Up On Cripple Creek
A2. The Shape I'm In
A3. The Weight
A4. It Makes No Difference
A5. Life Is A Carnival
B1. Twilight
B2. Don’t Do It
B3. Tears Of Rage
B4. Stage Fright
B5. Ophelia
B6 The Night They Drove Old Dixie Down

CD Tracklist:
1. Up On Cripple Creek
2. The Shape I'm In
3. The Weight
4. It Makes No Difference
5. Life Is A Carnival
6. Twilight
7. Don’t Do It
8. Tears Of Rage
9. Stage Fright
10. Ophelia
11. The Night They Drove Old Dixie Down

Badasonic Records proudly presents a new chapter in its Soundclash Series: a transatlantic 45rpm featuring Belgian ska-reggae-soul collective The Utopians and Austin, Texas’ finest rocksteady outfit The Bandulus. Each band reimagines one of the other’s songs, creating a true musical exchange that bridges continents while celebrating shared roots.

On the A-side, The Utopians take on The Bandulus’ rocksteady gem 'Be Your Man' and transform it into a driving early reggae cut, infused with raw energy and vocal stylings influenced by Toots & The Maytals. Flipping to the B-side, The Bandulus reinterpret The Utopians' 'Don’t Work'. Originally an early reggae track, the song is reborn as a late-70s reggae version, adding a fresh electronic edge while keeping the soulful core intact.

This special release is the direct outcome of the two joint European tours that brought the bands together, solidifying not only their artistic respect but also a genuine friendship. Produced and mixed by Nico Leonard for Badasonic Records, the single captures the warmth of analog recording and the creativity of two groups committed to carrying Jamaican-inspired music into the present day.

Available as a collector’s edition 45rpm vinyl and digitally worldwide, this split single is more than just a record — it’s a cultural dialogue, a celebration of collaboration, and a testament to the strong bond between The Utopians and The Bandulus.

TRACK LISTING

1. Be Your Man
2. Don’t Work

“Chiroptera” is the soundtrack of 'Acte 2 : Retour à la Caverne', a creation by JR with Thomas Bangalter and choregrapehed by Damien Jalet. It was performed in Paris in front of the Opéra de Paris (Opéra Garnier) on November 12th, 2023 by more than 150 dancers. 

Side A is a wild tour de force of sound design and synthesis which I'm sure would have soundtracked the accompanying theatrics wonderfully. On the flip, the 'solo intro' is a somewhat more subdued affair. I'm assuming given the title, introducing the piece slowly into its environment. 

TRACK LISTING

Face A :
1 - Chipotera
Face B :
1 - Chipotera (Solo Intro)

It’s been eight years since Montreal’s The Barr Brothers released a full-length album. In that time, life pulled them in new directions - personally and professionally - altering the way they make music together. Their fourth studio album, 'Let it Hiss', isn’t just a new collection of songs. It’s a document of transformation. The making of this record marked a pivotal shift: a pause for reflection, a reckoning with vulnerability, and a reconnection between the two brothers who’ve spent over three decades making music side by side. “In 2022, we found ourselves at a breaking point,” says Brad Barr, the band’s guitarist, vocalist, and primary songwriter. “It was clear something had to change. The real story of this record is the story of that change and everything that came after.”

“'Let it Hiss' is what happened when we stopped pretending everything was fine and finally listened to what was actually going on”, says Andrew.
The album opens in miniature: a tiny Mexican guitar, the soft pulse of piano, a bare rhythm, and a voice that offers both surrender and strength. "Take it from me,” Brad sings - not as command, but confession. From this first moment, the album invites you into a space where the flaws aren’t edited out - they’re amplified, celebrated. It’s a powerful introduction to a record rooted in honesty, rediscovery, and trust.

For the brothers, recording became a mirror. The process didn’t begin with sound - it began with truth. They confronted not just creative blocks, but personal ones. Old patterns. Unspoken tensions. Grief. Growth. Through it all, they found a rhythm again - not in precision, but in permission.

Brad and Andrew have been playing music together since they were kids, first in the shape-shifting rock outfit The Slip, and then as The Barr Brothers, blending American roots music, and experimental textures into something uniquely their own. Their reputation for intricate musicianship and emotional depth has earned them fans across the world—and praise from musical giants.

The title itself is an ethos. “It just felt right,” Andrew says. “To leave the hiss in. The discomfort, the imperfection, the struggle. We stopped trying to clean it all up. That’s when the music started to breathe again. To be fun”.

Certainly, 'Let it Hiss' foregrounds a sense of joyous abandon that wasn’t as perceptible on previous Barr Brothers records—you can hear it in the open-road anthem 'Run Right Into It' (featuring Land of Talk’s Elizabeth Powell) and the playful garage-band reggae of 'She Doesn’t Sleep With the Covers On'. But 'Let it Hiss' doesn’t completely abandon the intimate storytelling on which the Barrs’ brand was built: 'English Harbour' is a gorgeous folk hymn illuminated by harmonies from former tour mate Jim James of My Morning Jacket, and 'Moonbeam' is a lush, string-swept soul serenade given an extra touch of class by a Francophone guest vocal from Quebecois art-pop shapeshifter Klô Pelgag.

There’s a timeless quality to the songwriting on Let it Hiss - evident on songs like 'Naturally', a quiet nod to the era of classic craftsmen, where melody and message were inseparable. It’s music that trusts the listener, unfolding gradually, with arrangements that balance restraint and ambition in equal measure. Perhaps at the center of it all is 'Owning Up to Everyone', a track that captures the spirit of the album in miniature. “That one cracked something open,” says Andrew. “It felt like a way through.”

But all the freewheeling musical exploration and emotional upheaval that plays out over the course of 'Let it Hiss' still won’t prepare for the album’s closer 'Upsetter', a blast of sweat-soaked, punk-powered rock ‘n ’soul capped by an absolutely lobotomizing guitar solo. Quite simply, it’s the most berserker track the Barrs have ever committed to tape, pushing the 'Let it Hiss' philosophy so far into the red, it practically breaks the VU meter. “This was one where I thought, ‘well, there's no way this is going to make the record, ’because maybe it feels out of the blue for a lot of our listeners,” Brad reveals. “But I think our listeners will appreciate us just being who we are - and who we are includes stuff like this.”

Brad and Andrew produced 'Let it Hiss' themselves, working primarily as a duo out of their Montreal studio. To bring the album’s rawness and intricacy into focus, the band turned to mix engineer Jon Low (The National, Taylor Swift, Bon Iver). They called on trusted friends from their wider musical community to lend voices, instruments, and textures when the songs called for it—collaborations that felt less like features and more like natural extensions of the music. Many of these relationships were built over years of shared stages, late-night sessions, and a mutual commitment to the craft. In this way, Let it Hiss stands as both their most personal and most collaborative record to date.

'Let it Hiss' doesn’t resolve so much as reveal. It invites listeners to lean in - to the hiss, the weight, the wonder. As the Barr Brothers move forward, one thing is clear: they’ve found each other again and in doing so they found their way back to the music.

And the rest is hisstory.

TRACK LISTING

1. Take It From Me
2. Let It Hiss
3. English Harbour
4. Run Right Into It
5. Moonbeam
6. She Doesn't Sleep With The Covers On
7. Naturally
8. Owning Up To Everyone
9. Another Tangerine
10. Upsetter

Marina proudly present: The long-awaited reissues of all three classic Marina albums by The Bathers - “Lagoon Blues” (1993), “Sunpowder” (1995) and “Kelvingrove Baby” (1997). In new beautiful deluxe editions - all remastered plus enhanced artwork. And on vinyl for the first time ever!

The Bathers (aka Chris Thomson) from Glasgow are somewhat of a Scottish national treasure. Listen to these albums, and you’ll know why. Enter a musical universe of intricate arrangements, lush orchestrations, swoony vocals and songs of deep emotional beauty. With nods to Van Morrison, Tom Waits, David Bowie, Tim Hardin and Leonard Cohen. Moody wurlitzers and mesmerising pianos are joined by violins, accordians and acoustic guitars to create a hypnotic, totally unique sound. Chamber pop at its very best.

Liz Fraser of The Cocteau Twins contributes vocals on a couple of songs on “Sunpowder”. A match made in heaven with the music of Chris Thomson. James Grant of Love & Money - Thomson’s fellow musician in legendary 80s pop band Friends Again - supplies backing vocals and guitar on “Kelvingrove Baby”. Isobel Campbell from Belle & Sebastian plays cello on “Lagoon Blues” and “Kelvingrove Baby”.

Turn the lights down low - turn up the volume - and get on a trip with these very special, truly cinematic and, yes, quite spectacular albums.

The LP editions are limited to 690 copies each. 

TRACK LISTING

1. Lagoon Blues Pt. 1
2. Venice Shoes
3. Gracefruit
4. Never Too Late
5. Fermina Fair
6. Easter – For Edda Van Heemstra
7. Pissoir / The Ornella Mutiny
8. Through The Old Holmwood
9. Sweetheart Sessions
10. Lolita
11. Via D’Oro
12. Ave The Leopards
13. Carnival
14. Easter Sorbonne
15. Lagoon Blues Pt. 2

New Zealand indie rock royals, The Bats, have recently had their heads down recording new music and have just announced their 11th full-length album, ‘Corner Coming Up’.

The Bats are Robert Scott, Kaye Woodward, Paul Kean and Malcolm Grant, the much-loved indie rock band from Aotearoa. Since their inception in Christchurch in 1982, The Bats’ music has earned a devoted following around the world, and they remain one of New Zealand’s most cherished and enduring exports. Their music is a perfect blend of bittersweet beauty and deceptive simplicity, and the band has a phenomenal ability to create melodies that linger long after the record has stopped spinning.

The new album strikes a very distinctive and familiar chord that exists in the hearts of fuzzy-loving hearts of fans all round the world. Throughout their 40 plus years of existence, and now with album number 11 ready to share with the world, The Bats have stayed true to their roots, creating timeless music that continues to resonate with fans old and new.

TRACK LISTING

1. The Gown
2. Lucky Day
3. A Line To The Stars
4. Corner Coming Up
5. A Song For The End
6. A Crutch A Post
7. Nature’s Time
8. Smallest Fall
9. Tidal
10. Eyes Down
11. Loline

The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."

TRACK LISTING

1. Wouldn't It Be Nice
2. You Still Believe In Me
3. That's Not Me
4. Don't Talk (Put Your Head On My Shoulder)
5. I'm Waiting For The Day
6. Let's Go Away For Awhile
7. Sloop John B
8. God Only Knows
9. I Know There's An Answer
10. Here Today
11. I Just Wasn't Made For These Times
12. Pet Sounds
13. Caroline, No

The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times."

TRACK LISTING

1. Wouldn't It Be Nice
2. You Still Believe In Me
3. That's Not Me
4. Don't Talk (Put Your Head On My Shoulder)
5. I'm Waiting For The Day
6. Let's Go Away For Awhile
7. Sloop John B
8. God Only Knows
9. I Know There's An Answer
10. Here Today
11. I Just Wasn't Made For These Times
12. Pet Sounds
13. Caroline, No

Building on the success of 2021’s Feel Flows and the Sounds Of Summer product suite, UMe will be releasing 4 new packages based on the 1972 recordings by The Beach Boys from the albums “Carl and The Passions” and “Holland” in November.

The project is expansive with 120 tracks, 80 of which are previously unreleased!

The band is celebrating its 60th anniversary this year and through 2023 and a number of tentpole events will build consumer excitement through next year.

Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom.

Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn’t like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Local lad and future poet laureate Ted Hughes called the area “the fouled nest of industrialisation”.

Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks.

It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration.

Perhaps it was this dual nationality heritage, unusual in the valley’s largely white working class population at the time, that gave the teenager Trevor Beale’s music an outsider’s perspective. The discovery of Bob Dylan, Django Reinhardt, The Byrds and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs.

Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut.

In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales’ young years, whilst also showcasing an inherent storyteller’s ear for narrative. Here is a postcard from the past at that crucial musical period of transition, when the idealistic exponents of the 1960s emerged into an austere new decade that was to be shaped by strikes, rising unemployment and economic upheaval.

Two aspects of this music make it remarkable: Beales’ natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognised) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.

Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Most remarkably the earliest songs here were laid down less than a year after he left school (an unearthed report written by his headteacher on July 3rd 1970 noted he had “a considerable ability and interest in music”, though his education ended abruptly when he simply walked out of a science lesson one sunny day while at sixth form, never to return).

Trevor’s music is grounded in reality – his reality. ‘Then I’ll Take You Home’, for example, considers the Guru Marajai, who encouraged his acolytes to give over their worldly possessions, yet who drove a Rolls Royce and lived like a playboy. Unsurprisingly, this latest in a long line of spiritual charlatans found several followers in Hebden Bridge, and Beales casts a disdainful eye over the growing popularity for such false prophets.

With its ancient narratives and propensity for myth-making, folk has certainly produced it’s fair share of cult figures who have enjoyed rediscovery or career resurgence and with this debut compilation of home recordings, rescued from cassette tapes, Trevor Beales might just be the latest addition. Certainly he was the real deal.

Crucially, Beales' music is never jaded or cynical, but instead possesses a poet’s ear, a strong sense of self and some sound critical faculties. And much of it recorded at an age when he could neither vote nor order a pint of heavy.
Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia. 

STAFF COMMENTS

Barry says: Another wonderful collection of folk from the ever-brilliant Basin Rock here. One of my favourite LP's from earlier this year was the stunning Andrew Tuttle LP, and though this shares similar instrumental leanings, it's from significantly closer to home, focusing on the early 70's in the Calder Valley.

TRACK LISTING

Side A
1. Marion Belle
2. Tell Me Now
3. Dance Of The Mermaids
4. City Lights
5. The Old Soldier
6. Sunlight On The Table
Side B
7. Metropolis
8. The Prisoner
9. Braziliana
10. Then I'll Take You Home
11. Ocean Of Tears
12. Fireside Story 

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

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

Special Beat Service is a dynamic fusion of ska, pop, and punk influences and includes the standout hits I Confess and Save If For Later. This 2-LP deluxe edition also features live and non-LP tracks.

Long before they were a band, Montreal duo The Beat Escape took a small first step towards a longer journey at a university video class. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” say Beat Escapists Addy Weitzman and Patrick A Boivin of their founding collaboration. Many other projects and outside collaborations later, the duo have crafted a debut album their younger selves would be proud of: Released through Bella Union, the sublimely immersive ‘Life Is Short The Answer’s Long’ plays like a waking dream of near-psychedelic electronic pop, moving to its own beat in the push-pull of forward motion and submerged reflection.

That sense of propulsion ushers opener ‘Sign Of Age’ into rising view, its sparse drums, hypnotic sequence and melancholic chords resembling house music as reimagined by Angelo Badalamenti. The enveloping mood holds as ‘Moon In Aquarius’ unfurls like a nighttime road ahead, ghosted by narcotic harmonies. ‘Limestone Alps’ lingers meditatively, hymnal vocals reverberating. ‘Where Water Ends’ and ‘More Dreams’, meanwhile, navigate the porous boundary lines between Krautrock, Factory Records and obscure minimal wave records of the 80s.

STAFF COMMENTS

Barry says: Superb throbbing pseudo-synthery from The Beat Escape, Bella Union's answer to Pye corner Audio mix swooning pads and soaring vocal abstractions around a dynamic core of weighted percussion, flickering arpeggios and spine-tingling euphoric leads.

TRACK LISTING

Sign Of Age
Moon In Aquarius
Limestone Alps
Where Water Ends
More Dreams
Then I Drift Away
Seeing Is Forgetting
Thousand Pound Shoes
Nemo Propheta

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. 

The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

The 2CD collection now contains 38 tracks, 30 of which have new mixes for 2023. The booklet contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 9 additional tracks added chronologically, including “Blackbird”, “Glass Onion” and the new song, “Now And Then”. The last Beatles song, “Now And Then” completes John Lennon’s 1970s vocal and piano demo recording with parts played by Paul McCartney, George Harrison and Ringo Starr, as well as a new arrangement for strings.

The 3LP collection now features 37 tracks, 6 of which have new mixes for 2023. The set’s 9 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1966 – 1970 collection is a joyous celebration of The Beatles’ timeless musical legacy.

The 2CD collection now features 37 tracks, 6 of which have new mixes for 2023. The booklet contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1966 – 1970 collection is a joyous celebration of The Beatles’ timeless musical legacy.

Using the original 1964 mono master, new lacquers have been cut all-analogue by Kevin Reeves at Nashville’s East Iris Studios. By constantly referring to the original first pressing, the album is are faithful to the original release while also enabling more musical information to be heard than was possible before. Featuring faithfully replicated artwork and a new four-panel insert with essay by American Beatles historian, Bruce Spizer. 180gram audiophile pressing.

TRACK LISTING

1. A Hard Day’s Night
2. Tell Me Why
3. I’ll Cry Instead
4. I Should Have Known Better (Instrumental)
5. I’m Happy Just To Dance With You
6. And I Love Her (Instrumental)
7. I Should Have Known Better
8. If I Fell
9. And I Love Her
10. Ringo’s Theme (This Boy) (Instrumental)
11. Can’t Buy Me Love
12. A Hard Day’s Night (Instrumental)

The biggest band in rock history sees their original catalogue digitally remastered for the first time with improved packaging, including extra rare photographs, expanded and new essays and all enhanced with a video mini-documentary on the making of each album in the Beatles own words.


1. A Hard Day's Night
2. I Should Have Known Better
3. If I Fell
4. I'm Happy Just To Dance With You
5. And I Love Her
6. Tell Me Why
7. Can't Buy Me Love
8. Any Time At All
9. I'll Cry Instead
10. Things We Said Today
11. When I Get Home
12. You Can't Do That
13. I'll Be Back
14. A Hard Day's Night Documentary

TRACK LISTING

1. A Hard Day's Night
2. I Should Have Known Better
3. If I Fell
4. I'm Happy Just To Dance With You
5. And I Love Her
6. Tell Me Why
7. Can't Buy Me Love
8. Any Time At All
9. I'll Cry Instead
10. Things We Said Today
11. When I Get Home
12. You Can't Do That
13. I'll Be Back
14. A Hard Day's Night Documentary

London – August 8, 2019 – It was 50 years ago today, on August 8, 1969, that the world’s most famous band stepped out from London’s EMI Recording Studios to stride, single-file, across the black and white stripes of Abbey Road’s nearby zebra crossing. With photographer Iain Macmillan balanced on a stepladder and one policeman stopping the street’s light traffic, The Beatles crossed back and forth three times, led by John Lennon, followed by Ringo Starr, Paul McCartney, and George Harrison. Just six photos were taken, with the fifth selected as the cover shot for The Beatles’ penultimate studio album, Abbey Road, named after the tree-lined street in which the studios are located. Released September 26, 1969, Abbey Road was not The Beatles’ final album, as Let It Be followed in 1970, but it was the last one John, Paul, George, and Ringo recorded together as a band. The Beatles will celebrate Abbey Road’s anniversary with a suite of beautifully presented packages to be released worldwide on September 27 by Apple Corps Ltd./Capitol/UMe.

This is the first time Abbey Road has been remixed and presented with additional session recordings and demos. The album’s sweeping new edition follows the universally acclaimed remixed and expanded anniversary editions of Sgt. Pepper’s Lonely Hearts Club Band and The BEATLES (‘White Album’) released in 2017 and 2018, respectively. To create Abbey Road’s new stereo, 5.1 surround, and Dolby Atmos mixes, Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios. All the new Abbey Road releases feature the new stereo album mix, sourced directly from the original eight-track session tapes. To produce the mix, Giles was guided by the album’s original stereo mix supervised by his father, George Martin.

“The magic comes from the hands playing the instruments, the blend of The Beatles’ voices, the beauty of the arrangements,” Giles Martin explains in his written introduction for the new edition. “Our quest is simply to ensure everything sounds as fresh and hits you as hard as it would have on the day it was recorded.”

STAFF COMMENTS

Andy says: Their final album, and it's a beauty! This is a gorgeous, opulent, warm rock record that set the tone for FM seventies music. And for its 50th Anniversary, ‘Abbey Road’ gets remixed and presented with additional session recordings and demos across six different formats.

TRACK LISTING

DELUXE 2CD

CD ONE: 2019 Stereo Mix
1. Come Together
2. Something
3. Maxwell’s Silver Hammer
4. Oh! Darling
5. Octopus’s Garden
6. I Want You (She’s So Heavy)
7. Here Comes The Sun
8. Because
9. You Never Give Me Your Money
10. Sun King
11. Mean Mr Mustard
12. Polythene Pam
13. She Came In Through The Bathroom Window
14. Golden Slumbers
15. Carry That Weight
16. The End
17. Her Majesty

CD TWO: Sessions
1. Come Together (Take 5)
2. Something (Studio Demo)
3. Maxwell’s Silver Hammer (Take 12)
4. Oh! Darling (Take 4)
5. Octopus’s Garden (Take 9)
6. I Want You (She’s So Heavy) (Trident Recording Session & Reduction Mix)
7. Here Comes The Sun (Take 9)
8. Because (Take 1 Instrumental)
9. You Never Give Me Your Money (Take 36)
10. Sun King (Take 20)
11. Mean Mr Mustard (Take 20)
12. Polythene Pam (Take 27)
13. She Came In Through The Bathroom Window (Take 27)
14. Golden Slumbers/Carry That Weight (Takes 1–3 / Medley)
15. The End (Take 3)
16. Her Majesty (Takes 1–3)

STANDARD [1CD; Digital; 1LP Vinyl
2019 Stereo Mix
1. Come Together
2. Something
3. Maxwell’s Silver Hammer
4. Oh! Darling
5. Octopus’s Garden
6. I Want You (She’s So Heavy)
7. Here Comes The Sun
8. Because
9. You Never Give Me Your Money
10. Sun King
11. Mean Mr Mustard
12. Polythene Pam
13. She Came In Through The Bathroom Window
14. Golden Slumbers
15. Carry That Weight
16. The End
17. Her Majesty

Anthology 4, is newly curated by Giles Martin, including 13 previously unreleased demos, plus fascinating session and other rare recordings dating from 1963 to 1969. It also includes the band’s final single, ‘Now And Then’, released in 2023, and new mixes of The Beatles’ Anthology-associated hit singles: the GRAMMY-winning ‘Free As A Bird’ and ‘Real Love’, given new life by their original producer, Jeff Lynne, using de-mixed John Lennon vocals. 

The track notes are written by Kevin Howlett with an introduction compiled from 1996 interviews recorded with The Beatles’ close friend and adviser Derek Taylor.

TRACK LISTING

1. I Saw Her Standing There (Take 2)
2. Money (That’s What I Want) (RM7 Undubbed)
3. This Boy (Takes 12 And 13)
4. Tell Me Why (Takes 4 And 5)
5. If I Fell (Take 11)
6. Matchbox (Take 1)
7. Every Little Thing (Takes 6 And 7)
8. I Need You (Take 1)
9. I’ve Just Seen A Face (Take 3)
10. In My Life (Take 1)
11. Nowhere Man (First Version – Take 2)
12. Got To Get You Into My Life (Second Version – Unnumbered Mix)
13. Love You To (Take 7)
14. Strawberry Fields Forever (Take 26)
15. She’s Leaving Home (Take 1 – Instrumental)
16. Baby, You’re A Rich Man (Takes 11 And 12)
17. All You Need Is Love (Rehearsal For BBC Broadcast)
18. The Fool On The Hill (Take 5 – Instrumental)
19. I Am The Walrus (Take 19 – Strings, Brass, Clarinet Overdub)
20. Hey Bulldog (Take 4 – Instrumental)
21. Good Night (Take 10 With A Guitar Part From Take 5)
22. While My Guitar Gently Weeps (Third Version – Take 27)
23. (You're So Square) Baby I Don't Care (Studio Jam)
24. Helter Skelter (Second Version – Take 17)
25. I Will (Take 29)
26. Can You Take Me Back? (Take 1)
27. Julia (Two Rehearsals)
28. Get Back (Take 8)
29. Octopus's Garden (Rehearsal)
30. Don't Let Me Down (First Rooftop Performance)
31. You Never Give Me Your Money (Take 36)
32. Here Comes The Sun (Take 9)
33. Something (Take 39 – Instrumental – Strings Only)
34. Free As A Bird (2025 Mix)
35. Real Love (2025 Mix)
36. Now And Then

12LP Box
4 x 3LP albums in triple gatefold sleeves and slipcase

The Anthology Collection 12LP set includes the three groundbreaking Anthology albums from the mid-1990s, remastered in 2025 by Giles Martin, plus a new compilation, Anthology 4. Containing 191 tracks, the collection’s studio outtakes, live performances, broadcasts and demos reveal the musical development of The Beatles from 1958 to the final single ‘Now And Then’ released in 2023.

Anthology 4 features 13 previously unreleased tracks and 17 songs selected from Super Deluxe versions of five classic albums. In addition to fascinating outtakes dating from 1963 to 1969, the album includes new 2025 mixes by Jeff Lynne of ‘Free As A Bird’ and ‘Real Love’.

Furthermore, Anthology 4 presents 26 tracks that have never previously been released on vinyl.

Pressed on 180g black vinyl, each 3LP album will be housed within a triple gatefold sleeve, featuring the original art, sleevenotes by Mark Lewisohn, and restored photos for Anthology 1-3; Anthology 4 has brand new sleevenotes written by Kevin Howlett alongside photos. The outer slipcase features the original Klaus Voorman triptych art, and a 3/4 O-Card image of the band with detailed track listing.

8CD Box
4 x 2CD albums in gatefold digisleeves with booklets in slipcase

The Anthology Collection 8CD set includes the three groundbreaking Anthology albums from the mid-1990s, remastered in 2025 by Giles Martin, plus a new compilation, Anthology 4. Containing 191 tracks, the collection’s studio outtakes, live performances, broadcasts and demos reveal the musical development of The Beatles from 1958 to the final single ‘Now And Then’ released in 2023.

Anthology 4 features 13 previously unreleased tracks and 17 songs selected from Super Deluxe versions of five classic albums. In addition to fascinating outtakes dating from 1963 to 1969, the album includes new 2025 mixes by Jeff Lynne of ‘Free As A Bird’ and ‘Real Love’. Furthermore, Anthology 4 presents 17 tracks that were previously unavailable on CD.

Each 2CD album in the set is housed in a gatefold digisleeve, with a 40+ page booklet featuring the original art, sleevenotes by Mark Lewisohn, and restored photos for Anthology 1-3; Anthology 4 has brand new sleevenotes written by Kevin Howlett alongside photos. The outer slipcase features the original Klaus Voorman triptych art, and a 3/4 O-Card image of the band with track listing.

TRACK LISTING

Anthology 1

LP1 – Side 1
1: Free As A Bird (1995 Mix)
2: John Lennon Speech 1
3: That’ll Be The Day
4: In Spite Of All The Danger
5: Paul McCartney Speech 1
6: Hallelujah, I Love Her So (Home Demo)
7: You’ll Be Mine (Home Demo)
8: Cayenne (Home Demo)
9: Paul McCartney Speech 2
10: My Bonnie
11: Ain’t She Sweet
12: Cry For A Shadow
LP1 – Side 2
1: John Lennon Speech 2
2: Brian Epstein Speech 1
3: Searchin’ (Decca Audition)
4: Three Cool Cats (Decca Audition)
5: The Sheik Of Araby (Decca Audition)
6: Like Dreamers Do (Decca Audition)
7: Hello Little Girl (Decca Audition)
8: Brian Epstein Speech 2
9: Besame Mucho (June 1962 Version)
10: Love Me Do (First Version)
11: How Do You Do It
12: Please Please Me (First Version)
LP2 – Side 3
1: One After 909 (Takes 3, 4 And 5)
2: One After 909 (Edit Of Takes 4 And 5)
3: Lend Me Your Comb (BBC Recording)
4: I’ll Get You (Sunday Night At The London Palladium)
5: John Lennon Speech 3
6: I Saw Her Standing There (Live In Stockholm)
7: From Me To You (Live In Stockholm)
8: Money (That’s What I Want) (Live In Stockholm)
9: You Really Got A Hold On Me (Live In Stockholm)
10: Roll Over Beethoven (Live In Stockholm)
LP2 – Side 4
1: She Loves You (Royal Variety Performance)
2: Till There Was You (Royal Variety Performance)
3: Twist And Shout (Royal Variety Performance)
4: This Boy (The Morecambe And Wise Show)
5: I Want To Hold Your Hand (The Morecambe And Wise Show)
6: Speech From The Morecambe And Wise Show
7: Moonlight Bay (The Morecambe And Wise Show)
8: Can’t Buy Me Love (Take 2 With Solo From Take 1)
LP3 – Side 5
1: All My Loving (The Ed Sullivan Show)
2: You Can’t Do That (Take 6)
3: And I Love Her (Take 2)
4: A Hard Day’s Night (Take 1)
5: I Wanna Be Your Man (Around The Beatles)
6: Long Tall Sally (Around The Beatles)
7: Boys (Around The Beatles Session)
8: Shout (Around The Beatles)
9: I’ll Be Back (Take 2)
10: I’ll Be Back (Take 3)
LP3 – Side 6
1: You Know What To Do (Demo)
2: No Reply (Demo)
3: Mr Moonlight (Takes 1 And 4)
4: Leave My Kitten Alone (Take 5)
5: No Reply (Take 2)
6: Eight Days A Week (Takes 1, 2 And 4)
7: Eight Days A Week (Take 5)
8: Kansas City / Hey-Hey-Hey-Hey! (Take 2)

Anthology 2
LP1 – Side 1
1: Real Love (1996 Mix)
2: Yes It Is (Takes 2 And 14)
3: I’m Down (Take 1)
4: You’ve Got To Hide Your Love Away (Take 5)
5: If You’ve Got Trouble (Take 1)
6: That Means A Lot (Take 1)
7: Yesterday (Take 1)
8: It’s Only Love (Takes 3 And 2)
LP1 – Side 2
1: I Feel Fine (Blackpool Night Out)
2: Ticket To Ride (Blackpool Night Out)
3: Yesterday (Blackpool Night Out)
4: Help! (Blackpool Night Out)
5: Everybody’s Trying To Be My Baby (Live At Shea Stadium, New York)
6: Norwegian Wood (This Bird Has Flown) (Take 1)
7: I’m Looking Through You (Take 1)
8: 12-Bar Original (Take 2 Edited)
LP2 – Side 3
1: Tomorrow Never Knows (Take 1)
2: Got To Get You Into My Life (Take 5)
3: And Your Bird Can Sing (Take 2)
4: Taxman (Take 11)
5: Eleanor Rigby (Take 14 – Strings Only)
6: I’m Only Sleeping (Rehearsal)
7: I’m Only Sleeping (Take 1)
8: Rock And Roll Music (Live In Tokyo)
9: She’s A Woman (Live In Tokyo)
LP2 – Side 4
1: Strawberry Fields Forever (Home Demo Sequence)
2: Strawberry Fields Forever (Take 1)
3: Strawberry Fields Forever (Take 7 And Edit Piece)
4: Penny Lane (Remix)
5: A Day In The Life (Takes 1, 2, 6 And Orchestra)
6: Good Morning Good Morning (Take 8)
7: Only A Northern Song (Takes 3 And 12)
LP3 – Side 5
1: Being For The Benefit Of Mr Kite! (Takes 1 And 2)
2: Being For The Benefit Of Mr Kite! (Take 7)
3: Lucy In The Sky With Diamonds (Takes 6, 7 And 8)
4: Within You Without You (Instrumental)
5: Sgt Pepper’s Lonely Hearts Club Band (Reprise) (Take 5)
6: You Know My Name (Look Up The Number) (Stereo Remix)
LP3 – Side 6
1: I Am The Walrus (Take 16)
2: The Fool On The Hill (Demo)
3: Your Mother Should Know (Take 27)
4: The Fool On The Hill (Take 4)
5: Hello, Goodbye (Take 16)
6: Lady Madonna (Takes 3 And 4)
7: Across The Universe (Take 2)

Anthology 3
LP1 – Side 1
1: A Beginning
2: Happiness Is A Warm Gun (Esher Demo With False Start)
3: Helter Skelter (Take 2 Edited)
4: Mean Mr Mustard (Esher Demo)
5: Polythene Pam (Esher Demo)
6: Glass Onion (Esher Demo)
7: Junk (Esher Demo)
8: Piggies (Esher Demo)
9: Honey Pie (Esher Demo Edited)
10: Don’t Pass Me By (Take 3 With Take 5 Vocal)
11: Ob-La-Di, Ob-La-Da (First Version - Take 5)
12: Good Night (Rehearsal And Take 34)
LP1 – Side 2
1: Cry Baby Cry (Take 1)
2: Blackbird (Take 4)
3: Sexy Sadie (Take 6)
4: While My Guitar Gently Weeps (Acoustic Version - Take 1)
5: Hey Jude (Take 2)
6: Not Guilty (Take 102 Edited)
7: Mother Nature’s Son (Take 2)
LP2 – Side 3
1: Glass Onion (Original Mono Mix)
2: Rocky Raccoon (Take 8)
3: What’s The New Mary Jane (Take 4)
4: Step Inside Love / Los Paranoias (Studio Jam)
5: I’m So Tired (Edit Of Takes 3, 6 And 9)
6: I Will (Take 1)
7: Why Don’t We Do It In The Road (Take 4)
8: Julia (Take 2)
LP2 – Side 4
1: I’ve Got A Feeling (Apple Studio)
2: She Came In Through The Bathroom Window (Apple Studio)
3: Dig A Pony (Apple Studio)
4: Two Of Us (Apple Studio)
5: For You Blue (Apple Studio)
6: Teddy Boy (Apple Studio)
7: Medley: Rip It Up / Shake, Rattle And Roll / Blue Suede Shoes (Apple Studio Jam)
LP3 – Side 5
1: The Long And Winding Road (Apple Studio)
2: Oh! Darling (Apple Studio)
3: All Things Must Pass (Demo)
4: Mailman, Bring Me No More Blues (Apple Studio Jam)
5: Get Back (Third Rooftop Performance)
6: Old Brown Shoe (Demo)
7: Octopus’s Garden (Take 2)
8: Maxwell’s Silver Hammer (Take 5)
LP3 – Side 6
1: Something (Demo)
2: Come Together (Take 1)
3 Come And Get It (Demo – 1996 Remix)
4: Ain’t She Sweet (Studio Jam)
5: Because (Vocals Only)
6: Let It Be (Apple Studio)
7: I Me Mine (Take 16)
8: The End (Remix With The Final Chord Of A Day In The Life)

Anthology 4
LP1 – Side 1
1: I Saw Her Standing There (Take 2)
2: Money (That’s What I Want) (RM7 Undubbed)
3: This Boy (Takes 12 And 13)
4: Tell Me Why (Takes 4 And 5)
5: If I Fell (Take 11)
6: Matchbox (Take 1)
7: Every Little Thing (Takes 6 And 7)
8: I Need You (Take 1)
LP1 – Side 2
1: I’ve Just Seen A Face (Take 3)
2: In My Life (Take 1)
3: Nowhere Man (First Version – Take 2)
4: Got To Get You Into My Life (Second Version – Unnumbered Mix)
5: Love You To (Take 7)
6: Strawberry Fields Forever (Take 26)
7: She’s Leaving Home (Take 1 – Instrumental)
LP2 – Side 3
1: Baby, You’re A Rich Man (Takes 11 And 12)
2: All You Need Is Love (Rehearsal For BBC Broadcast)
3: The Fool On The Hill (Take 5 – Instrumental)
4: I Am The Walrus (Take 19 – Strings, Brass, Clarinet Overdub)
LP2 – Side 4
1: Hey Bulldog (Take 4 – Instrumental)
2: Good Night (Take 10 With A Guitar Part From Take 5)
3: While My Guitar Gently Weeps (Third Version – Take 27)
4: (You're So Square) Baby I Don't Care (Studio Jam)
5: Helter Skelter (Second Version – Take 17)
6: I Will (Take 29)
7: Can You Take Me Back? (Take 1)
8: Julia (Two Rehearsals)
LP3 – Side 5
1: Get Back (Take 8)
2: Octopus's Garden (Rehearsal)
3: Don't Let Me Down (First Rooftop Performance)
4: You Never Give Me Your Money (Take 36)
5: Here Comes The Sun (Take 9)
6: Something (Take 39 – Instrumental – Strings Only)
LP3 – Side 6
1: Free As A Bird (2025 Mix)
2: Real Love (2025 Mix)
3: Now And Then

Using the original 1964 mono master, new lacquers have been cut all-analogue by Kevin Reeves at Nashville’s East Iris Studios. By constantly referring to the original first pressing, the album is faithful to the original release while also enabling more musical information to be heard than was possible before. Featuring faithfully replicated artwork and a new four-panel insert with essay by American Beatles historian, Bruce Spizer. 180gram audiophile pressing.

TRACK LISTING

1. No Reply
2. I’m A Loser
3. Baby’s In Black
4. Rock And Roll Music
5. I’ll Follow The Sun
6. Mr. Moonlight
7. Honey Don’t
8. I’ll Be Back
9. She’s A Woman
10. I Feel Fine
11. Everybody’s Trying To Be My Baby

Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

TRACK LISTING

Side 1:
1. Help! (2009 - Remaster)
2. The Night Before (2009 - Remaster)
3. You've Got To Hide Your Love Away (2009 - Remaster)
4. I Need You (2009 - Remaster)
5. Another Girl (2009 - Remaster)
6. You're Going To Lose That Girl (2009 - Remaster)
7. Ticket To Ride (2009 - Remaster)

Side 2:
1. Act Naturally (2009 - Remaster)
2. It's Only Love (2009 - Remaster)
3. You Like Me Too Much (2009 - Remaster)
4. Tell Me What You See (2009 - Remaster)
5. I've Just Seen A Face (2009 - Remaster)
6. Yesterday (2009 - Remaster)
7. Dizzy Miss Lizzy (2009 - Remaster)

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

TRACK LISTING

Side 1:
1. Magical Mystery Tour (2009 - Remaster)
2. The Fool On The Hill (2009 - Remaster)
3. Flying (2009 - Remaster)
4. Blue Jay Way (2009 - Remaster)
5. Your Mother Should Know (2009 - Remaster)
6. I Am The Walrus (2009 - Remaster)

Side 2:
1. Hello, Goodbye (2009 - Remaster)
2. Strawberry Fields Forever (2009 - Remaster)
3. Penny Lane (2009 - Remaster)
4. Baby, You're A Rich Man (2009 - Remaster)
5. All You Need Is Love (2009 - Remaster)

Using the original 1964 mono master, new lacquers have been cut all-analogue by Kevin Reeves at Nashville’s East Iris Studios. By constantly referring to the original first pressing, the album is faithful to the original release while also enabling more musical information to be heard than was possible before. Featuring faithfully replicated artwork and a new four-panel insert with essay by American Beatles historian, Bruce Spizer. 180gram audiophile pressing.

TRACK LISTING

1. I Want To Hold Your Hand
2. I Saw Her Standing There
3. This Boy
4. It Won’t Be Long
5. All I’ve Got To Do
6. All My Loving
7. Don’t Bother Me
8. Little Child
9. Till There Was You
10. Hold Me Tight
11. I Wanna Be Your Man
12. Not A Second Time

Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

TRACK LISTING

Side 1:
1. Love Me Do (Original Single Version) (2009 - Remaster)
2. From Me To You (2009 - Remaster)
3. Thank You Girl (2009 - Remaster)
4. She Loves You (2009 - Remaster)
5. I'll Get You (2009 - Remaster)
6. I Want To Hold Your Hand (2009 - Remaster)
7. This Boy (2009 - Remaster)
8. Komm Gib Mir Deine Hand (2009 - Remaster)
9. Sie Liebt Dich (2009 - Remaster)

Side 2:
1. Long Tall Sally (2009 - Remaster)
2. I Call Your Name (2009 - Remaster)
3. Slow Down (2009 - Remaster)
4. Matchbox (2009 - Remaster)
5. I Feel Fine (2009 - Remaster)
6. She's A Woman (2009 - Remaster)
7. Bad Boy (2009 - Remaster)
8. Yes It Is (2009 - Remaster)
9. I'm Down (2009 - Remaster)

Side 3:
1. Day Tripper (2009 - Remaster)
2. We Can Work It Out (2009 - Remaster)
3. Paperback Writer (2009 - Remaster)
4. Rain (2009 - Remaster)
5. Lady Madonna (2009 - Remaster)
6. The Inner Light (2009 - Remaster)
7. Hey Jude (2009 - Remaster)
8. Revolution (2009 - Remaster)

Side 4:
1. Get Back (2009 - Remaster)
2. Don't Let Me Down (2009 - Remaster)
3. The Ballad Of John And Yoko (2009 - Remaster)
4. Old Brown Shoe (2009 - Remaster)
5. Across The Universe (2009 - Remaster)
6. Let It Be (2009 - Remaster)
7. You Know My Name (Look Up The Number) (2009 - Remaster)

Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

TRACK LISTING

Side 1:
1. I Saw Her Standing There (2009 - Remaster)
2. Misery (2009 - Remaster)
3. Anna (Go To Him) (2009 - Remaster)
4. Chains (2009 - Remaster)
5. Boys (2009 - Remaster)
6. Ask Me Why (2009 - Remaster)
7. Please Please Me (2009 - Remaster)

Side 2:
1. Love Me Do (2009 - Remaster)
2. P.S. I Love You (2009 - Remaster)
3. Baby It's You (2009 - Remaster)
4. Do You Want To Know A Secret (2009 - Remaster)
5. A Taste Of Honey (2009 - Remaster)
6. There's A Place (2009 - Remaster)
7. Twist And Shout (2009 - Remaster)

Turn off your mind, relax and float downstream…

London - September 7, 2022 – Revolver: The Beatles’ 1966 album that changed everything. Spinning popular music off its axis and ushering in a vibrant new era of experimental, avant-garde sonic psychedelia, Revolver brought about a cultural sea change and marked an important turn in The Beatles’ own creative evolution. With Revolver, John Lennon, Paul McCartney, George Harrison, and Ringo Starr set sail together across a new musical sea.

The Revolver album’s 14 tracks have been newly mixed by producer Giles Martin and engineer Sam Okell in stereo and Dolby Atmos, and the album’s original mono mix is sourced from its 1966 mono master tape. Revolver’s sweeping new Special Edition follows the universally acclaimed remixed and expanded Special Editions of Sgt. Pepper’s Lonely Hearts Club Band (2017), The BEATLES (‘White Album’) (2018), Abbey Road (2019), and Let It Be (2021).

All the new Revolver releases feature the album’s new stereo mix, sourced directly from the original four-track master tapes. The audio is brought forth in stunning clarity with the help of cutting edge de-mixing technology developed by the award-winning sound team led by Emile de la Rey at Peter Jackson’s WingNut Films Productions Ltd. The physical and digital Super Deluxe collections also feature the album’s original mono mix, 28 early takes from the sessions and three home demos, and a four-track EP with new stereo mixes and remastered original mono mixes for “Paperback Writer” and “Rain”. The album’s new Dolby Atmos mix will be released digitally.

Revolver Special Edition Super Deluxe 5CD
This Special Edition of The Beatles’ REVOLVER features a new mix by Giles Martin and Sam Okell, plus the original mono mix, a 4-track EP, 31 session takes and home demos, a 100-page book with a foreword by Paul McCartney, an essay by Questlove, detailed track notes, photos and ephemera including handwritten lyrics, tape boxes and extracts from Klaus Voormann’s graphic novel on the making of the cover art. On 5 CDs in a 12.56” x 12.36” slipcase.

Revolver Special Edition Super Deluxe 4LP + 7” Vinyl EP
This Special Edition of The Beatles’ REVOLVER features a new mix by Giles Martin and Sam Okell, the original mono mix, a 4-track EP, 31 session takes and home demos, a 100-page book with a foreword by Paul McCartney, an essay by Questlove, detailed track notes, photos and ephemera including handwritten lyrics, tape boxes and extracts from Klaus Voormann’s graphic novel on the making of the cover art. Half-speed-mastered 180g LPs + 7-inch vinyl EP in a 12.56” x 12.36” slipcase.

Revolver Special Edition Deluxe 2CD
This 2CD Special Edition of The Beatles’ REVOLVER features a new mix by Giles Martin and Sam Okell, plus a disc of highlights from the album sessions that includes early versions of songs that deepen and expand the story of the album, as well as new stereo mixes of the non-album single, “Paperback Writer” and “Rain,” and a 40-page booklet with detailed info and rare photos.

Revolver Special Edition 1CD
From “Taxman” to “Tomorrow Never Knows,” The Beatles’ REVOLVER has been newly mixed by producer Giles Martin and Sam Okell, and sourced directly from the original four-track master tapes with audio brought forth in stunning clarity with the help of cutting-edge technology developed by the award-winning sound team at Peter Jackson’s WingNut Films Productions Ltd.

Revolver Special Edition 1LP Vinyl
From “Taxman” to “Tomorrow Never Knows,” The Beatles’ REVOLVER has been newly mixed by producer Giles Martin and Sam Okell, and sourced directly from the original four-track master tapes with audio brought forth in stunning clarity with the help of cutting-edge technology developed by the award-winning sound team at Peter Jackson’s WingNut Films Productions Ltd. Now available on 180g vinyl.

STAFF COMMENTS

Andy says: Revolver is the moment where the Beatles turned their back on the hysteria and announced they weren't going to tour anymore, but instead were going to concentrate solely on The Music. Out went boy-meets-girl and any country or rock'n'roll songs, in came psychedelic pop with deep or abstract words and a dizzying array of styles. The influence of drugs can't be ignored when appreciating these new sounds, and what we have is basically a band actually creating the zeitgeist, up in the crow's nest of what was suddenly the great ship Counter Culture, sailing to who knows where. It's their best album.

Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

TRACK LISTING

Side 1:
1. Drive My Car (2009 - Remaster)
2. Norwegian Wood (This Bird Has Flown) (2009 - Remaster)
3. You Won't See Me (2009 - Remaster)
4. Nowhere Man (2009 - Remaster)
5. Think For Yourself (2009 - Remaster)
6. The Word (2009 - Remaster)
7. Michelle (2009 - Remaster)

Side 2:
1. What Goes On (2009 - Remaster)
2. Girl (2009 - Remaster)
3. I'm Looking Through You (2009 - Remaster)
4. In My Life (2009 - Remaster)
5. Wait (2009 - Remaster)
6. If I Needed Someone (2009 - Remaster)
7. Run For Your Life (2009 - Remaster)

Produced by Giles Martin for this year’s universally heralded ‘Sgt. Pepper’ Anniversary Edition releases, the album’s new stereo mix was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles’ father, George Martin. Praised by fans and music critics around the world, The Beatles’ ‘Sgt. Pepper’ Anniversary Edition is 2017’s most celebrated historical music release and an ideal gift for Beatle People here, there, and everywhere.

London – April 5, 2017 – It was 50 years ago this June 1st when The Beatles’ John Lennon, Paul McCartney, George Harrison, and Ringo Starr astonished and delighted the world, ushering in the Summer of Love with Sgt. Pepper’s Lonely Hearts Club Band, a groundbreaking masterwork that became popular music’s most universally acclaimed album. To salute the occasion, The Beatles release a suite of lavishly presented ‘Sgt. Pepper’ Anniversary Edition packages. The album is newly mixed by Giles Martin and Sam Okell in stereo and 5.1 surround audio and expanded with early takes from the studio sessions, including no fewer than 34 previously unreleased recordings.

“It’s crazy to think that 50 years later we are looking back on this project with such fondness and a little bit of amazement at how four guys, a great producer and his engineers could make such a lasting piece of art,” says Paul McCartney in his newly-penned introduction for the ‘Sgt. Pepper’ Anniversary Edition.

“‘Sgt. Pepper’ seemed to capture the mood of that year, and it also allowed a lot of other people to kick off from there and to really go for it,” Ringo Starr recalls in the Anniversary Edition’s book.

This is the first time Sgt. Pepper’s Lonely Hearts Club Band has been remixed and presented with additional session recordings, and it is the first Beatles album to be remixed and expanded since the 2003 release of Let It Be… Naked. To create the new stereo and 5.1 surround audio mixes for ‘Sgt. Pepper,’ producer Giles Martin and mix engineer Sam Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All of the Anniversary Edition releases include Martin’s new stereo mix of the album, which was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by his father, George Martin.

TRACK LISTING

CD
(‘Sgt. Pepper’ 2017 Stereo Mix)
1. Sgt. Pepper's Lonely Hearts Club Band
2. With A Little Help From My Friends
3. Lucy In The Sky With Diamonds
4. Getting Better
5. Fixing A Hole
6. She's Leaving Home
7. Being For The Benefit Of Mr. Kite!
8. Within You Without You
9. When I'm Sixty-Four
10. Lovely Rita
11. Good Morning Good Morning
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise)
13. A Day In The Life

Deluxe [2CD]
CD 1: ‘Sgt. Pepper’ 2017 Stereo Mix (same As Single-disc CD Tracklist, Above)

CD 2: Complete Early Takes From The Sessions In The Same Sequence As The Album, Plus Various Versions Of “Strawberry Fields Forever” And “Penny Lane”
1. Sgt. Pepper's Lonely Hearts Club Band [Take 9]
2. With A Little Help From My Friends [Take 1 - False Start And Take 2 – Instrumental]
3. Lucy In The Sky With Diamonds [Take 1]
4. Getting Better [Take 1 - Instrumental And Speech At The End]
5. Fixing A Hole [Speech And Take 3]
6. She's Leaving Home [Take 1 – Instrumental]
7. Being For The Benefit Of Mr. Kite! [Take 4]
8. Within You Without You [Take 1 - Indian Instruments]
9. When I'm Sixty-Four [Take 2]
10. Lovely Rita [Speech And Take 9]
11. Good Morning Good Morning [Take 8]
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) [Take 8]
13. A Day In The Life [Take 1 With Hummed Last Chord]
14. Strawberry Fields Forever [Take 7]
15. Strawberry Fields Forever [Take 26]
16. Strawberry Fields Forever [Stereo Mix - 2015]
17. Penny Lane [Take 6 - Instrumental]
18. Penny Lane [Stereo Mix - 2017]

Deluxe Vinyl [180g 2LP]
LP 1: ‘Sgt. Pepper’ 2017 Stereo Mix (same As Single-disc CD Tracklist, Above)
SIDE 1 SIDE 2
1. Sgt. Pepper's Lonely Hearts Club Band 1. Within You Without You
2. With A Little Help From My Friends 2. When I'm Sixty-Four
3. Lucy In The Sky With Diamonds 3. Lovely Rita
4. Getting Better 4. Good Morning Good Morning
5. Fixing A Hole 5. Sgt. Pepper's Lonely Hearts Club Band
6. She's Leaving Home 6. A Day In The Life
7. Being For The Benefit Of Mr. Kite!

LP 2: Complete Early Takes From The Sessions In The Same Sequence As The Album
SIDE 3
1. Sgt. Pepper's Lonely Hearts Club Band [Take 9 And Speech]
2. With A Little Help From My Friends [Take 1 - False Start And Take 2 – Instrumental]
3. Lucy In The Sky With Diamonds [Take 1]
4. Getting Better [Take 1 - Instrumental And Speech At The End]
5. Fixing A Hole [Speech And Take 3]
6. She's Leaving Home [Take 1 – Instrumental]
7. Being For The Benefit Of Mr. Kite! [Take 4]

SIDE 4
1. Within You Without You [Take 1 - Indian Instruments]
2. When I'm Sixty-Four [Take 2]
3. Lovely Rita [Speech And Take 9]
4. Good Morning Good Morning [Take 8]
5. Sgt. Pepper's Lonely Hearts Club Band (Reprise) [Take 8]
6. A Day In The Life [Take 1 With Hummed Last Chord]

Using the original 1964 mono master, new lacquers have been cut all-analogue by Kevin Reeves at Nashville’s East Iris Studios. By constantly referring to the original first pressing, the album is faithful to the original release while also enabling more musical information to be heard than was possible before. Featuring faithfully replicated artwork and a new four-panel insert with essay by American Beatles historian, Bruce Spizer. 180gram audiophile pressing.

TRACK LISTING

1. I’ll Cry Instead
2. Things We Said Today
3. Any Time At All
4. When I Get Home
5. Slow Down
6. Matchbox
7. Tell Me Why
8. And I Love Her
9. I’m Happy Just To Dance With You
10. If I Fell

1964 was the year that the U.S.A. first fell head-over-heels for The Beatles, with an unprecedented run of albums and singles topping the charts and going on to sell millions of copies. But these albums are not simply replicas of the 1963 and 1964 albums released by Parlophone in the UK and rest of world. Seeing a different opportunity, Capitol Records and United Artists compiled these albums for U.S. release between January 1964 and March 1965.

To celebrate the momentous year when Beatlemania exploded across the U.S., seven Beatles albums are collected for a spectacular new 8LP vinyl box set. 'Meet The Beatles!'; 'The Beatles’ Second Album'; 'A Hard Day’s Night (Original Motion Picture Sound Track)'; 'Something New'; 'The Beatles’ Story' (2LP); 'Beatles ’65'; and 'The Early Beatles' all feature faithfully replicated artwork and new four-panel inserts with essays written by American Beatles historian and author Bruce Spizer. The albums’ new vinyl lacquers were cut by Kevin Reeves at Nashville’s East Iris Studios with constant reference to the original vinyl first pressings to ensure they are faithful to the original release, while also enabling more musical information to be heard than was possible before. 180 gram audiophile pressing. 'The Beatles’ Story' 2LP is exclusive to the box set.

TRACK LISTING

LP1 - Meet The Beatles!:
1. I Want To Hold Your Hand
2. I Saw Her Standing There
3. This Boy
4. It Won’t Be Long
5. All I’ve Got To Do
6. All My Loving
7. Don’t Bother Me
8. Little Child
9. Till There Was You
10. Hold Me Tight
11. I Wanna Be Your Man
12. Not A Second Time

LP2 - The Beatles' Second Album:
1. Roll Over Beethoven
2. Thank You Girl
3. You Really Got A Hold On Me
4. Devil In Her Heart
5. Money
6. You Can’t Do That
7. Long Tall Sally
8. I Call Your Name
9. Please Mister Postman
10. I’ll Get You
11. She Loves You

LP3 - A Hard Day’s Night (Original Motion Picture Soundtrack):
1. A Hard Day’s Night
2. Tell Me Why
3. I’ll Cry Instead
4. I Should Have Known Better (Instrumental)
5. I’m Happy Just To Dance With You
6. And I Love Her (Instrumental)
7. I Should Have Known Better
8. If I Fell
9. And I Love Her
10. Ringo’s Theme (This Boy) (Instrumental)
11. Can’t Buy Me Love
12. A Hard Day’s Night (Instrumental)

LP4/5 - The Beatles Story:
1. On Stage With The Beatles
2. How Beatlemania Began
3. Beatlemania In Action
4. Man Behind The Beatles – Brian Epstein
5. John Lennon
6. Who's A Millionaire?
7. Beatles Will Be Beatles
8. Man Behind The Music – George Martin
9. George Harrison
10. A Hard Day's Night – Their First Movie
11. Paul McCartney
12. Sneaky Haircuts And More About Paul
13. The Beatles Look At Life
14. 'Victims' Of Beatlemania
15. Beatle Medley
16. Ringo Starr
17. Liverpool And All The World!

LP6 - Something New:
1. I’ll Cry Instead
2. Things We Said Today
3. Any Time At All
4. When I Get Home
5. Slow Down
6. Matchbox
7. Tell Me Why
8. And I Love Her
9. I’m Happy Just To Dance With You
10. If I Fell

LP7 - Beatles ’65:
1. No Reply
2. I’m A Loser
3. Baby’s In Black
4. Rock And Roll Music
5. I’ll Follow The Sun
6. Mr. Moonlight
7. Honey Don’t
8. I’ll Be Back
9. She’s A Woman
10. I Feel Fine
11. Everybody’s Trying To Be My Baby

LP8 - The Early Beatles:
1. Love Me Do
2. Twist And Shout
3. Anna
4. Chains
5. Boys
6. Ask Me Why
7. Please Please Me
8. PS I Love You
9 .Baby It’s You
10. A Taste Of Honey
11. Do You Want To Know A Secret

Using the original 1964 mono master, new lacquers have been cut all-analogue by Kevin Reeves at Nashville’s East Iris Studios. By constantly referring to the original first pressing, the album is faithful to the original release while also enabling more musical information to be heard than was possible before. Featuring faithfully replicated artwork and a new four-panel insert with essay by American Beatles historian, Bruce Spizer. 180gram audiophile pressing.

TRACK LISTING

1. Roll Over Beethoven
2. Thank You Girl
3. You Really Got A Hold On Me
4. Devil In Her Heart
5. Money
6. You Can’t Do That
7. Long Tall Sally
8. I Call Your Name
9. Please Mister Postman
10. I’ll Get You
11. She Loves You

Using the original 1965 mono master, new lacquers have been cut all-analogue by Kevin Reeves at Nashville’s East Iris Studios. By constantly referring to the original first pressing, the album is faithful to the original release while also enabling more musical information to be heard than was possible before. Featuring faithfully replicated artwork and a new four-panel insert with essay by American Beatles historian, Bruce Spizer. 180gram audiophile pressing.

TRACK LISTING

1. Love Me Do
2. Twist And Shout
3. Anna
4. Chains
5. Boys
6. Ask Me Why
7. Please Please Me
8. PS I Love You
9 .Baby It’s You
10. A Taste Of Honey
11. Do You Want To Know A Secret

In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The BEATLES (soon to be better known as ‘The White Album’). With their ninth studio album, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” Ringo Starr’s “Don’t Pass Me By” marked his first solo songwriting credit on a Beatles album. For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn.

For it’s 50th anniversary, The Beatles release a suite of lavishly presented ‘White Album’ packages. The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio, joined by 27 early acoustic demos and 50 session takes, most of which are previously unreleased in any form.

“We had left Sgt. Pepper’s band to play in his sunny Elysian Fields and were now striding out in new directions without a map,” says Paul McCartney in his written introduction for the new ‘White Album’ releases.

This is the first time The BEATLES (‘White Album’) has been remixed and presented with additional demos and session recordings. The album’s sweeping new edition follows 2017’s universally acclaimed Sgt. Pepper’s Lonely Hearts Club Band Anniversary Edition releases. To create the new stereo and 5.1 surround audio mixes for ‘The White Album,’ Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All the new ‘White Album’ releases include Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin.

“In remixing ‘The White Album,’ we’ve tried to bring you as close as possible to The Beatles in the studio,” explains Giles Martin in his written introduction for the new edition. “We’ve peeled back the layers of the ‘Glass Onion’ with the hope of immersing old and new listeners into one of the most diverse and inspiring albums ever made.”

The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package. The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads. The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson.

The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve.

Much of the initial songwriting for ‘The White Album’ was done in Rishikesh, India between February and April 1968, when John Lennon, Paul McCartney, George Harrison, and Ringo Starr joined a course at the Maharishi’s Academy of Transcendental Meditation. In a postcard to Ringo, who had returned to England before the others, John wrote, “we’ve got about two L.P.s worth of songs now so get your drums out.”

During the last week of May, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings are included in the new edition’s Deluxe and Super Deluxe packages, sourced from the original four-track tapes. Twenty-one of the demoed songs were recorded during the subsequent studio sessions, and 19 were ultimately finished and included on ‘The White Album.’

The Beatles’ studio sessions for The BEATLES (‘White Album’) began on May 30, 1968 at Abbey Road Studios. In the 20 weeks that followed, The Beatles devoted most of their time to sessions there for the new album, with some recording also done at Trident Studios. The final session for the album took place at Abbey Road on October 16, a 24-hour marathon with producer George Martin to sequence the double album’s four sides and to complete edits and cross-fades between its songs. The Beatles’ approach to recording for ‘The White Album’ was quite different from what they had done for ‘Sgt. Pepper.’ Rather than layering individually overdubbed parts on a multi-track tape, many of the ‘White Album’ session takes were recorded to four-track and eight-track tape as group performances with a live lead vocal. The Beatles often recorded take after take for a song, as evidenced by the Super Deluxe set’s Take 102 for “Not Guilty,” a song that was not included on the album. This live-take recording style resulted in a less intricately structured, more unbridled album that would shift the course of rock music and cut a path for punk and indie rock.

The Beatles’ newly adopted method of recording all through the night was time consuming and exhausting for their producer, George Martin. Martin had other duties, including his management of AIR (Associated Independent Recording), and he had also composed the orchestral score for The Beatles’ animated feature film, Yellow Submarine, released in July 1968. After the first three months of ‘White Album’ sessions, Martin took a three-week holiday from the studio, entrusting the control room to his young assistant Chris Thomas and balance engineer Ken Scott. Scott had taken the place of engineer Geoff Emerick, who left the sessions in mid-July. On August 22, Ringo Starr also left the sessions, returning 11 days later to find his drum kit adorned with flowers from his bandmates. While the sessions’ four and a half months of long hours and many takes did spark occasional friction in the studio, the session recordings reveal the closeness, camaraderie, and collaborative strengths within the band, as well as with George Martin.

The BEATLES (‘White Album’) was the first Beatles album to be released on the group’s own Apple Records label. Issued in both stereo and mono for the U.K. and in stereo for the U.S., the double album was an immediate bestseller, entering the British chart at number one and remaining there for eight of the 22 weeks it was listed. ‘The White Album’ also debuted at number one on the U.S. chart, holding the top spot for nine weeks of its initial 65-week chart run. In his glowing ‘White Album’ review for Rolling Stone, the magazine’s co-founder Jann Wenner declared: “It is the best album they have ever released, and only The Beatles are capable of making a better one.” In the U.S., ‘The White Album’ is 19-times platinum-certified by the RIAA and in 2000, it was inducted into the Recording Academy’s GRAMMY® Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.”

TRACK LISTING

Super Deluxe [6CD+1Blu-ray Set / Digital Audio Collection]
CD 1: The BEATLES (‘White Album’) 2018 Stereo Mix
Back In The U.S.S.R.
Dear Prudence
Glass Onion
Ob-La-Di, Ob-La-Da
Wild Honey Pie
The Continuing Story Of Bungalow Bill
While My Guitar Gently Weeps
Happiness Is A Warm Gun
Martha My Dear
I’m So Tired
Blackbird
Piggies
Rocky Raccoon
Don’t Pass Me By
Why Don’t We Do It In The Road?
I Will
Julia

CD 2: The BEATLES (‘White Album’) 2018 Stereo Mix
Birthday
Yer Blues
Mother Nature’s Son
Everybody’s Got Something To Hide
Except Me And My Monkey
Sexy Sadie
Helter Skelter
Long, Long, Long
Revolution I
Honey Pie
Savoy Truffle
Cry Baby Cry
Revolution 9
Good Night

CD 3: Esher Demos
Back In The U.S.S.R.
Dear Prudence
Glass Onion
Ob-La-Di, Ob-La-Da
The Continuing Story Of Bungalow Bill
While My Guitar Gently Weeps
Happiness Is A Warm Gun
I’m So Tired
Blackbird
Piggies
Rocky Raccoon
Julia
Yer Blues
Mother Nature’s Son
Everybody’s Got Something To Hide
Except Me And My Monkey
Sexy Sadie
Revolution
Honey Pie
Cry Baby Cry
Sour Milk Sea
Junk
Child Of Nature
Circles
Mean Mr. Mustard
Polythene Pam
Not Guilty
What’s The New Mary Jane

CD 4: Sessions
Revolution I (Take 18)
A Beginning (Take 4) / Don’t Pass Me By (Take 7)
Blackbird (Take 28)
Everybody’s Got Something To Hide
Except Me And My Monkey (Unnumbered Rehearsal)
Good Night (Unnumbered Rehearsal)
Good Night (Take 10 With A Guitar Part From Take 5)
Good Night (Take 22)
Ob-La-Di, Ob-La-Da (Take 3)
Revolution (Unnumbered Rehearsal)
Revolution (Take 14 – Instrumental Backing Track)
Cry Baby Cry (Unnumbered Rehearsal)
Helter Skelter (First Version – Take 2)

CD 5: Sessions
Sexy Sadie (Take 3)
While My Guitar Gently Weeps (Acoustic Version – Take 2)
Hey Jude (Take 1)
St. Louis Blues (Studio Jam)
Not Guilty (Take 102)
Mother Nature’s Son (Take 15)
Yer Blues (Take 5 With Guide Vocal)
What’s The New Mary Jane (Take 1)
Rocky Raccoon (Take 8)
Back In The U.S.S.R. (Take 5 – Instrumental Backing Track)
Dear Prudence (Vocal, Guitar & Drums)
Let It Be (Unnumbered Rehearsal)
While My Guitar Gently Weeps (Third Version – Take 27)
(You’re So Square) Baby, I Don’t Care (Studio Jam)
Helter Skelter (Second Version – Take 17)
Glass Onion (Take 10)

CD 6: Sessions
I Will (Take 13)
Blue Moon (Studio Jam)
I Will (Take 29)
Step Inside Love (Studio Jam)
Los Paranoias (Studio Jam)
Can You Take Me Back? (Take 1)
Birthday (Take 2 – Instrumental Backing Track)
Piggies (Take 12 – Instrumental Backing Track)
Happiness Is A Warm Gun (Take 19)
Honey Pie (Instrumental Backing Track)
Savoy Truffle (Instrumental Backing Track)
Martha My Dear (Without Brass And Strings)
Long, Long, Long (Take 44)
I’m So Tired (Take 7)
I’m So Tired (Take 14)
The Continuing Story Of Bungalow Bill (Take 2)
Why Don’t We Do It In The Road? (Take 5)
Julia (Two Rehearsals)
The Inner Light (Take 6 – Instrumental Backing Track)
Lady Madonna (Take 2 – Piano And Drums)
Lady Madonna (Backing Vocals From Take 3)
Across The Universe (Take 6)

Blu-ray: The BEATLES (‘White Album’)
Audio Features:
: PCM Stereo (2018 Stereo Mix)
: DTS-HD Master Audio 5.1 (2018)
: Dolby True HD 5.1 (2018)
: Mono (2018 Direct Transfer Of ‘The White Album’ Original Mono Mix)

 Deluxe [3CD Digipak / 180-gram 4LP Vinyl Box Set (limited Edition)
The BEATLES (‘White Album’) 2018 Stereo Mix
Esher Demos

Standard 2LP Vinyl [180-gram]
The BEATLES (‘White Album’) 2018 Stereo Mix

Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper’s Lonely Heart Club Band’s cut-outs, and special inner bags for some of the titles.

The titles include The Beatles’ 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group’s core catalogue, and Past Masters, Volumes One & Two, featuring non-album A-sides and B-sides, EP tracks and rarities.

Since it was recorded, The Beatles’ music has been heard on a variety of formats – from chunky reel-to-reel tapes and eight-track cartridges to invisible computer files. But there has never been a more romantic or thrilling medium for music than a long-playing twelve-inch disc. We ‘play’ records. The process of carefully slipping the disc out of the sleeve, cleaning it and lowering the stylus provides a personal involvement in the reproduction of the music.

In September, 2009, The Beatles’ remastered albums on CD graced charts around the world. Seventeen million album sales within seven months was resounding evidence of the timeless relevance of their legacy. Through five decades, the music of The Beatles has captivated generation upon generation.

For producer Rick Rubin, surveying The Beatles’ recorded achievements is akin to witnessing a miracle. “If we look at it by today’s standards, whoever the most popular bands in the world are, they will typically put out an album every four years,” Rubin said in a 2009 radio series interview. “So, let’s say two albums as an eight year cycle. And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can’t be done. Truthfully, I think of it as proof of God, because it’s beyond man’s ability.”

There has always been demand for The Beatles’ albums on vinyl. Indeed, 2011’s best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles’ acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI’s Abbey Road Studios should create new versions of The Beatles’ vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple.

The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl.

A ‘blind’ listening test was arranged to choose between a ‘lacquer’ or ‘copper’ cut. Using both methods, A Hard Day’s Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having ‘blank’ discs of a consistent quality when cutting lacquers.

The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone ‘limiting’ - a procedure to increase the sound level, which is deemed necessary for most current pop CDs.

Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any ‘sibilant episodes’ - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of ‘inner-groove distortion’ was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a ‘mushy’ sound particularly noticeable on vocals. Using what Magee has described as ‘surgical EQ,’ problem frequencies were identified and reduced in level to compensate for this.

The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli.

An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the ‘lock-groove’ at the end of side two of Sgt. Pepper’s Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

Highly-skilled technicians have worked long and hard to make The Beatles on vinyl sound better than ever. All we need to do is listen to the results of their dedicated labour on the remastered LPs. Handle with care. But most of all, enjoy the music.

TRACK LISTING

Side 1:
1. Yellow Submarine (2009 - Remaster)
2. Only A Northern Song (2009 - Remaster)
3. All Together Now (2009 - Remaster)
4. Hey Bulldog (2009 - Remaster)
5. It's All Too Much (2009 - Remaster)
6. All You Need Is Love (2009 - Remaster)

Side 2:
1. Pepperland (2009 - Remaster)
2. Sea Of Time (2009 - Remaster)
3. Sea Of Holes (2009 - Remaster)
4. Sea Of Monsters (2009 - Remaster)
5. March Of The Meanies (2009 - Remaster)
6. Pepperland Laid Waste (2009 - Remaster)
7. Yellow Submarine In Pepperland (2009 - Remaster)

’Beck-Ola’ is the second album by Jeff Beck and the first credited to The Jeff Beck Group. It was released in 1969 and broke into the US top 15 of the Billboard 200 and top 40 of the UK album chart. Beck had purposefully made personnel changes to the band in order to take them in an even heavier rock direction from ‘Truth’ This album once again featured Wood and Stewart but would be their final album with the Jeff Beck Group.

TRACK LISTING

1. All Shook Up
2. Spanish Boots
3. Girl From Mill Valley
4. Jailhouse Rock
5. Plynth (Water Down The Drain)
6. The Hangman's Knee
7. Rice Pudding

Ragnhild Zeigler is a Norwegian singer, songwriter and saw player. She is now releasing her debut album under the name 'The Bee's Niece'. The album is called "I Don't Speak Cat".

Released originally by Wall of Sound sublabel We Love You in 2002, ‘Sunshine Hit Me’ was recorded and produced by founding members Paul Butler and Aaron Fletcher in a home garden studio - aka The Shed - on the Isle of Wight, and went on to receive a nomination for the Mercury Music Prize, 2003.

Singles from the album include “No Trophy”, “Punchbag”, and a cover of Os Mutantes’ “A Minha Menina”.

TRACK LISTING

Punchbag
Angryman
No Trophy
Binnel Bay
Sunshine
A Minha Menina
This Town
Sweet Like A Champion
Lying In The Snow
Zia
Sky Holds The Sun

CD Bonus Tracks
Seeds
You Got To Leave
Elain
Whistle Chop
Jackel Head
Out For The Count

Following Third Man Records’ reissue of The Belair Lip Bombs’ (the label’s first Australian signing) 2023 debut album ‘Lush Life’ last year – which gained widespread praise including a - NME review, 7.8 Pitchfork review by Laura Snapes, a Guardian Ones To Watch piece and a ‘Best Rock or Punk Work’ award at the Victoria Music Awards – the Melbourne four-piece are gearing up to release their eagerly anticipated second album 'Again' on 31st October. Helmed by Maisie Everett (guitar, keys, vox) and fleshed out by a talented trio of musicians in Mike Bradvica (guitars), Jimmy Droughton (bass) and Daniel Devvlin (drums), it was recorded with producer Joe White of Rolling Blackout Coastal Fever. (‘Again’ cements the Lip Bombs as a long-term fixture in the current indie scene). “Hey You", the first single to be taken from the record, captures the band's widescreen songwriting and innate knack for soaring melodies.

TRACK LISTING

Side A
1. Again And Again
2. Don’t Let Them Tell You (It’s Fair)
3. Another World
4. Cinema
5. Back Of My Hand

Side B
1. Hey You
2. If You’ve Got The
3. Time
4. Smiling
5. Burning Up
6. Price Of A Man

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

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

TRACK LISTING

Track 1A : Drapes N' Squares
Track 2A : The Hoofstomp
Track 3A : Moonlight Heartache
Track 4A: Golf Shack

Track 1B : Rubber Bullets
Track 2B : Monquito's Diner
Track 3B : Bell Pepper Hop
Track 4B : Cry Baby

The Tiara label gets the Numero treatment. North Miami Beach’s The Belles were remarkably free of any masculine influence - an all-girl, teen rock band who played instruments, wrote songs,and were a good representation of multiculturalismin the 1960s. The Belles’ lone single featured ‘Melvin’, a gender swapped rewrite of Them’s ‘Gloria’, backed with Come Back’ Pure representation of girls in the garage.

TRACK LISTING

1. Melvin
2. Come Back

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

Happiness was recorded from late 1988 to summer 1989, influenced by the band's immersion in the nascent UK Acid House scene. Originally a four-piece guitar/synth band, The Beloved MK1 parted ways late 1987 and founder members Jon Marsh and Steve Waddington were newly liberated by their electronic, machine-driven rhythm section. The perfect synchronicity of the Balearic stylings of the underground clubs and exposure to early Chicago House corresponded with a burst in songwriting and sonic adventure. The result: Happiness!

Recorded mostly with producer Martyn Phillips (who subsequently worked with Erasure, Jesus Jones, & Londonbeat) the band created a hybrid of British electronic pop music, US club beats, euphoric mood and consistently optimistic and uplifting lyrics. 

'Happiness' has been remastered from the original analogue studio masters (by John Davis at Metropolis Studios) and has a significantly louder and clearer audio than the original release. The reissue includes new sleeve notes written by the band themselves.

TRACK LISTING

LP / CD (songs 11-25 With * Are CD (special Edition) Only):
Hello
Your Love Takes Me Higher
Time After Time
Don’t You Worry
Scarlet Beautiful
The Sun Rising
I Love You More
Wake Up Soon
Up Up & Away
Found
I Love You More [demo]*
Jackie (Won't You Please Come Home?)*
Sally* / My Heart’s Desire*
Your Love Takes Me Higher [demo]*
Your Love Takes Me Higher [piano/303 Demo]*
Wake Up Soon [demo]*
Acid Love (7" Mix)*
Acid Love (Acid Dream)*
Paradise (My Darling, My Angel)*
Time After Time [demo]*
Time After Time [extended Demo Dub]*
Jennifer Smiles*/ Pablo (7 Inch Mix)*
The Sun Rising (Evening Session Remix)*

Conscience was originally released in 1993, reaching No. 2 in the UK album chart hitting 100,000 selling BPI Gold status. It contains their biggest hit to date, the BPI Silver disc awarded Sweet Harmony, a top 10 in the UK and across Europe. Other singles include double A- side of Celebrate Your Life and You've Got Me Thinking, Outerspace Girl, which both hit the UK top 40 and Rock To The Rhythm Of Love, which was released in the United States only.

Conscience has been remastered from the original analogue studio masters (by John Davis at Metropolis Studios) boasting louder and clearer audio than the original release. It's being manufactured on 180g heavyweight black vinyl release with extra artwork + liner notes (compared to the limited white vinyl released in 2024).

Conscience is a timelessly classic album, still sounding fresh over 30 years after it's original release.

TRACK LISTING

Spirit
Sweet Harmony 
Outerspace Girl
Lose Yourself In Me 
Paradise
Found 
You've Got Me Thinking 
Celebrate Your Life 
Rock To The Rhythm Of Love
Let The Music Take You
1000 Years From Today
Dream On

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

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from São Paulo, Brazil, has just announced the release of his forthcoming album Mil Coisas Invisíveis on Psychic Hotline. Bernardes has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He’s collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate- a series of meditations on metaphysical transformation in the face of grave uncertainty. The first single, ‘Nascer Vivier Morrer’ opens the album, tracing the journey of life from birth to death. One of the last songs written for the album, Tim feels that it connects the rest of the songs on the album- ‘I understand how the album looked from the outside and understand how it accentuated this conscious shift in me.’ The song says a lot in a few words, meditating on the magical experience of existence and presence. Joyful and introspective, the song is carried by simple instrumentation and layered vocals that render the song remarkably intimate. "This is a very short song that when I wrote I felt it fit as kind of an opening to the album. The songs in the album have some different vibes between them but I feel that this one connects them in a very synthetic way. Trying to say a lot with few words. About 'just being', about how magical the existence of existence is. About the presence of presence, and presence of absence in life. Like the song says, 'in the rare infinite moment, to live.” Says Tim about ‘Nascer Vivier Morrer’ 

"Prudência / Praga" or "Prudence / Plague", is a double single with these two songs that I composed and which were originally recorded by two of my heroes: Maria Bethânia and Alaíde Costa. Curiously, they are two sambas: although I come from the rock and roll scene in São Paulo, I wound up writing a samba as if it were the 50s. At the time of my first heartbreak, at the age of 17, I had the record Jamelão canta Lupicínio with the Orquestra Tabajara on my iPod, and I identified with those dramatic sorrows, almost a hundred years old. In a way, I felt that Lupicínio Rodrigues was bloody and direct, like Tarantino, and Nelson Cavaquinho, heavy metal like Black Sabbath. So, I feel it's a compact 45 of sambas but it's also very Rock n Roll to me. Raw and coming from hell. “Prudência” is that internal battle between the passionate side and the controlling side in the head of the former romantic bohemian. I wrote it for Bethânia to record on her album Noturno. Her version turned into a moving bolero. When I saw her singing it live and the audience singing along with her, I couldn't believe it. I cried, hidden in the audience. She said that when she showed the record to her brother, Caetano Veloso, he thought that “Prudência” was some old classic that she had dug up to bring back to light. Nothing could be a greater compliment than this mistake on Caetano's part. “Praga” also has to do with MPB heroes of mine that I never imagined I'd see up close or have any relationship with or any connection with. I was asked to write these lyrics in partnership with the main man Erasmo Carlos for Alaíde Costa's album! Surreal. Like many people, I got acquainted with Alaíde listening to “Clube da Esquina,” her singing with Milton Nascimento. And the idea was to do a poisonous cabaret song samba. The curse of a woman who has dumped a drunk. I love it when Alaíde sings “BIBIDA” in her recording of the song—a total legend. I wanted to produce a kind of horror samba recording, because if it wasn't rock and roll, it wouldn't be much fun for me. I went over to Bielzinho's, and we recorded this chorus that explodes with the percussion and the choir of my friends Tulipa, Maria Beraldo, and Luiza Lian. This take of “Prudência” came from the unpretentiousness of recording two live sessions of the song with Fred Joseph with the cameras of the 70s’ program “Ensaio” (MPB Especial) by the great Fernando Faro. The video take ended up being so unexpected and raw that it unseated the studio version, and that's what you hear on the single. The idea behind the video is a sort of this temporal mindfuck; like found lost tapes of the MPB Especial from the early the 70s. Same microphones, same cameras, that zoom—time travel. Between Mil Coisas Invisíveis, the end of the cycle with O Terno, and starting the new album process, I decided to take advantage of the respite to release this rock and roll 45 of sambas, without thinking too much or over-producing the thing. “Prudence? Don't talk to me about prudence!” ;) Tim Bernardes, 2025.

TRACK LISTING

A/ Prudência
B/ Praga

The story of The Besnard Lakes begins at Besnard Lake: a spectacular yet secluded water feature in rural Saskatchewan which the Montreal group’s husband and wife core, Jace Lasek and Olga Goreas, visit each summer for inspiration and escape. This year the couple’s campsite was surrounded for a worrying few days by forest flames, a literal ring of fire which informed the devil-may-care spirit of their exuberant fifth album.

“Besnard Lake is usually the place where we get the germination of ideas,” explains Jace. “We set up a small recording rig in the trailer we have up there .This time there were also helicopters with giant water tanks flying over us while we were fishing on the lake!”

Armed with demos and memories from their trip, the pair returned to the city and entered Breakglass Studios. Co-founded by Lasek a decade ago, this popular recording facility has long been a hub for Montreal’s fertile, collaborative and proudly DIY music community. Having met and fallen in love in Vancouver, where Jace was a photography-trained art student and Olga a bass-slinging star on the underground rock circuit, the pair relocated at the turn of the millennium. Vancouver had gotten too expensive. By contrast, “Montreal was super cheap because there had been the Quebec referendum in ’95 and a lot of the Anglos had left. There was a political teeter-totter happening, so there were tons of empty places. We moved out here and were able to live, rehearse and record in a loft for next to nothing.”

The predominantly French-speaking province’s economic depression birthed an ever-evolving scene that’s become internationally renowned for such disparate independent avatars as Godspeed You! Black Emperor and The Arcade Fire. Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. (Echoing prime FM they actually now have two girl/boy couplings in the line-up, keyboard player Sheenah Ko and guitarist Robbie MacArthur joining powerhouse drummer Kevin Laing and non-touring studio axe hero Richard White.) Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies. This melodic yet mountainous soundworld was sculpted at Breakglass, their own modest Paisley Park. As the longterm sporter of a Love Symbol tattoo, Prince’s pop alchemy is especially potent for Jace.

“You look on the back of his early records and it’s produced, arranged, recorded and performed by Prince. When I realised that as a 12-year-old I was like, Oh fuck! So this kid can make a record all by himself. So then why can’t I? He was also the guy who made me realise that it was ok to sing high. Just throw caution to the wind. He’s not concerned about being super macho. Once I started getting into punk rock in high school, Prince was still there. He didn’t lose relevancy for me. Prince was still there when I started getting into prog rock, too. We’re just absorbed in music of all sorts.”

Olga, meanwhile, has been exploring a new creative outlet via her domestic interpretation of the occult, inspired by a Disinformation lecture given by comic book writer Grant Morrison. “He was talking about sigils,” remembers her adoring partner. “It was really personal for Oggy, like a meditation she would do in the morning, and also just a fun thing. She developed these 11 sigils, which you can see on the inside of the record’s jacket. For the deluxe edition she’s hand engraved them onto these little tags. The meanings are very simple: one is love, another is empathy. That leads back to this whole idea of mystery and the myth of the band.”

Channelling their obsessions with the paranormal – Jace was a teenage ghost hunter – as well as the dark arts, A Coliseum Complex Museum is populated by cryptozoological creatures (The Bray Road Beast, Golden Lion) while also luxuriating in natural phenomena and beauty (The Plain Moon, Nightingale). These themes are sincere yet good-humoured. The LP’s title jokily refers to a landmark-heavy road sign spotted on tour in Texas, the varied emotional impulses within reflected by its environmentally warped artwork.

“For a long time we were trying to keep secret that we love being out in nature,” admits Jace. “Because it’s kinda cliché. But with this record we decided to stop fighting what we love so much. So the front cover actually has a lake on it, but it’s also got this giant orb shooting light into the water, which is creating a hole that’s opening a portal to the coliseum complex museum. It’s kinda fucked.”

TRACK LISTING

1. The Bray Road Beast
2. The Golden Lion
3. Pressure Of Our Plans
4. Towers Sent Her To Sheets Of Sound
5. The Plain Moon
6. Necronomicon
7. Nightingale
8. Tungsten 4: The Refugee

On their new album 'The Besnard Lakes are the Ghost Nation', Montreal’s The Besnard Lakes return with their post-rock psych; but this time around, with a lightness and optimism at play.

Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies; a melodic yet mountainous sound world.

In a crowded leaderboard of their own making, 'The Besnard Lakes are the Ghost Nation' might just be their best album yet; a strive for hope when it is needed most.

STAFF COMMENTS

Barry says: Like fellow Montrealers GYBE, The Besnard Lakes revel in the sort of slowly blooming wall-of-sound chaos we hear on their stunning new LP, but unlike GYBE there's a levity and melodic anchor in a soaring, haunting shoegazey vocal performance. A beautifully rich, endlessly growing wonder that draws on their established sound but pulls the peripheries out even further into rippling ambient and even in parts, noisy rock.

Andy says: This is a really beautiful album which combines post-rock with a touch of psych and even gently pulsing shoegaze. The band have created a warm and enveloping sound world studded with gorgeous twinkling songs.

TRACK LISTING

1. Calling Ghostly Nations
2. Chemin De La Baie
3. Carried It All Around
4. In Hollywood
5. Pontiac Spirits
6. Battle Lines
7. The Clouds Are Casting Shadows From The Sunlight
8. Give Us Our Dominion

There is a war now. The message has been sent through short wave in code. The Besnard Lakes twisting chronicle, or fever dream, of spies, double agents, novelists and aspiring rock gods has turned violent. Loyalty, dishonor, love, hatred all seen through the eyes of two spies, fighting a war that may not be real. One follows the other as they receive coded messages and spread destruction. The city is burning, and it's to the benefit of music obsessives everywhere. Once again, the husband-and-wife duo of Olga Goreas and Jace Lasek has crafted a majestic, sprawling vision of guitar bombast and captivating pop experiments.

"The Besnard Lakes Are the Roaring Night" calls upon the influence of ELO and finer parts of the Alan Parsons Project in its orchestration. Still helped by the Ghost of Beach Boys Past, the album is more Dennis Wilson than Brian, and more Peter Green Fleetwood Mac than Lindsay Buckingham. That said, standout track "Albatross" has all the swagger of a Stevie Nicks-led Fleetwood Mac classic or Roy Orbison re-imagined as a rollicking, snakeskin-booted Mazzy Star - dousing it all in gas and throwing the match as we hear its tale of Vancouver's skid row and its inhabitants.

The album is a dark bliss-out that folds the eerie guitar epics of the Montreal band's breakthrough into a wall of affected drones and atmospherics, but with a toughened immediacy and grit that gives the form a much-needed shove over the cliffs, making for a haunting, provocative swan dive into the crushing tide. 

Released to coincide with their forthcoming UK dates and in advance of their highly anticipated new album, ‘A Coliseum Complex Museum’, here is the brand new 12” from The Besnard Lakes.

The single features prime album cut ‘Golden Lion’ alongside two exclusive tracks.

This is the band at their absolute best - desnse, soaring guitars, harmonies to die for and handsdown the best chorus they’ve ever written. This 12” sows the seeds for a stellar 2016 for The Besnard Lakes.

The Besnard Lakes’ ‘Until In Excess, Imperceptible UFO’ had its humble beginnings in mid-2011 and was completed over the course of a year. Ever mindful and attentive to the most subtle and nuanced details, founding band members Jace Lasek and Olga Goreas produced, recorded and mixed at the stalwart Breakglass Studios in Montreal with long time bandmates Kevin Laing and Richard White.

Eventually mastered by the renowned Greg Calbi at Sterling Sound, this fourth album by The Besnard Lakes features heavyweight additions by Moonface’s Spencer Krug and Mike Bigelow, The Barr Brothers’ Sarah Page, the always enchanting Monica Guenter and the return of The Fifth String Liberation Singers’ Choir.

Each of the eight tracks on the album takes off, coasts, and lands smoothly, with a jubilant slowburn of its own momentum for the benefit of the larger picture.

The Besnard Lakes create a distinct and dreamy headspace, an enigmatic and somehow familiar placelessness. It happens in such a way that both the close and casual listener find themselves immersed in the generous sonic vision, one moment as timeless as the next.

“A magnificently oceanic meld of Beach Boys harmonies, My Bloody Valentine tidal waves and Phil Spector girlgroup siren songs shot through with soaring guitar.” - Rolling Stone

“Right now no one is making music this grand, this big, this moving with so much assurance.” - Chicago Tribune

“Nothing short of beautiful.” - NME

BIOGRAPHY BY IRVINE WELSH
I discovered the Beta Band, like I discovered a lot of great music, basically through eventually surrendering to the enthused urgings of a mate who was cooler than me. He continually evangelized about the EP’s. I was lost to the concert hall and firmly ensconced on the dancefloor by then and highly resistant, but quite taken by the idea that a band would bring out extended plays rather than singles. When I did check them out, I was instantly smitten by their originality and power.

The band, therefore, were pivotal for me in terms of my own musical journey, in that they represented a gateway back into indie guitar music, which I’d basically given up since becoming obsessed with rave and acid house.

The Beta Band were definitely a band for the cool cognoscenti- like my buddy- the ones you make a bit of a tit of yourself trying to convert quite straight boring people to.

The emotions they induced were a kind of throwback to school days when you were very pompous and prescriptive about what you liked, and derisive towards non believers. It’s a testimony to the power of the music that they could take me to the raw state of the younger man.

I took it personally that they didn’t hit the mainstream commercial base. At least two of the three albums they made deserved quadruple platinum status. Hot Shots II and Heroes to Zeros are permanently lodged very high in my top one hundred albums of all time.

So, the return of the Beta Band has me moving into the same mode of immature, adolescent anticipation. Everyone should have the Beta Band albums and EP’s in their collection. It still kind of annoys me - in fact it bugs the shit out of me - that most of them don’t.

And that really is something. 

TRACK LISTING

A1 Dry The Rain
A2 I Know
A3 B + A
B1 Dogs Got A Bone
B2 Inner Meet Me
B3 The House Song
C1 The Monolith
C2 She's The One
D1 Push It Out
D2 It's Over
D3 Dr. Baker
D4 Needles In My Eyes 

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

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

TRACK LISTING

Champion Versions EP
A1. Dry The Rain / A2. I Know / B1. B + A / B2. Dogs Got A Bone

The Patty Patty Sound EP
A. Inner Meet Me / B. The House Song / C. Monolith / D. She’s The One

Los Amigos Del Beta Bandidos EP
A1. Push It Out / A2. It’s Over / B1. Dr. Baker / B2. Needles In My Eyes

CD Features The Same Tracklist In The The Same Order.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

TRACK LISTING

1. I'm Not Getting Excited - LIve
2. Great No One - Live
3. Whatever - Live
4. Mars, The God Of War - Live
5. Future Me Hates Me - Live
6. Introduction
7. Jump Rope Gazers - Live
8. Uptown Girl - Live
9. Bird Talk
10. Happy Unhappy - Live
11. Out Of Sight - Live
12. Thank You
13. Don't Go Away - Live
14. Little Death - Live
15. Dying To Believe - Live
16. River Run - Live

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been. 

TRACK LISTING

1. Expert In A Dying Field
2. Knees Deep
3. Silence Is Golden
4. Your Side
5. I Want To Listen
6. Head In The Clouds
7. Best Left
8. Change In The Weather
9. When You Know You Know
10. A Passing Rain
11. I Told You That I Was Afraid
12. 2am

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

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

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

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

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

TRACK LISTING

1. Great No One
2. Future Me Hates Me
3. Uptown Girl
4. You Wouldn't Like Me
5. Not Running
6. Little Death
7. Happy Unhappy
8. River Run: Lvl
9. Whatever
10. Less Than Thou

Everything changed for The Beths when they released their above mentioned debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

STAFF COMMENTS

Barry says: I've always liked a bit of The Beths to be honest, having heard them innocently enough in the shop some time ago, and their latest outing is even more evidence as to why. Brilliantly melodic swathes of guitar and perfectly produced percussion form a superb backdrop to the undeniably poppy-punk drive of Stokes' voice.

TRACK LISTING

1. I'm Not Getting Excited
2. Dying To Believe
3. Jump Rope Gazers
4. Acrid
5. Do You Want Me Now
6. Out Of Sight
7. Don't Go Away
8. Mars, The God Of War
9. You Are A Beam Of Light
10. Just Shy Of Sure

Written in Los Angeles and self- recorded in the band's hometown of Auckland, 'Straight Line Was A Lie' (their first release for ANTI-) follows 2022's critically celebrated LP 'Expert in A Dying Field'. Lead singer and songwriter Liz Stokes delves deeper into her psyche to address everything from roundabout progress to physical and mental health challenges, and fraught family dynamics. Inspired by The Go-Go's, Olivia Rodrigo, flmmaker Akira Kurosawa, and Stephen King's On Writing, amongst others, Stokes' songwriting has achieved startling new depths of insight and vulnerability.

Fans will agree that 'Straight Line Was A Lie' is the most sharply observant, truthful, and poetic Beths project to date.

STAFF COMMENTS

Barry says: While the high moments on The Beths' brilliant 'The Straight Line Was A Lie' are amongst the most profoundly beautiful and deeply melodic of their career, the album is a much more nuanced exploration of the human condition warts and all. There are pieces that swim with melodicism but drift into near-mournful placidity. It's a beautifully nuanced, gorgeously evocative indie-rock opus.

TRACK LISTING

1. Straight Line Was A Lie
2. Mosquitoes
3. No Joy
4. Metal
5. Mother Pray For Me
6. Til My Heart Stops
7. Take
8. Roundabout
9. Ark Of The Covenant
10. Best Laid Plans

‘Little Eden’ glows with vintage McCartney-esque couplets before rolling out a chiming signature riff on ‘As I Lay Down To Die’ and adopting Jimi-like phrasing on ‘And Away We Go’. A psychedelically-hewn panoramic take on brutalism Britain punctuated with pure pop melodies and beautifully-observed English melancholy. This is an album that rekindles your love of music – from the harmonies that are oh-so Teenage Fanclub and Lemonheads, to the grunge and awe of Dinosaur Jr. There’s perspective and retrospective tale-spinning where we wait “for the wonderful world to come” (©‘Start Burning’), an imaginary future soundtracked by the spirit of Arthur Lee, brought into focus with witty wordplay on songs that are littered with spine tingling guitar breaks.

TRACK LISTING

Disc One:
A1 Everyone Rise
A2 And Away We Go
A3 Brain Fatigue
A4 You Owe Me
A5 They Will Return
B1 Find The Mole
B2 Do Without Me
B3 Hold Your Horses
B4 The Man In The Garden
B5 As I Lay Down To Die

Disc Two:
C1 Cherry Gardens
C2 Numb In The Head
C3 There's Always Love
C4 Little Eden
C5 Here Come The Flies
C6 Pasted All Over
D1 Start Burning
D2 My Own Hollywood
D3 Never Knew What Hit Me
D4 Dreams Of Flying

Focus On Nature is the new studio album from celebrated post-psyche singer songwriter Nick Saloman and his band The Bevis Frond. Seventy-five minutes of glorious melodies that span 60s psych, English folk, Seattle art-punks The Wipers, the buzzsaw pop of Dinosaur Jr and Hendrix-esque explorations. There’s always an element of playful Englishness to their music.

Heavily influencing the likes of The Lemonheads, Teenage Fanclub, Elliot Smith, Pavement and Dinosaur Jr, the cult icons have produced another off-kilter mix of melodic piano-led melancholy, acoustic ruminations, scratchy garage rock with a punky edge and full-on guitar histrionics.

Like its much-praised predecessor, ‘Little Eden’, the new record studies the world’s weariness but fills out a bigger canvas; fast food and global warming, broken hearts and long gone nights out, everyday immortality and being God’s gift all share space. It’s like Townshend at his most thematic; Big Star in all their acoustic glory, perfectly balancing the punky garage rock combo who end up running on ‘Empty’ with Gilmour breaks that elevate it all to grandeur.

“Still mixing pop, punk and psych to giddy effect.” The Guardian

“Self-reflection is twinned with a rueful survey of the current state of the nation.” Uncut

TRACK LISTING

1. Heat
2. Focus On Nature
3. God's Gift
4. Vitruvian Man
5. A Mirror
6. Leb Off
7. Here For The Other One
8. Happy Wings
9. Empty
10. Wrong Way Round
11. Mr Freds Disco
12. Jack Immortal
13. Hairstreaks
14. Maybe We Got It Wrong
15. Brocadine
16. Big Black Sky
17. The Hug
18. I Can't Breathe
19. Hung On A Wire

Focus On Nature is the new studio album from celebrated post-psyche singer songwriter Nick Saloman and his band The Bevis Frond. Seventy-five minutes of glorious melodies that span 60s psych, English folk, Seattle art-punks The Wipers, the buzzsaw pop of Dinosaur Jr and Hendrix-esque explorations. There’s always an element of playful Englishness to their music.

Heavily influencing the likes of The Lemonheads, Teenage Fanclub, Elliot Smith, Pavement and Dinosaur Jr, the cult icons have produced another off-kilter mix of melodic piano-led melancholy, acoustic ruminations, scratchy garage rock with a punky edge and full-on guitar histrionics.

Like its much-praised predecessor, ‘Little Eden’, the new record studies the world’s weariness but fills out a bigger canvas; fast food and global warming, broken hearts and long gone nights out, everyday immortality and being God’s gift all share space. It’s like Townshend at his most thematic; Big Star in all their acoustic glory, perfectly balancing the punky garage rock combo who end up running on ‘Empty’ with Gilmour breaks that elevate it all to grandeur.

“Still mixing pop, punk and psych to giddy effect.” The Guardian

“Self-reflection is twinned with a rueful survey of the current state of the nation.” Uncut

TRACK LISTING

1. Heat
2. Focus On Nature
3. God's Gift
4. Vitruvian Man
5. A Mirror
6. Leb Off
7. Here For The Other One
8. Happy Wings
9. Empty
10. Wrong Way Round
11. Mr Freds Disco
12. Jack Immortal
13. Hairstreaks
14. Maybe We Got It Wrong
15. Brocadine
16. Big Black Sky
17. The Hug
18. I Can't Breathe
19. Hung On A Wire

'Horrorful Heights' marks a formidable new chapter in The Bevis Frond’s deep and storied catalogue, showcasing the enduring creativity of songwriter, guitarist and frontman Nick Saloman as he moves into yet another decade of recording. Long established as one of the most distinctive voices in British underground rock, Saloman continues to refine the band’s signature blend of melodic psychedelia, wiry guitar epics and sharp, emotionally attuned songwriting. 'Horrorful Heights' offers one of the most approachable entry points to the band’s world in years: a record that gathers their core strengths into a cohesive, vivid set.

Recorded with long-time drummer Dave Pearce and guitarist Paul Simmons, alongside new bassist Louis Wiggett, the album moves fluidly between jangling psych-pop, heavy-lit guitar workouts and pastoral comedown reveries. Wiggett also brings a surprising new colour to the Frond palette, contributing pedal steel to 'Best Laid Plans' and 'Momma Bear', recalling early-70s country-tinged British rock from Bronco or Cochise.

The album’s range is wide but sharply defined. 'Draining The Bad Blood' channels the classic Bevis Frond mode of melodic guitar pop—cut from the same cloth as longtime fan favourites later covered by Teenage Fanclub and The Lemonheads. 'Space Age Eyes', a concise nine-minute odyssey, nods toward the transcendental explorations of ’70s electric Miles Davis, complete with a blistering solo from Simmons and rhythmic elasticity from Pearce.

The sitar-laden title track, written off-the-cuff while Saloman half-watched a football match, drifts through incense-hazed psychedelia with layered vocals and tumbling tablas—an affectionate echo of the head-shop mysticism he has toyed with throughout the band’s history. Elsewhere, 'Mossback’s Dream' splices lysergic leads with the propulsive energy of ’80s American hardcore, forging a hybrid that feels both timeless and entirely its own.

Additional highlights include the Byrds-tinged 'Buffaloed', the swirling narrative freeze-frame of 'Silver Insects', and 'That’s Your Lot', a rapid-moving burst of melancholic euphoria and one of the record’s most immediate songs.

Though unmistakably eclectic, 'Horrorful Heights' presents a focused portrait of The Bevis Frond in 2025 - vital, tuneful and unburdened by nostalgia. Saloman describes the collection simply: the best songs he’d written in recent years, arriving unforced and instinctive. The result is a late-period peak from one of Britain’s most quietly influential underground bands.

TRACK LISTING

1. A Mess Of Stress
2. Best Laid Plans
3. Square House
4. Quietly
5. Space Age Eyes
6. Naked Air
7. Horrorful Heights
8. Draining The Bad Blood
9. A Simple Pursuit
10. Hiss
11. Animal Man
12. Romany Blue
13. Mossbacks' Dream
14. Buffaloed
15. Silver Insects
16. That's Your Lot
17. Sink Estate
18. I'm Gonna Drag You Into My World
19. Momma Bear
20. King For A Day

First time on CD for this incendiary live set of greatest hits of The Bevis Frond circa 1998.

Featuring over an hour’s worth of prime Frond, it mixes the bittersweet melodies of Nick Saloman’s much-covered ‘Lights Are Changing’ and ‘He’d Be A Diamond’ with fuzz fuelled riffs and masterful solo-ing. Played as a power trio with Saloman enlists his long-time associate and former Hawkwind bass player Adrian Shaw, and Andy Ward, former drummer with 70s prog giants Camel. With a staggering ten-minute rethinking of Love’s come down anthem ‘Signed DC’ closing the show. This set also includes culled cuts from their debut ‘Miasma’ through to the groundbreaking ‘New River Head’ and beyond into the 90s.

TRACK LISTING

Hole Song #2
Maybe
Love Is
New River Head
Stoned Train Driver
Lights Are Changing
Red Hair
He'd Be A Diamond
Well Out Of It
Stain On The Sun
The Wind Blew All Around Me
Signed DC.

“Within such an impressive body of work, New River Head is certainly the crown jewel. One of the headier agglomerations of the past decade, it’s non-grasping pace and epic palette issue the breezy confidence of an unmistakable classic” Pitchfork. “New River Head winds up being a slice of Frond at his high-powered best” All Music. “The perfect point of entry into his catalogue” (Popmatters), ‘New River Head’ is the second studio album and seventh full length release which is widely regarded as the finest. ‘The Miskatonic Variations II’ is a 17-minute psychedelic noise rock odyssey with exhilarating guitar solos and features guest vocals from Current 93’s David Tibet. ‘Undertaker’ and ‘Chinese Burn’ bursts with garage-rock and ‘Waving’ delves more into British folk-rock territory.

TRACK LISTING

A1 White Sun
A2 Drowned
A3 She's Entitled To
A4 Waving
A5 Down In The Well
A6 New River Head

B1 Solar Marmalade
B2 Wild Jack Hammer
B3 He'd Be A Diamond
B4 Undertaker
B5 Stain On The Sun

C1 Motherdust
C2 Cuvie
C3 Thankless Task
C4 The Miskatonic Variations II

D1 It Won't Come Again
D2 Blurred Vision
D3 Son Of Many Mothers
D4 Chinese Burn
D5 God Speed You To Earth

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

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

TRACK LISTING

Disc 1 A1 Malvolio's Dream Journey To Pikes A2 Foreign Laugh A3 Down Again A4 Will To Lose A5 Repressor A6 Winter's Blues B1 The Miz-Maze B2 Close B3 Without Mind B4 City Of The Sun C1 Traction C2 Long Day C3 Twice Torn, Once Forgotten C4 Spa Hotel D1 Visions Through Dilated Eyes D2 African Violet D3 Hillview D4 Automatic Bomb Virgins D5 Possession

‘The Clocks' was originally issued in 2007 as a CD-only limited edition of 110 for members of 'The Bevis Frond Online Community'. It comprised 19 previously unissued tracks. Most of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. Since then, it has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-issuing it for the first time, and now as a vinyl double album and limited CD. Due to certain circumstances, three of the original tracks could not be used, so these have been replaced these with another three previously unheard tracks from Nick Saloman's extensive archives. These songs include the seven minute 'She's Taken It All', originally intended for 2004's 'Hit Squad' album but dropped at the last minute due to timing constraints. The beautiful 'You Better Make Do' and the edgy 'Devil Doll' have also been added. We are delighted to be able to make this 'long lost' album available once again and think it will be a welcome addition to the Bevis Frond canon.

TRACK LISTING

Side One.
1 Worlde Is Older
2 The Clocks
3 Home Is Where The Head Is
4 Cut To The Quick
Side Two.
5 Bless Him
6 Anything You Say
7 Devil Doll
8 God
9 When I’m Gone
10 I Need The Rush.
Side Three.
11 Watch The Sun
12 You Better Make Do
13 Little Ray
14 She’s Taken It All.
Side Four.
15 Things He Said
16 I’ll Save Myself
17 I Wasn’t There
18 I’m Better Now
19 Shades 

'The Long Stuff' was originally issued in 2002 as a CD-only limited edition of 110 copies for members of 'The Bevis Frond Online Community'. It comprised a select batch of lengthy, previously unissued tracks. Some of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. There was also an unused track recorded for the 1995 album ‘Superseeder’ featuring Ade Shaw on bass and Andy Ward on drums. Since then, ‘The Long Stuff’ has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-releasing it for the first time, and now as a vinyl double album and limited double CD. Due to certain circumstances, one of the original tracks could not be used, so that has been replaced by a different unheard demo called ‘Here’s a Little Love Song’. Also, we have added three further unissued tracks, another home demo called ‘Skyline Commander’, plus a leftover song from the sessions for the recently released ‘Little Eden’ album called ‘Yet Another’. Finally, we felt compelled to add a storming 24 minute live version of the classic track ‘Superseded’ recorded at Cardigan’s Doctor Sardonicus festival in 2019. So, to sum up, the first album of this double set features all bar one of the tracks that were previously on the original ‘Long Stuff’ CD in 2002, while the second album entirely comprises previously unreleased material. 

The latest from The Big Boss aka Manchester based Kiwi Martin Byrne Inner Space takes hypnotic grooves and deep electronic beats, adding sweeping synth melodies and a splash of chopped up vocals to make this an album for true electronic music lover.

THEMES: Motherhood, parenthood, birth, lockdown, friendships, love.

The last time you heard them it was welcoming the release of their dazzling second album, Walking Like We Do, back in January 2020, when life was very different to how it is now. That was a coming-of-age record, bold songs for Saturday nights and sad songs for Sunday mornings. So much has changed, continues to change, and promises to change some more. And in this world of constant change, we yearn for the familiarity of a constant. Thankfully, one constant remains the unique, jubilant, unassailable bond that sews this brilliant London band together and what that does for their music, too. Another such constant is their collective ear for melody and knack for writing smart, sharp, and infectious indie-pop knockouts.

Like so many records landing in store and on streaming services right now, Here Is Everything was conceived during the weight and worry of lockdown in a pandemic. Worlds were turned upside down and inside out. Lives became seismically different, whilst every day a carbon copy of the last. So, whilst Covid pulled the duvet tightly up over our heads and sat on it whilst we muffle-screamed that we could not breathe, it was also the unlikely backdrop to welcoming new life. Vocalist Juliette Jackson might have started lockdown teaching fans how to play guitar on Zoom to help pay the rent (including, to her eternal bemusement, one Courtney Love), she ended it as mother to a super little human being.

Here is Everything documents the arrival of that fragile but mighty baby in real time, and the excitement and fear felt by this fragile but mighty mother. Meanwhile, the rest of the band doubled-down in the studio, taking Jules’ embryonic song frameworks and stepping forward as one, revelling in an innate, giddy togetherness and with a clutch of genuinely fantastic tunes.

The record is introduced today by Wide Eyes, a pure, uplifting song of collective jubilance. It sounds like a band in the form of their lives, having the time of their lives, and against all the odds. It sounds instantly like The Big Moon whilst sounding unlike any of the music that’s gone before it.

Here Is Everything was mostly self-produced, with the expert guidance and expertise of Adam Cecil Bartlett (Self Esteem, Jehnny Beth, PJ Harvey) and the Grammy Award winning producer Ben Allen (Gnarls Barkley, Deer Hunter, and the producer of Walking Like We Do).

TRACK LISTING

1. 2 Lines
2. Wide Eyes
3. Daydreaming
4. This Love
5. Sucker Punch
6. My Very Best
7. Ladye Bay
8. Trouble
9. High & Low
10. Magic
11. Satellites

The Big Moon are excited to announce the deluxe edition of their third album Here Is Everything. The album features remixes from Marika Hackman and Art School Girlfriend, brand new tracks ‘Summer Still Comes’ and ‘Round Forever’ (which sees bassist Celia Archer on lead-vocals duty for the first time), as well as some exclusive live versions of album tracks.

Celia Archer on ‘Round Forever’ –
"Round Forever is about all the time and energy we spend trying to understand ourselves and other people so that we can properly communicate and what a gift that can be. It’s also about how sometimes that’s all a total waste of time and you need to stop working and overthinking and let it go!"

Following a storming summer of festivals, including a packed slot at Glastonbury in June, The Big Moon recently announced a run of UK + EU shows for December this year. The tour kicks off in Genk on 5th December, taking in Paris, Glasgow, Manchester, Leeds, Birmingham, Bristol and Oxford, finishing up at London’s Union Chapel for a very special stripped-back performance on 18th December. Tickets are on sale now.

Here is Everything focuses on motherhood, with lead vocalist Jules Jackson giving birth during its inception. The rest of the band doubled-down in the studio, taking Jules’ embryonic song frameworks and stepping forward as one, revelling in an innate, giddy togetherness and with a clutch of genuinely fantastic tunes.

Here Is Everything was mostly self-produced, with the expert guidance and expertise of co-producers CECIL (Self Esteem, Jehnny Beth, PJ Harvey) and the Grammy Award winning producer Ben Allen (Gnarls Barkley, Deer Hunter, and the producer of Walking Like We Do).

TRACK LISTING

1. 2 Lines
2. Wide Eyes
3. Daydreaming
4. This Love
5. Suckerpunch
6. My Very Best
7. Ladye Bay
8. Trouble
9. High And Low
10. Magic
11. Satellites

BONUS TRACKS
1. Summer Still Comes
2. Round Forever
3. 2 Lines (Live At The HAC Bow)
4. This Love (Live At The HAC Bow)
5. Satellites (Live At The HAC Bow)
6. Suckerpunch (Marika Hackman Remix)
7. Trouble (Art School Girlfriend Remix)

4AD reissue ‘Junkyard’ in a special vinyl edition. Apart from the LP, the package also contains a bonus 7” featuring ‘Release The Bats’ and ‘Blast Off’. Additionally, it includes a CD of all 12 tracks, so that fans can also access the music digitally.

The album has been mastered from Henry Rollins’ 2000 re-master, previously unavailable in Europe, while the single is a new, 2012 master taken from the original studio analogue tapes.

“Released in May 1982, ‘Junkyard’s uncompromising contents signalled both the oncoming demise of the band responsible for them and rock & roll’s logical conclusion. Harnessing the power of The Stooges’ ‘Funhouse’ with the limitless possibilities offered by Captain Beefheart’s ‘Trout Mask Replica’, The Birthday Party were a product of the uncertain times that created them - the unwitting soundtrack to a time of death, darkness and decay.”

“Troubled music for a troubled age, Nick Cave’s world was created in a white-hot blast of visceral energy, gut-wrenching violence and Dadaist stupidity while the work of his band mates fleshed out the vision to devastating effect. Here, blasphemous imagery fraternised with scenes of murder, brutality and sadism as it rolled and revelled in a trash aesthetic that belied the intellect behind it. The noise created by the band was at once familiar - a wild mutation of rock’s primordial slime mixed with a nightmarish interpretation of Elmer Bernstein and a skewed vision of the blues spewed out rather than played - yet startlingly new and all underlined by an inevitable finality.”

“With the passing of 30 years, ‘Junkyard’ still sounds as if it’s waiting for rock music to catch up with it. Throwing down a taunting gauntlet to subsequent generations of musicians, this feral collection of songs simultaneously closes a door on something that can’t be repeated or improved upon. The distance of time has failed to reduce its sonic power and revisiting Junkyard three decades after its birth is to rediscover an album more melodic if no less manic as was initially perceived.” - Julian Marszalek, The Quietus

Though various live releases had emerged over the course of the band’s existence, no full-length capturing of the Party’s particular bacchanalia approved by the group had officially emerged until this release.

“Stitching together tracks from a London date in 1981 and a German show in 1982 (plus a ringer cut from Athens, Greece - a version of The Stooges’ ‘Funhouse’ with Jim Thirwell aka Foetus on sax), ‘Live 81-82’ threatens at all points to leap from the speakers and throttle innocent bystanders. Clear sound on the first ten songs, all from the London date, makes resistance even harder. Given the sometimes (though intentionally) unclear or unexpected mixing of Party songs in studio, hearing everything via in-your-face stun methods brings out the abilities of the band all the more, especially Pew and his vicious bass work.

“Songs like ‘The Dim Locator’ and ‘King Ink’ cut all the more closer to the bone as a result. ‘Nick The Stripper’, amazingly, is even more viciously sleazy than the original, which is saying something and a half; Cave sounds like he’s summoning his voice from his shoes on up. The German date’s sound is only slightly less thorough than the London’s, and the performances no less wired. ‘Big-Jesus-Trash-Can’ thrashes around like there’s no tomorrow, Pew’s bass again shooting through the mix, while ‘The Friend Catcher’ seethes with a creepy, frigid energy. Harvey takes over on drums for the last two German tracks and the ‘Funhouse’ cover, but even down to four people the band still generates more noise and activity than most other acts could hope to achieve.

“Definite bonus points have to go to Cave for his occasional, softly spoken between-song asides - “Thank you, I love your haircuts as well.” - Ned Raggett, All Music Guide

Originally formed in 2016, around the songwriting of guitarists Dylan Hughes (Sex Hands, Klaus Kinski) and Edwin Stevens (Irma Vep, Web of Lies) The Birthmarks quickly picked up local attention, leading to BBC 6 Music sessions for Marc Riley, a headline UK Tour, and the release of an EP No Slash, on London label Permanent Slump.

Expanding to a five piece, with the addition of bassist Bryony Dawson, drummer Al Robinson (Aldous RH, Egyptian Hip Hop) and guitarist and keyboardist Henry Withers (Lovvers, Human Hair, Sydney), Slowly was recorded by the band over the course of two years with assistance from veteran Manchester DIY producer Patrick Crane. It sees The Birthmarks having emerged with an assured, deftly crafted debut record, which offers ten tracks of skewed post-punk anthems. Moments of lush psychedelia and bouncy pop are thrown in for good measure, delivering a sound and energy truly unique to the band.

STAFF COMMENTS

Barry says: The superb Icecapades return for the wonderful Birthmarks LP, 'Slowly'. Swimming with a wealth of influence from the jangling off-kilter melodicism of The Dodos to the more uplifting end of the post-punk spectrum. Wonderfully surprising throughout, groovy and rich. Another smash for one of our favourite MCR labels.

TRACK LISTING

1. Royal Youns 02:29
2. Child Stars 03:37
3. Deep Fake 03:32
4. Portugese Man O' War 03:52
5. I Know You Know 03:50
6. Man Of The Times 03:13
7. The Villain 02:39
8. Waste Of Time 01:56
9. DRTHC 04:54
10. Do They Know 06:26

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

Written and recorded in large part during the recent election cycle, the music on ‘Death Song’ serves as part protest, part emotional catharsis in a climate dominated by division, anxiety and unease. “Currency,” a strong contender for the heaviest song the band has ever put to wax, meditates on the governing role the monetary system plays in our lives, while slow-building psychedelic earworm “Half Believing” questions the nature and confusing realities of devotion.

Recorded between Seattle and Austin, ‘Death Song’ features production from Phil Ek (Father John Misty, Fleet Foxes, The Shins). The 11-track collection offers a sharply honed elaboration on their signature sound - menacing fuzz guitar and cutting wordplay, steeped in a murky hallucinatory dream.

The band will tour extensively behind ‘Death Song’, including a headline set at one of the first-ever shows at new NYC venue Brooklyn Steel on May 2nd. Full itinerary below for “The Death March Tour”, which begins in Nashville. The band will be supported by A Place to Bury Strangers.

Since forming in Austin in 2004, The Black Angels have become standard-bearers for modern psych-rock, and the New York Times has said they “play psychedelic rock as if the 1960s never ended, and they are absolute masters of it”. The band has toured with Queens of the Stone Age, Brian Jonestown Massacre, The Black Keys + more, and played festivals such as Glastonbury, Fuji Rock, Primavera, Coachella and Bonnaroo. Two of the band members co-founded Levitation Festival (formerly Austin Psych Fest) in 2008, which has since grown into one of the best-reviewed and expertly-curated festivals in the country (returning in 2018).

STAFF COMMENTS

Barry says: Twisting psychedelic passages, heavy wig-outs and tripped-out percussion. Brilliantly sedate in parts, only to soar into a mind-bending sunny haze of reverbed vocals and astral delay. Taking influence from all over the psychedelic spectrum, with throbbing single-note guitar lines meeting rolling, pulsing bass distortion and pitch-shifted screaming guitar.

TRACK LISTING

1. Currency
2. I’d Kill For Her
3. Half Believing
4. Comanche Moon
5. Hunt Me Down
6. Grab As Much (As You Can)
7. Estimate
8. I Dreamt
9. Medicine
10. Death March
11. Life Song

“The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas’ rocker-monk incantations. But he knows what time it is. ’You say the Beatles stopped the war,” Maas sings in ‘Never/Ever.’ ‘They might’ve helped to find a cure/But it’s still not over.’ Even so, this medicine works wonders." – David Fricke, Rolling Stone

Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It’s time for The Black Angels to provide Directions On How To See A Ghost.

If you’re familiar with Passover, the band’s 2006 debut, you’ll know that The Black Angels’s music alone is enough to invoke spirits. There’s a name for the band’s sound; they call it ‘hypno-drone ’n roll’. It’s the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of ’60s psychedelia.

While the Iraq war is still a major influence on the band’s lyrics, there are new forces at work here, including Eugene Zamyatin’s dystopian novel We and in Christian Bland’s words “psychic information from the past and future.” See, The Black Angels really are in contact with ghosts.
“Civil War battlefields are prime spots for seeing ghosts,” says Bland. “One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like ‘retreat,’ and I did. I later learned that the spot where I was on the battlefield was known as ‘the dead angle’, the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek.”

The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she’s a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group’s home.

The band released Passover in 2006 to critical acclaim for both the album and the song “The First Vietnamese War”. Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album.

“Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes,” says Christian. “Only then will we understand the reality of this world and progress beyond where we are now as humans. We’ve built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life.”
_"War is Peace.

Freedom is Slavery.
Ignorance is Strength.
Keep Music Evil."_

TRACK LISTING

You On The Run
Doves
Science Killer
Mission District
18 Years
Deer-ree-shee
Never/ever
Vikings
You In Color
The Return
Snake In The Grass

The best music reflects a wide-screen view of the world back at us, helping distill the universal into something far more personal. Since forming in Austin in 2004, The Black Angels have become standard-bearers for modern psych-rock that does exactly that, which is one of many reasons why the group’s new album, Wilderness of Mirrors, feels so aptly named. In the five years since the band’s prior album, Death Song, and the two-plus years spent working on Wilderness of Mirrors, pandemics, political tumult and the ongoing devastation of the environment have provided ample fodder for the Black Angels’ signature sonic approach.

Wilderness of Mirrors expertly refines the Black Angels’ psychedelic rock attack alongside a host of intriguing sounds and textures. There are classic blasts of fuzzed-out guitars meant to simultaneously perk up the ears and jumpstart the mind, alongside melancholy, acoustic guitar-driven newfound experiments. Mellotron, strings, and other keyboards also play a more prominent role on Wilderness of Mirrors than ever before.

Even amidst these new experimentations, The Black Angels remain masterfully true to psych-rock forebears such as Syd Barrett, Roky Erickson, Arthur Lee and the members of the Velvet Underground, all of whom are namechecked on album highlight “The River.” “The Velvet Underground song ‘I’ll Be Your Mirror’ – that’s what every Black Angels album has been about,” says vocalist/bassist Alex Maas. “You can’t work out your struggles unless you bring them to the forefront and think about them. If we can all think about them, maybe we can help save ourselves.”

TRACK LISTING

1 Without A Trace
2 History Of The Future
3 Empires Falling
4 El Jardín
5 La Pared (Govt. Wall Blues)
6 Firefly
7 Make It Known
8 The River
9 Wilderness Of Mirrors
10 Here & Now
11 100 Flowers Of Paracusia
12 A Walk On The Outside
13 Vermillion Eyes
14 Icon
15 Suffocation

Fresh off the GRAMMY-nominated success of 'Happiness Bastards' (2024), Chris and Rich Robinson wasted no time getting back to work. In early 2025, the brothers returned to Nashville to reunite with producer Jay Joyce and recapture the spark that powered their last record.

Reflective of their mood and expression, The Black Crowes have created a rock record that's loose and funky, dark and heavy, sensuous and jagged, flesh and bone...

A pound of feathers, Or a pound of lead
Look out below and mind your head 

TRACK LISTING

1. Profane Prophecy
2. Cruel Streak
3. Pharmacy Chronicles
4. Do The Parasite!
5. High & Lonesome
6. Queen Of The B-Sides
7. It's Like That
8. Blood Red Regrets
9. You Call This A Good Time?
10. Eros Blues
11. Doomsday Doggerel

The Black Crowes are leaving the bullshit in the past. 15 years after their last album of original music, the Robinson Brothers present 'Happiness Bastards'- their 10th studio album. Some may say the project has been several tumultuous years in the making, but we argue it's arriving at just the right time. Call it brotherly love or music destiny that brought them back together, the highly anticipated record consecrating the reunion of this legendary band just may be the thing that saves rock & roll. In a time where the art form is buried beneath the corporate sheen of its successors, The Black Crowes are biting back with the angst of words left unsaid penned on paper and electrified by guitar strings, revealing stripped, bare-boned rock & roll. No gloss, no glitter, just rhythm and blues at it's very best - gritty, loud, and in your face.

Since The Black Crowes reunited in 2019, they've made a triumphant return to form with over 150 shows spanning 20 countries worldwide, celebrating the 30th anniversary of'Shake Your Money Maker', the album that put them on the map. Upon their return from the road, they knew they needed something new to show for their lost time. The Robinson Brothers and longtime bassist Sven Pipien headed to the studio with producer Jay Joyce in early 2023 and the experiences of years past transcribed themself through the music as the band found their way back to their roots.

STAFF COMMENTS

Barry says: It's a big surprise that the Robinsons have reformed to make another album fifteen years after their last studio outing as Black Crowes, so for it to have retained all of the intensity of their earlier work and to still sing with that unmistakeable Black Crowes energy is indeed something of note. Brimming with fiery Southern rock energy and beautifully produced, it's a delight to see BC back in the saddle.

TRACK LISTING

Side 1
1. Bedside Manners
2. Rats And Clowns
3. Cross Your Fingers
4. Wanting And Waiting
5. Wilted Rose F/ Lainey Wilson
Side 2
1. Dirty Cold Sun
2. Bleed It Dry
3. Flesh Wound
4. Follow The Moon
5. Kindred Friend

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

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

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

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

TRACK LISTING

01. Non Linear Information Life
02. Phil 3 To 5 To 3
03. Neither/Neither
04. Phil 0114
05. Control Needs Time
06. Them (Everyone Is A Liar But)
07. Shut Eye 08. The Frequency Ov Thee Truthers
09. BOOKS
10. Self Organising Sealed Systems
11. Commodification
12. Phil Vs David
13. Platform Lvl 6
14. Hollow Stories, Hollow Head
15. MK Ultrabrite

Originally released in 1995, Spanners is the second album from The Black Dog and their first for Warp Records. In 2017 it was selected by Pitchfork as one of 'The 50 Best IDM Albums of All Time'.
This reissue is the first time the vinyl has been available since its original pressing in 1995.

TRACK LISTING

A1. Raxmus
A2. Bolt1
A3. Barbola Work
A4. Bolt2
A5. Psil-cosyin

B1. Chase The Manhattan
B2. Bolt3
B3. Tahr
B4. Bolt4
B5. Further Harm

C1. Nommo
C2. Bolt5
C3. Pot Noddle
C4. Bolt6
C5. End Of Time

D1. Utopian Dream
D2. Bolt7
D3. Frisbee Skip
D4. Chesh

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

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

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

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

TRACK LISTING

1. Doing It In The Street 5.10
2. I Have The Love On You 5.40
3. Love 4.05
4. The World Is Great 9.05
5. You Are My Witness 8.35

The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard [John Lee] Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

TRACK LISTING

1. Crawling Kingsnake
2. Louise
3. Poor Boy A Long Way From Home
4. Stay All Night
5. Going Down South
6. Coal Black Mattie
7. Do The Romp
8. Sad Days, Lonely Nights
9. Walk With Me
10. Mellow Peaches
11. Come On And Go With Me

After 10 albums, the last five of which have gone top 10 or better, six Grammy awards, and sold-out tours around the world, The Black Keys are back: the duo, called ‘America’s Most Trusted Band’ by Stephen Colbert, and ‘One of the best rock’n’roll bands on the planet’ by Uncut, releases its eleventh studio album, Dropout Boogie, via Nonesuch Records. Dropout Boogie features collaborations with Billy F. Gibbons (ZZ Top), Greg Cartwright (Reigning Sound), and Angelo Petraglia (Kings of Leon).

Dropout Boogie is released one day before the twentieth anniversary of The Black Keys’ first album, The Big Come Up. As they have done their entire career, the duo of Dan Auerbach and Patrick Carney wrote all of the material in the studio, and the new album captures a number of first takes that hark back to the stripped-down blues rock of their early days making music together in Akron, Ohio basements.

“That’s always been the beauty of the thing Pat and I do. It’s instant,” Auerbach says. “We’ve never really had to work at it. Whenever we’d get together, we’d just make music, you know? We didn’t know what we were going to do, but we’d just do it and it would sound cool. It’s the natural chemistry Pat and I have. Being in a band this long is a testament to that. It was a real gift that we were given. I mean, the odds of being plopped down a block-and-a-half from each other in Akron, Ohio – it just seems crazy.”

After hashing out initial ideas as a duo at Auerbach’s Nashville-based Easy Eye Sound studio, Auerbach and Carney welcomed new collaborators Billy F. Gibbons, Greg Cartwright, and Angelo Petraglia to the Dropout Boogie sessions. Although The Black Keys previously co-wrote songs with frequent producer/collaborator Danger Mouse, this is the first time they have invited multiple new contributors to work simultaneously on one of their own albums. Both Cartwright and Petraglia can be heard on the new album’s first single, ‘Wild Child’.

“Living in Nashville and making records here has opened both of our minds to that experience a little bit more,” said Auerbach. “I knew Pat would love working with both of these guys, so we decided we’d give it a shot. It was the first time we’d ever really done that. It was fun as hell. We just sat around a table with acoustic guitars and worked out a song ahead of time.” “The cool thing with Greg is that he wants to approach stuff with a story in mind – there’s a plot, almost,” added Carney.

The Black Keys had previously jammed with ZZ Top guitar legend Billy F. Gibbons more than a decade ago in Los Angeles, while ZZ Top was working on an album with producer Rick Rubin. “We never even really wrote one song – we just had some ideas we put down,” Carney said. “We really just wanted to hang out with him. We stayed in touch, and Dan invited him to the studio once we started working on this album.”

Between the duo’s albums, Auerbach, through his Easy Eye Sound studio and label, has produced and co-written with artists including Yola, Marcus King, Robert Finley, Ceramic Animal, and the Velveteers.

Carney has also been busy as a producer at his Nashville-by-way-of-Akron studio Audio Eagle, where he has worked with Michelle Branch, Tennis, Jessy Wilson, Calvin Johnson, and The Sheepdogs, among others.

STAFF COMMENTS

Barry says: The inimitable Black Keys return for their sleekest and most groove-filled outing yet. Funky af, swimming with the spirit of southern rock and hazy rock and/or roll.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:
The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

TRACK LISTING

DISC 1: EL CAMINO (2021 REMASTER)
Side A
1. Lonely Boy
2. Dead And Gone
3. Gold On The Ceiling
4. Little Black Submarines
5. Money Maker
Side B
1. Run Right Back
2. Sister
3. Hell Of A Season
4. Stop Stop
5. Nova Baby
6. Mind Eraser

DISC 2: LIVE IN PORTLAND, ME.
(PART 1)
Side C
1. Howlin’ For You
2. Next Girl
3. Run Right Back
4. Same Old Thing
5. Dead And Gone
Side D
1. Gold On The Ceiling
2. Thickfreakness
3. Girl Is On My Mind
4. I'll Be Your Man / Your Touch
5. Little Black Submarines

DISC 3: LIVE IN PORTLAND, ME.
(PART 2)
Side E
1. Money Maker
2. Strange Times
3. Chop And Change
4. Nova Baby
5. Ten Cent Pistol
Side F
1. Tighten Up
2. Lonely Boy
3. Everlasting Light
4. She’s Long Gone
5. I Got Mine

DISC 4: BBC SESSION
Side A
1. Howlin’ For You *
2. Next Girl *
3. Gold On The Ceiling *
4. Thickfreakness *
5. I’ll Be Your Man *
6. Your Touch *
Side B
1. Little Black Submarines *
2. Dead And Gone *
3. Tighten Up *
4. Lonely Boy *
5. I Got Mine *

DISC 5: ELECTRO-VOX SESSION
Side A
1. Dead And Gone *
2. Gold On The Ceiling *
3. Howlin’ For You *
4. Lonely Boy *
Side B
1. Money Maker *
2. Next Girl *
3. Run Right Back *
4. Sister *
5. Tighten Up *

* Super Deluxe Editions Only.

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

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

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

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

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

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

STAFF COMMENTS

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

TRACK LISTING

1. Shine A Little Light
2. Eagle Birds
3. Lo/Hi
4. Walk Across The Water
5. Tell Me Lies
6. Every Little Thing
7. Get Yourself Together
8. Sit Around And Miss You
9. Go
10. Breaking Down
11. Under The Gun
12. Fire Walk With Me

Grammy-winning rock duo The Black Keys are back with their 13th studio album, 'No Rain, No Flowers'. 'No Rain, No Flowers' delivers an eclectic sound shaped by the energy and spirit of the band’s wildly popular Record Hangs— dance parties where Auerbach and Carney take turns spinning rare, but truly potent cuts from their impressive collection of vinyl 45s for baying crowds of longtime fans and new converts alike. More than two decades into their career, The Black Keys consistently continue to create music on their own terms, fueled by instinct, passion, and a refusal to settle. 'No Rain, No Flowers' is a testament to the band’s deep commitment to their craft and their enduring creativity.
The band’s Dan Auerbach said: ““This whole album was really labored over with a lot of love. We hope you feel that.”

STAFF COMMENTS

Barry says: Who doesn't love a bit of Black Keys eh? Spirited bluesy throb and snappy garage rock, this time with a rich seam of poppy euphoria and stadium rock grandiosity. Huge news.

TRACK LISTING

1. No Rain, No Flowers
2. The Night Before
3. Babygirl
4. Down To Nothing
5. On Repeat
6. Make You Mine
7. Man On A Mission
8. Kiss It
9. All My Life
10. A Little Too High
11. Neon Moon

Written by The Black Keys’ Dan Auerbach and Patrick Carney with longtime friends Dan “The Automator” Nakamura and Beck, the celebratory, joyful ‘Beautiful People (Stay High)’ is one of several songs on the album that feature collaborations between the band and various additional friends and colleagues, including Noel Gallagher, Greg Kurstin, and others. Speaking on the collaborative nature of the album, Carney shares, “We had this epiphany: ‘We can call our friends to help us make music.’ It’s funny because we both write songs with other people – Dan all the time [as a solo artist and producer], me when I'm producing a record. That’s what we do.”

Auerbach adds, “No matter who we work with, it never feels like we're sacrificing who we are. It only feels like it adds some special flavor. We just expanded that palette with people we wanted to work with. We were there to support them and their ideas, to do whatever we could to see that moment flourish. But when it came time to finish the album, it was just Pat and me. We'd never worked harder to make a record,” he continues. “It's never taken us this long to make an album. We took our time and did it right.”

“What we wanted to accomplish with this record was make something that was fun,” Carney says. “And something that most bands 20 years into their career don’t make, which is an approachable, fun record that is also cool.”

While making Ohio Players, a title inspired by the legendary Dayton, OH funk band of the same name, The Black Keys were also DJing dance parties in cities around the world that they called “record hangs”, spinning 45s from their own eclectic and growing collections. Mojo reports, ‘The spirit of those parties infused the album’s DNA. ‘That’s been the fun of it,’ [says] Auerbach. ‘Letting go a little bit.’”

STAFF COMMENTS

Barry says: A lovely new one from Blues-rock troubadours The Black Keys including collaborations with some of the biggest names in music today. There are a selection of classic 'Keys outings alongside some more outsider pieces, all perfectly produced with the help of Beck and Noel Gallagher. It's a beautifully produced, perfectly paced new direction for the band.

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

TRACK LISTING

1. Thickfreakness
2. Hard Row" (lyrics By Dan And Chuck Auerbach)
3. Set You Free
4. Midnight In Her Eyes
5. Have Love Will Travel (Richard Berry)
6. Hurt Like Mine
7. Everywhere I Go (Junior Kimbrough)
8. No Trust
9. If You See Me
10. Hold Me In Your Arms
11. I Cry Alone

Formerly one half of Fort Lauderdale, The Black Neon returns as a solo artist mixing pop with experimental to dizzying effect. "Arts & Crafts" brilliantly combines elements of Beatles-esque pop, 60s psyche, electronica, and even Prince, but it's the Kraut-rock style motorik rhythms underpinning the whole album that really set it apart.

Their long awaited follow up ‘The Door Behind The Door’ transforms The Black Ryder’s kaleidoscopic sound and vision into something even more vivid, uncompromising, and sublime, bringing in new textures, emotions & moments of catharsis and transcendence.” (Matt Diehl – Spin/Rolling Stone/Billboard/Pitchfork/Interview)

To date, the band have toured + played with Primal Scream, Black Rebel Motorcycle Club, The Brian Jonestown Massacre, Broken Social Scene, The Cult, The Black Angels, The Raveonettes, The Charlatans, Spectrum (Pete Kember of Spacemen 3).

‘ethereal drone, ceremonial percussion, and dead-eyed harmonies carry on together until they build up to something sublime. There’s never really a climax because the whole thing feels like one overwhelming wave of gorgeous noise’
- STEREOGUM

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

“One of music’s most perfect and unheralded rock outfits” – Magnet Magazine John Andrew Fredrick has written and released seventeen the black watch albums of sparkling, literate, jangly-distorted indie rock since the LA band’s inception in 1988 (as well as four works of comedic literary fiction and one book on the early films of Wes Anderson). For this record Fredrick had the idea of letting producer-friends Scott Campbell, Rob Campanella (producer for The Brian Jonestown Massacre, Beachwood Sparks, Dead Meadow) and Andy Creighton be his band and record the album. “I have had, I think, too much control, musically speaking, in the past.’ Fredrick says, “And the thought of experimenting this way was really thrilling.” The result was far from a failure, in fact this approach may have yielded TBW’s best album in years.

"The Creation band Alan McGee never signed!"--Stereoembers “Should’ve become a household name a long time ago” – USA Today "Bright but with dark undercurrents, brainy but not pretentious, the music here on the new album from The Black Watch is proof that some Americans have a knack for this sort of thing. Full of big and bold music, The Gospel According to John is a record of luminous beauty in spots."--A Pessimist is Never Disappointed “Sounds like the holy union of Guided By Voices, The Wedding Present and any number of New Zealand pop heroes. In other words, it sounds truly indie: immediate, honest and just-enough lovingly rough” – Buzzbands L.A.

TRACK LISTING

1) Julie 2
2) Crying All The Time
3) Brilliant Failures
4) Twisted Thinking
5) Red Dwarf Star
6) The
Personal Statement
7) Mind You Now
8) Hodophobia
9) One Hundred Million Times Around The Sun
10) Anywhere/ Everywhere
11) Julie
12) What I Think
13) Technology

You might remember Tom Blackwell's impeccable "Tyrone The Gun" from 2016. Based in Manchester at the time he sat alongside artists like DBH and Serious Sam Barrett - a new school of guitar wielding, singer-songwriters / finger pickers and dive bar troubadours that tell tales of now in that old time style. Following a relocated to the North-East, Tom's back with another self-released, fully-realized collection of love struck blues, country, bluegrass and folk. There's nods to Townes Van Zandt, Bruce Springsteen, Steve Gunn and of course, John Martyn; but Tom's conscious of adding his own signature to the annals of Working People's music. The harmonica, guitar, voice interplay is sublime and considered throughout; and with a pure recording process you definitely get the impression that you're sat in a bar with a nice bourbon listening to the star deliver these songs in an intimate, direct and truly heartfelt fashion. Another masterpiece!

'I wrote the songs that comprise ‘Regency Cafe’ largely between the late summer of 2014, and the autumn of 2015. It was a period that saw a sizeable shift in circumstance, submitting to settling down after years of far flung questing and dead ends. Whilst on marathon walks across my then home town of London, I would on occasion take a break from the melodies and words in my head and visit a bustling in the morning, derelict by afternoon spot in Pimlico called The Regency Cafe. It was here that this record seemed to live. With one exception, these are simply a collection of love songs that I took off the shelf between Christmas and New Year last December. Some blueish country and folk, an occasional nod to Sun era rock & roll. Primitively recorded at home with one microphone in a single take capturing voice and guitar; I added a few fuzzy headed embellishments the morning following a merry evening in Liverpool, before scrawling out the front cover sometime soon after. Nothing was overthought with this record, other than maybe for it be heard late at night, or before a new day strikes up in full voice.'

TRACK LISTING

SIDE 1
1. Theme To Regency Cafe (0.53)
2. Not Pretending (2.50)
3. Tom Trouble (3.04)
4. Rosanna (2.55)
5. The Bee Back To The Hive (2.51)
6. 33 (3.32)
SIDE 2
1. Born & Bred (3.13)
2. Cannon & Ball (3.04)
3. Denim Eyes (4.16)
4. Kill Me With Kindness (3.07
5. Theme Reprise (0.55)
6. Regency Cafe (2.47

Sydney rock outfit The Blamers are a modern band—two modern men, two modern women—with a revolutionary bent. Utilizing the latest cutting-edge stereophonic technology, the group—fueled by an obsession with early garage greats—are at the fore of a sonic campaign to simplify rock back to its basic proto-punk form. With hooky riffs and a healthy dose of tambourine, the group are preparing to release their debut album early-2024 after a string of singles.

The Blamers have shared the stage with Aussie heavy hitters The Chats, Bad Dreems, Pist idiots and blistered clubs around Australia with their no bullshit, beer-soaked sound. It’s a wonder that a band like The Blamers hasn’t come earlier! If you like the hard ass style of 60s punk with the wit of The B52’s and the charm of Devo, here it is.

Berlin based label "Matasuna Records" kicks off the new year 2025 with a soulful 7inch featuring songs by Barcelona's "The Blaxound" and singer "John Vermont". Their common love for vintage soul from the 60s and 70s brought them together for this project to compose and record classic soul sung in Spanish. This 45 shows that the concept worked out wonderfully: Spanish Soul at its best, sounding authentic and contemporary at the same time!

Matasuna Records, known for its reissues of musical treasures from the past, also has an eye for exciting new discoveries in contemporary music. With "The Blaxound & John Vermont" the label has once again found an interesting project for soulful & contemporary music that fits perfectly into the label's sound spectrum and will appeal to lovers of authentic soul music.

The two songs "No Es Por Ti" and "Qué Más Te Da?" from their recently released album will be released for the first time as a 7-inch vinyl single on Matasuna Records. The instrumentation and the lovely harmonies are the ideal basis for John Vermont, who with his versatile voice, sometimes powerful, sometimes smooth - but always soulful - can fully develop his vocal spectrum and fill the songs with his presence. Instrumental and vocal arrangements are beautifully balanced and harmonious. Beatific!

TRACK LISTING

A1. No Es Por Ti
B1. Qué Más Te Da?

Since their dazzling appearance on the electro scene with the video 'Territory' - a veritable aesthetic and emotional shock that won awards all over the world and was certifed a multiple gold and diamond disc - THE BLAZE have never ceased to redefine the contours of live performance and image. The French duo has established themselves as a global benchmark, as much for the sensory power of their music as for their unique visual signature, somewhere between contemplative cinema and raw emotion.

After Dancehall and Jungle, two acclaimed albums that took them to the four corners of the globe and into the studios of Dua Lipa and The Weeknd , THE BLAZE now unveils 'FOLK' - their very frst live album, recorded in the majestic setting of London's Royal Albert Hall.

'FOLK' is the synthesis of three years of sold- out world tours, major festivals
(Coachella, Sonar, Roskilde, Rock en Seine...) and European arenas, and a magnetic bond with an ever- expanding audience. A tribute to bodies in trance, to collective communion, to the human warmth that only the stage can bring out.

In keeping with their album titles, borrowed from musical genres that have become sensory manifestos (Dancehall, Jungle), 'FOLK' adds a human dimension. It's a simple, yet powerful word, referring to both a music of sharing and a people on the move. This live album is not just a recording: it's a declaration. An album conceived with the audience, for the audience.

TRACK LISTING

1. HAZE
2. HEAVEN
3. EYES
4. SHE
5. RISE
6. CLASH
7. VIRILE
8. RUNAWAY
9. DREAMER
10. BLOOM
11. PLACES
12. BREATH
13. QUEENS
14. DUST
15. JUVENILE
16. SIREN
17. TERRITORY
18.MADLY