Innovative horn player, producer and songwriter CJ Camerieri returns with his deeply collaborative CARM project. CARM II, the second album due out this fall with 37d03d, was produced in Minneapolis by Ryan Olson and features Edie Brickell, Sid Sriram, Kristian Matsson, Justin Vernon, Gabriella Smith, Sean Carey and others. It is a genre-defying, heartfelt exploration of the possibilities in provocative musicmaking and provides a homespace for a profound variety of voices.

Where the first record used horns in place of other instruments, CARM II places them even more prominently in the musical texture. The experience of playing live shaped this approach. “Standing at the front of the stage was a new experience for me and I wanted to create a record of songs that justified my being there.” On CARM II, there is no mistaking that the lead “singer” of this band is Camerieri’s horn. CJ also wanted to feature bandmate Trever Hagen, who takes on both production and performance roles

The featured artists on CARM II have opined on their various roles in this project. Brickell contacted Camerieri asking him to participate in her short-form songwriting project that she introduced on social media during the pandemic. Camerieri and Olson were in the middle of writing songs for the record, and one stood out as perfect for Brickell’s request. Sent as a work-inprogress, she quickly responded, writing the first verse and chorus to what would become “More and More.” They knew it needed to be fully realized. Says Brickell, “CJ’s trumpet melodies and phrases inspired ‘More and More.’ I just listened to him and followed his lead, trusted what came to mind and sang it. It all flowed from his music.”

“For ‘I Fall’ Ryan and I created the basic track and I really struggled to write on it. It wasn’t in song form, and I couldn’t find my way into making it a coherent thought.” CJ thought of Gabriella Smith, one of the leading composers of our day, and on a whim sent her the track. Smith sent fragments to experiment with and send back to her as she rode out the pandemic in the Norwegian countryside. After 3 months, she then sent him a fully realized score of horns/vocals.

The result is a testament to the visionary composer’s incredible ingenuity. “That this music was in Smith’s imagination and then fully notated is mind boggling to me.” “The Ones You Love” was the last song written for the record. CJ had been arranging and playing horns on Sid Sriram’s forthcoming debut, falling in love with Sriram’s voice and style. The song came from a jam session at with Andrew Broder on keys, Evan Slack on guitar, Chris Bierden on bass, and Hagen on drum machine. CJ and Sid trade epic lines back and forth, celebrating vulnerability and virtuosity in tandem.

TRACK LISTING

A 1/ Aptap (4:19)
2/ Essex Girl (2:22)
3/ The Ones You Love (feat. Sid Sriram) (4:27)
4/ Breaks (5:20)
5/ More And More (feat. Edie Brickell) (5:10)

B 6/ Saturn (3:46)
7/ New Eyes (3:43)
8/ A Void (feat. Mike Noyce) (5:02)
9/ I Fall (feat. Gabriella Smith) (4:39)
10/ The Great Divide (5:11)

The 111 Series comprises 15 tracks, each created by Louis Carnell alongside a diverse selection of artists from across the globe. Each track is released digitally, and titled in numerical order, with the aim of creating an environment for the listener to explore the series without hierarchy.

The tracks vary between lyric-led and instrumental compositions, travelling through experimental electronic and immersive soundscapes.

The list of collaborators includes prolific new-age artist Laraaji, Mute founder Daniel Miller, Sonic Youth’s Lee Ranaldo, leading punk-rapper Wu-Lu, Nairobi-born, Berlin-based sound artist KMRU, noise-inspired cellist and composer Okkyung Lee, post-genre multi-instrumentalist Coby Sey, Iranian-born electronica songwriter, producer and DJ Leila, mystical folk and ambient-inspired composer Naliah Hunter, artist and actor Keeley Forsyth, rising experimental sound and visual artist Damsel Elysium, LA-based ambient duo Green-House, experimental saxophonist and composer Ben Vince, Beirut-based multi-instrumentalist Yara Asmar, and Italian musician and sound designer Marta De Pascalis.

TRACK LISTING

1. Four - Louis Carnell & Yara Asmar
2. Seven - Louis Carnell & Okkyung Lee
3. Ten - Louis Carnell & Daniel Miller
4. Thirteen - Louis Carnell & Leila
5. Two - Louis Carnell & Lee Ranaldo
6. Five - Louis Carnell & Coby Sey
7. Eleven - Louis Carnell & Laraaji
8. Fourteen - Louis Carnell & Nailah Hunter
9. Three - Louis Carnell & Ben Vince
10. Six - Louis Carnell & KMRU
11. Nine - Louis Carnell & Green-House
12. Twelve - Louis Carnell & Marta De Pascalis
13. One - Louis Carnell & Keeley Forsyth
14. Eight - Louis Carnell & Wu-Lu
15. Fifteen - Louis Carnell & Damsel Elysium

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”).

Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories.

In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

STAFF COMMENTS

Millie says: It’s been three long years since his last album, ‘Hugo’ takes a moment for self reflection for Loyle Carner. There’s some incredible tracks and I’ve only dipped in briefly (so it’s only going to get better) ‘Nobody Knows’ has a killer beat while paired with personal subject matter alongside a gospel choir sample which sets it alive. Another highlight is ‘Hate’ doing what Carner does best, within every bar is just fierce. Cue listening on repeat.

TRACK LISTING

Hate
Nobody Knows
Georgetown
Speed Of Plight
Homerton
Blood On My Nikes
Plastic
A Lasting Place
Polyfilla
HGU 

Loyle Carner has Mercury and Brits nominations, NME Awards, global brand campaigns, and 2 top #3 albums! After performing at a SOLD-OUT Royal Albert Hall on his 29th birthday, the multi-talented artist is looking to make history once again with this release.

Loyle Carner has been announced as a headliner for 2024’s All Points East. His only London live date for 2024 and his biggest yet, he’ll be playing on Saturday 17 August, joined by special guests including Nas, André 3000, Lianne La Havas, Ezra Collective and Flying Lotus across the East, West and North stages that Carner himself has curated.

TRACK LISTING

Hate
Plastic
Georgetown (feat. John Agard)
Polyfilla
Desoleil (Brilliant Corners) (feat. Sampha)
Homerton (feat. JNR Williams)
Blood On My Nikes (feat. Wesley Joseph & Athian Akec)
Nobody Knows (Ladas Road)
Still
Loose Ends (feat. Jordan Rakei)
A Lasting Place
Speed Of Plight
The Cycle
HGU
Ottolenghi (feat. Jordan Rakei)

Not Waving, But Drowning’ follows Loyle’s BRIT (Best Male, Best Newcomer) and Mercury Prize nominated, top 20 debut ‘Yesterday’s Gone’. The bedrock of honest and raw sentimentality that you heard on ‘Yesterday’s Gone’ left an inextinguishable mark on music in general and UK Hip Hop in particular, standing out as an ageless, bulletproof debut.

‘Not Waving, But Drowning’, Loyle’s new album, gives yet more evidence - as if it were needed - of his razor-sharp flow and his unique storytelling ability. Yes, he can rap, but he allies that with the sensitivity of a poet, the observational skills of a novelist, and warmth of your best friend. The album opens with ‘Dear Jean’, a letter to his mother in which he’s telling her that he has found the love of his life, “a woman from the skies”, and he’s moving out.

STAFF COMMENTS

Millie says: Loyle Carner’s poetic and distinctive rap makes him stand out from the crowd by miles, consistently making innovative music. His ability to weave in touching narratives and heartfelt open letters are captured perfectly on ‘Not Waving, But Drowning’, a truly beautiful and awe inspiring listen from start to finish.

TRACK LISTING

Dear John
Angel Artist Ft. Tom Misch
Ice Water
Ottolenghi Ft. Jordan Rakei
You Don’t Know Ft. Rebel Kleff & Kiko Bun
Still
It’s Coming Home
Desoleil (Brilliant Corners) Ft. Sampha
Loose Ends Ft. Jorja Smith
Not Waving, But Drowning
Krispy
Sail Away Freestyle
Looking Back
Carluccio
Dear Ben

A gradual crescendo of spirit-lifting gospel introduces "Yesterday's Gone", perfectly fitting for the debut longplayer from the young master of 'confessional hip hop'. Indeed as Ben Coyle-Larner spits sombre bars over "The Isle Of Arran"s soulful grooves, the South Londoner touches on family, bereavement and religion, all with the same intricate flow and honest delivery. It's a sound that's at odds with the current slew of mumbling, stumbling, gangtas who dominate the charts and mixtapes, celebrating gold, diamonds and designer footwear as they breeze through meme-references and barely decipherable hooks. Rather, Loyle Carner takes his cues from Mos Def, Talib Kweli and London's own Roots Manuva, delivering conscious rhymes over gentle, jazzy grooves. Intimate, intricate and tough to imitate, Loyle Carner is entirely relatable as he treats us to everyday tales of family, food, romance and regret, laying his growing pains bare across a dozen tracks and a couple of well placed skits. If the recent ATCQ LP's put you in the mood for some proper hip hop, then this is your new jam.

TRACK LISTING

1. The Isle Of Arran
2. Mean It In The Morning
3. +44
4. Damselfly (Ft. Tom Misch)
5. Ain't Nothing Changed
6. Swear
7. Florence (Ft. Kwes)
8. The Seamstress (Tooting Masala)
9. Stars & Shards
10. No Worries (Ft. Rebel Kleff And Jehst)
11. Rebel 101
12. No CD (Ft. Rebel Kleff)
13. Mrs C
14. Sun Of Jean (Ft. Mum And Dad)

Here comes the second full Carnival Club EP, 'Nomad and Crooks'. And what a beast it is, coming out with a killer roar. It's a step up, a leap forward on a recording level for the band from their mightily impressive, now end of year poll topping, 'Magdalena's Cape' EP released in 2017. That year ended with Carnival Club having supported The Courteeners' Liam Fray on his sell-out solo tour. The EP's opener, 'Sin City' is a time-travel elevator bringing out the ghosts of King David, solid gold easy action of Marc and supersonic black holes of Bellamy into a heart-felt digital pulse, all passion and purging of the poison.

This is the debut album from what the BBC described as a 'one-woman electronic avalanche'. Caro has scaled a somewhat steep learning curve after only touching her first musical instrument eight years ago by default following back surgery. She started to play with machines whilst laid up in bed and now, two EPs (Xstatic Records - Scotland & Phonector - Berlin) and numerous compilation contributions ("Girl Monster" on Chicks on Speed - Munich, Wired Records - Berlin & La Mue - Paris) and her fair share of gigs later, the time was ripe for a thoroughly considered album.

Described as a 'one woman electronic avalanche' and dubbed the 'British Bjork', Caro's other references includes MIA, Laurie Anderson, Andrea Parker, Kate Wax, a cyber-punk Debbie Harry and a Boards Of Canada fan's wet dream. "Plan It In" is a five track EP.

Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers(The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.



While arranging the score the composers consulted musician and ethnographer PoulHøxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.



They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

STAFF COMMENTS

Barry says: A wonderful soundtrack from the ever-reliable Sacred Bones, by music scene aficionados Carolan & Gainsborough. Tense, orchestral scores and deep ambient passages, both bleak and beautiful, perfect for listening to as meditative home listening as well as a perfectly measured soundtrack.

TRACK LISTING

1. Approaching Hrafnsey
2. The King
3. Entering The Temple
4. Last Teardrop
5. Blood Tree, Part I
6. Strike, Brother
7. Escape
8. I Will Avenge You, Father
9. The Land Of The Rus
10. A Burning Barn
11. Seeress
12. Raven’s Omen
13. Storm At Sea / Yggdrasill
14. Iceland
15. I Will Save You, Mother
16. Slave Work
17. Guðrún
18. Follow The Vixen’s Tail
19. He-Witch
20. Draugr
21. Mound Dweller
22. To The Games
23. Birch Woods
24. First Of Many
25. Trollish Sorcery
26. Svið Night, Part I
27. Svið Night, Part II
28. I Am Your Death
29. Come Morning
30. I Am His Vengeance
31. Óðinn
32. Valkyrie
33. Vestrahorn
34. Hidden Valley
35. Blood Tree, Part II
36. Blóð Inside / I Choose Both
37. A Maiden King
38. The Wolf Has Grow
39. The Gates Of Hel / Slain By Iron
40. Hekla
41. Cut The Thread Of Fate
42. Make Your Passage / Valhöll
43. Ættartré / End Credits

The songs and narrative’s on LONER reflect my life over the last couple years––I joined Tinder, I got my first apartment and painted it teal, I went to par¬ties, I discussed politics, I had a girlfriend, we traveled the country, we broke up. I learned, for better or worse, how to be a member of the modern world. Turns out the modern world is terrifying.

Tired of the bottomless pit of sad songs, I decided to put a spin on my greatest songwriting inspirations––misogyny, unplanned pregnancy, Capitalism, anxiety, loneliness and death––and wrap such depressing subject matter in a sprightly, angsty pop burrito…Because it’s hard being serious all the time and sometimes sad songs just need a cocktail. Loner reflects the styles of music I love––pop, folk, punk, electronic, and surf music––all thrown into a blender with a ladle full of cheeky satire. I call it Schizodrift. It sounds like Blondie drunk on mai tais.

Loner was co-produced by myself and the wonderful Paul Butler (Deven¬dra Banhart, Michael Kiwanuka, St. Paul & The Broken Bones) and recorded in freezing Northern California, in addition to my parent’s attic and my last apart¬ment. It was mixed by sound guru Andrew Sarlo (Big Thief, Nick Hakim, Show Me The Body) in Brooklyn, NY.

Moving beyond the surf-folk foundations of her debut, on No Fool... Sallee loosens her earthly tether, allowing her songs to float to ever higher altitudes on clouds of loops, immaculate melodies, and hypnotic harmonies, as she sings about aging, the daily grind, and hometown stymie. Moving to Austin in 2013 gave her a new perspective on her hometown of Huntsville, Alabama, which informed the overall vibe of the album. "I think leaving my fairly small hometown and then going back to visit it inspired the feeling I went for on this album. I observed that so many people I knew were content doing basically nothing.

Or that they were scared to try to do anything or leave town, like they felt stuck there." The ¬first few notes of the Daniel Rossen-esque opener “First Song” dutifully establish the surreal and slightly tragic tone of longing maintained throughout the album. The curiously upturning melodies ride out on a rich ambient texture before “Sweet Home Alabama” cuts the fog with a crackling 60's soul loop that's charming and catchy enough to induce a cathartic laugh from the listener. The brightness fades with the frosty and propulsive “A Good Thief Steals Clean,” which features lyrics inspired by the 1971 ¬lm Panic in Needle Park, and the idea of being in love with a heroin addict. “I tend to write from the perspectives of characters in dark situations, even though my songs may sound bright,” Sallee notes of her alluring juxtaposition of sunny production and grim lyrics.

She employs this dynamic again on “Rip O ,” a frenetically percussive song with lyrics inspired by an NPR story about a young Iraqi man who was killed in an ISIS bombing just before moving to NYC to become a professional dancer. Inspired by Terrence Malick's Badlands and Bruce Springsteen's "Nebraska," the song “Black Hole" features multi-voice harmonies sung from the perspective of 50's spree killer Charles Starkweather. The hurdles she navigated to record naturally led to ad hoc recording techniques, and endless sonic experimentation, often leading to her use of the computer as an instrument. A tireless worker, and a wellspring of creativity, whatever Caroline Says, we will be listening.

TRACK LISTING

01 First Song 3:55
02 Sweet Home Alabama 3:22
03 Mea Culpa 2:54
04 A Good Thief Steals Clean 2:35
05 Rip O 3:40
06 Black Hole 2:31
07 Cool Jerk 3:03
08 I Tried 3:39
09 Lone Star Tall Boy 3:36

The album title seems to refer to the contrast between what our elders tell us and the perspectives we form out of our own experiences. There's a vacillation between idealism and realism, and it expresses itself musically in the hairpin turns from gentle folk into brazen experimental flourishes, like on “Funeral Potatoes.” The track opens with lilting, somber, Satie-esque piano, but at the halfway point, typical choices of song structure and transition are discarded in favor of a screeching, static-washed loop of violin and feedback that transcends the formality of songcraft, becoming something altogether more daring and collage-like.

The more band-driven songs on 50 Million recall an early-1990’s style of production in the way chorus-twinged electric guitars and tight, papery drumbeats point our mind’s eye to the West Coast sunset, like on the mid-album standout “Gravy Days.” Sallee decorates the background of most songs with hushed humming that could stand alone as a minimalist-ambient choral album, and when employed on her songs, elevates the ¬final product to an astral level. Sallee’s gift lies in pitting the familiar against the unexpected with a delicate assuredness, never compromising the one for the other. These kinds of debuts can sometimes feel like an over-promise of what is to come, but in the case of Caroline Says there's clearly plenty more thread to be unraveled. It'll be a pleasure to see where the next bus ride takes us. 

TRACK LISTING

1 Winter Is Cold
2 I Think I'm Alone Now
3 Funeral Potatoes
4 Streetlights
5 My Fiance's Pets
6 Gravy Dayz
7 Ghost Pokes
8 God Knows
9 Lost Feeling 

UK eight-piece caroline’s eponymous debut album often cascades with force like an avalanche, squalling and rumbling on the edge of all-out collapse. At other points they slip back into impossibly fragile moments of quiet – a simple bassline or a rattle of snare the only sound amid a dark sea of silence. caroline know exactly the right balance between restraint and release. These songs are expansive and emotive pieces, their rich palette drawing on a mixture of choral singing, Midwestern emo and O’Malley and Llewellyn’s roots in Appalachian folk.

“Sometimes things sound much better when there’s empty space,” says Llewellyn. “Sometimes you might populate [a song] with too many things and forget that an element on its own is enough.” Elsewhere on the record the band have employed a collage-like technique, combining snippets of lo-fi recordings from a myriad of different locations – a barn in France, the members’ bedrooms and living rooms, the atmospheric swimming pool in which they also filmed sublime live sessions for ‘Dark blue’ and ‘Skydiving onto the library roof’ – with more traditional group sessions at the Total Refreshment Centre and their studio in Peckham.

The growth that began as a scrappy guitar band above a pub many years ago is still continuing. caroline’s astounding debut album is merely the first step. 

STAFF COMMENTS

Barry says: What a fascinating sound caroline have managed to coax out here. It's a heady mix of post-rock, folk and avant rock pulled together with a keen ear for melodies and tempered with airy group vocals, a-la ASMZ. A dynamic and ever-shifting landscape of melody and texture.

TRACK LISTING

Side A
Dark Blue
Good Morning (red)
Desperately
IWR
Messen #7
Side B
Engine (eavesdropping)
Hurtle
Skydiving Onto The Library Roof
Zilch
Natural Death

Dinked Edition 7” Tracklisting:
Side A - Good Morning (red) Demo
Side B - Dirty Triple (3) #2

In celebration of its 35th anniversay, MONDO is pleased to present the original soundtrack to John Carpenter's HALLOWEEN. This release features the most comprehensive version of the soundtrack, never before released on vinyl, cut at 45RPM for the best possible sound quality.

The horror master John Carpenter is back with his Halloween franchise collaborators Daniel Davies and Cody Carpenter for their infectious new soundtrack to the 2022 adaptation of Stephen King’s Firestarter. This marks the first official soundtrack that the team has composed together outside of the Halloween franchise and their inspiration and evolution as a creative team is on full display.

The film is a new take on the thriller examining a girl with extraordinary pyrokinetic powers and her fight to protect her family and herself from sinister forces that seek to capture and control her. The film releases theatrically on May 13th, 2022 and stars Zac Efron, Sydney Lemmon, Ryan Kiera, is directed by Keith Thomas (The Vigil) and created by the producers of The Invisible Man. The story has become a classic and the intense nature of the film creates a canvas for a dynamic soundtrack.

The Firestarter soundtrack utilizes some of the best elements of Carpenter’s famous musical repertoire and charts exciting new territory. The tracks range from fist pumping sci-fi anthems to slow reverb drenched piano ballads and each utilizes a variety of sonic applications. Skulking beats, skittering synths, crushing guitars and an ever-lurking echo come together to create an album that is atmospheric and also deeply melodic, cohesive and eclectic. These three musicians are all working in the peak of their individual and collaborative creativity and this soundtrack further solidifies them as masters of the craft.

TRACK LISTING

1. Mother’s Love
2. Lot 6 (Main Titles)
3. Are You Scared Of Me?
4. Dodge Ball Heats Up
5. Corporate Menace
6. Burned Hands
7. Rainbird Fights Vicky
8. Bless Mommy
9. Flashback Kills
10. Police Arrive
11. Sniper Attack
12. Charlie Alone
13. Charlie’s Powers
14. I’ll Find You
15. Charlie’s Rampage
16. Rampage Ends
17. Firestarter (End Titles)

By now everyone should know John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become synonymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunting presence in people’s record collections.

Anthology II continues the celebration of his compositional genius via an excellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter.

The compilation opens with “Chariots of Pumpkins” from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into “69th St. Bridge” from Escape From New York, a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as “Fuchs” and “To Mac’s Shack” from The Thing, and “Walk to the Lighthouse” from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable ”Laurie’s Theme” from the original Halloween. Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners.

These tracks represent just a fraction of John Carpenter’s impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals offilm music history.

TRACK LISTING

1. Chariots Of Pumpkins (Halloween III)
2. 69th St. Bridge (Escape From New York)
3. The Alley (War) (Big Trouble In Little China)
4. Wake Up (They Live)
5. Julie’s Dead (Assault On Precinct 13)
6. The Shape Enters Laurie’s Room (Halloween II)
7. Season Of The Witch (Halloween III)
8. Love At A Distance (Prince Of Darkness)
9. The Shape Stalks Again (Halloween II)
10. Burn It (The Thing)
11. Fuchs (The Thing)
12. To Mac’s Shack (The Thing)
13. Walk To The Lighthouse (The Fog)
14. Laurie’s Theme (Halloween)

It’s been a decade since John Carpenter recorded the material that would become 'Lost Themes', his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green’s trilogy of Halloween reboots. With 'Lost Themes IV: Noir', they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

Since the first 'Lost Themes', John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.

The trio’s free-flowing chemistry means 'Lost Themes IV: Noir' runs like a well-oiled machine - the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.

TRACK LISTING

1. My Name Is Death
2. Machine Fear
3. Last Rites
4. The Burning Door
5. He Walks By Night
6. Beyond The Gallows
7. Kiss The Blood Off My Fingers
8. Guillotine
9. The Demon’s Shadow
10. Shadows Have A Thousand Eyes

Indie's Exclusive 7" Bonus Track:
1. Black Cathedral

In 2018, David Gordon Green’s Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highestgrossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies.

STAFF COMMENTS

Barry says: John Carpenter is obviously one of the most legendary figures in the soundtracking biz, and in the newest iteration with Cody &co, we get possibly his strongest late-career work to date. 'Halloween Kills' is a wonderfully evocative, perfectly pitched soundtrack from one of the true masters. Everything you'd expect.

TRACK LISTING

01.Logos Kill
02. Halloween Kills (Main Title
03. The Myer’s House
04. First Attack
05. Stand Off
06. Let It Burn
07. He Appears
08. From The Fire
09. Strodes At The Hospital
10. Cruel Intentions
11. Gather The Mob
12. Rampage
13. Frank And Laurie
14. Hallway Madness
15. It Needs To Die
16. Reflection
17. Unkillable
18. Payback
19. Michael’s Legend
20. Halloween Kills (End Titles) 

This soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved.

2018’s Halloween, directed by David Gordon Green, starring Jamie Lee Curtis, and with music by series creator John Carpenter (along with his son and godson, Cody Carpenter and Daniel Davies) was a critical and box-office smash. It grossed $159 million against a $10 million budget, becoming the most profitable Halloween movie since the 1978 original. The soundtrack album was a hit, too, debuting at #12 on the Billboard Albums chart and #2 on the vinyl chart, on its way to becoming one of the most successful movie soundtracks of the last decade. One year later, Sacred Bones Records is pleased to present an expanded edition of the soundtrack, including more than 28 additional minutes of music from the film and presenting a more complete, immersive listening experience.

The additional material included on the expanded edition adds at total of 24 cues to the album, spread across two more sides of vinyl on the deluxe double LP version. The LP also has all-new art and lavish packaging, including an optical-illusion lenticular sleeve that makes the flames around Michael Myers’s mask dance when you slide it off the record jacket. For diehard fans of the Halloween series, collectors of John Carpenter’s music, or anyone who wants to hear even more of the incredible score to this movie, this expanded edition is a must-buy.

TRACK LISTING

Intro
1. Aaron Meets Michael
2. Halloween Theme
3. Laurie’s Theme
4. Aaron And Dana Enter Laurie’s Compound
5. Laurie’s Past
6. Prison Montage
7. Laurie Breaks Down
8. Karen’s Flashback
9. Lumpy Explores Crash
10. Michael Kills
11. Hawkins Arrives At Crash Site
12. Dana’s In The Shower
13. The Story Of Judith’s Death
14. The Gas Station
15. Michael Kills Again
16. Gas Station Aftermath
17. The Shape Returns
18. The Boogeyman
19. The Shape Kills
20. Hawkins Called To Babysitter’s House
21. Laurie Sees The Shape
22. Babysitter Aftermath
23. Sartain Meets Laurie
24. Looking For Allyson
25. Wrought Iron Fence
26. The Shape Hunts Allyson
27. Talking To Cops
28. Allyson Discovered
29. Gun Closet
30. Halloween Theme (I’ve Got Eyes)
31. Sartain’s Gone Mad
32. Say Something
33. Through The Woods
34. Ray’s Goodbye
35. The Shape Attacks Laurie
36. The Shape Is Monumental
37. Searching For The Shape
38. Mannequin Panic
39. Death Drum
40. The Shape And Laurie Fight
41. The Grind
42. Trap The Shape
43. The Shape Burns
44. Halloween Triumphant

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.

When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.

As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date

Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.

The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones in an effort to bring renewed life to one of the most epic horror scores ever written. Carpenter elaborates, “The main themes have all been passed down from the original Halloween. We have refined them and created new themes for new characters.

”The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphereis one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter’s other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score’s more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax.

Carpenter is known for directing the original 1978 Halloween, as well as other horror classics like The Thing, The Fog, Escape From New York, Christine, Big Trouble in Little China, andThey Live. However John Carpenter is not only a cult movie-maker, he’s also a pioneering electronic composer. Halloween Endsis the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

STAFF COMMENTS

Barry says: One of the most legendary soundtrack writers and directors of all time, in his newest guise with both Cody (his son) and Daniel Davies bring us the third and final bout of dystopian synths and tense atmospheric drone. A blistering, and perfectly fitting instrumental tour de force.

TRACK LISTING

1 Where Is Jeremy?
2 Halloween Ends (Main Title)
3 Laurie’s Theme Ends
4 The Cave
5 Cool Kid
6 Drags To The Cave
7 Evil Eyes
8 Transformation
9 Because Of You
10 Requiem For Jeremy
11 Kill The Cop
12 Corey And Michael
13 Corey’s Requiem
14 The Junk Yard
15 Where Are You?
16 Bye Bye Corey
17 The Fight
18 Before Her Eyes
19 The Procession
20 Cherry Blossoms
21 Halloween Ends

When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved.

“We wanted to honor the original Halloweensoundtrack in terms of the sounds we used,” Davies explained. “We used a lot of the Dave Smith OB-6, bowed guitar, Roland Juno, Korg, Roli, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano.”

Unlike the Lost Themes albums, where the composers wrote the soundtracks for imaginary movies, Halloween saw the Carpenters and Davies collaborating on music set to images for the first time. Though it marked a significant change from their previous creative process, the trio thrived under the constraints and tight deadlines that film scoring work demands.

“Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision,” Davies said. “He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything.”

For John Carpenter, who reunited on the new film with original Halloween star Jamie Lee Curtis, composing the score felt like a homecoming. Not only had he not worked on a Halloween movie in 35 years, he hadn’t composed a soundtrack since his 2001 sci-fi thriller Ghosts of Mars.

“It was great,” Carpenter said of the experience. “It was transforming. It was not a movie I directed, so I had a lot of freedom in creating the score and getting into the director's head. I was proud to serve David Gordon Green’s vision.”

For Cody Carpenter, John’s son, and Davies, his godson, it was surreal to work on something that means so much to generations of fans, and that they grew up around.

“It was an honor for us to be involved, and we are really happy to be a part of something that so many people are anticipating and excited about,” Davies said. “Working together with both the director of the new Halloween and the creator of the original Halloween was really a fantastic experience.”

TRACK LISTING

1. "Halloween Theme" 2:21
2. "Halloween 1963" 3:11
3. "The Evil Is Gone!" 4:08
4. "Halloween 1978" 2:50
5. "The Boogeyman Is Coming" 0:40
6. "The Shape" 1:43
7. "The Hedge" 1:35
8. "He Came Home" 2:40
9. "Trick Or Treat" 0:39
10. "The Haunted House" 1:43
11. "The Devil's Eyes" 1:39
12. "The Boogeyman Is Outside" 1:27
13. "Damn You For Letting Him Go!" 1:34
14. "Empty Street" 0:33
15. "See Anything You Like?" 2:22
16. "Lock The Door" 2:53
17. "He's Here?" 0:55
18. "Light's Out" 2:49
19. "Cut It Out" 1:19
20. "Tombstone" 1:19
21. "The Shape Stalks Laurie" 1:35
22. "Turn Around" 0:33
23. "Unlock The Door" 2:53
24. "The Hanger" 3:04
25. "Call The Police" 0:28
26. "Last Assault" 1:34
27. "Was That The Boogeyman?" 0:32
28. "End Credits/Halloween Theme (Reprise)" 3:36

Much has changed in the musical life of renowned composer and director John Carpenter since 2016’s Lost Themes II. Following the release of that album, he went on his first-ever concert tour, performing material from the Lost Themes albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017’s Anthology album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new Halloween movie directed by David Gordon Green, which promptly became the highest-grossing installment in the series. Now, he returns with his first album of non-soundtrack music in nearly five years, Lost Themes III: Alive After Death.

Underpinning Carpenter’s renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They’ve composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies’s guitar and the dueling synthesizers played by the Carpenters.

“We begin with a theme, a bass line, a pad, something that sounds good and will lead us to the next layer,” John says of the trio’s process. “We then just keep adding on from there. We understand each other’s strengths and weaknesses, how to communicate without words, and the process is easier now than it was in the beginning. We’ve matured.”

Whereas the original Lost Themes album came as a pleasant surprise after years of relative silence from Carpenter, the third installment sees him in the midst of a resurgent moment as a cultural force. The 2018 Halloween score gave his music its biggest audience in decades, and the world he releases his new album into is one that has, at long last, given him the credit he deserves as a founding father of modern electronic music.

STAFF COMMENTS

Barry says: There are very few forces more influential in the world of soundtrackery than John Carpenter, and it's no mean feat that his music outside of soundtracks is every bit as impressive. Featuring once again his son Cody and Daniel. Davies, Lost Themes III is every bit the pulsing, synthy wonder and helps further cement Carpenter's place in the annals of musical history.

TRACK LISTING

Alive After Death (4:05)
Weeping Ghost (3:33)
Dripping Blood (3:54)
Dead Eyes (3:26)
Vampire’s Touch (4:30)
Cemetery (4:11)
Skeleton (3:13)
Turning The Bones (3:33)
The Dead Walk (4:25)
Carpathian Darkness (5:36)

A mature and accomplished set of 14 songs on the timeless subjects of love, sex and the passage of time, with Chapin Carpenter at the peak of her powers writing with an assurity and vision seldom found in the more disposable aspects of today's music industry.

Kate Carr has been investigating the intersections between sound, place and emotionality both as an artist and a curator since 2010. Her work has taken her from the Arctic Circle to the borderlands of South Africa, with stops in rural Thailand, fishing villages in Iceland and rainforests in Mexico, along with extensive explorations of Western Europe, Ireland and the British Isles.

Kate Carr's new album 'I Had Myself A Nuclear Spring' is an eerie symphony of cracking power lines, cries of water birds and the high pitched wine of nuclear towers. Carr's recordings trace the temporary wetlands of Marnay-sur-Seine, situated alongside a large nuclear power plant, just after the flooding of the river.

“[A] sound palette in perfect balance, both soggy and industrial, wild and harshly electric... a vivid portrait of technology, flora, water and fauna in unexpected proximity.” - Luke Turner / Caught By The River

"The Breaks is an album of staggering neo-classic rock ambitions" - Uncut - 7/10 October 2014.

Martin Carr was the main songwriter of The Boo Radleys. He was the force behind their position as stars of Alan McGee's Creation Records, their chart hits and NME front covers, and also retains an indelible pop sense and great song craftsmanship.

Derek Carr is a shining light in the world techno. Born and raised on a diet of soulful machine music, this Irish artist has honed his sound over decades. It is this wealth of knowledge and experience that forms the backdrop of Arrival.

Carr is greatly influenced by the complex, yet warm, style that characterised UK techno in the 1990s. This inspiration flows through the LP, a ten-track trip that begins with the understated elegance of the title piece. And elegance is an undoubted quality of this album. Drums are bold and melodies delicate in “Alaska Blue” with “Lunar Cycles” tracing a journey back to the halcyon days of deep electronics. The skies above, or the heavens, are a definite creative source for Carr. “Anoat System,” with its soaring strings, and “Droid World,” whose sparks of electro grow to a superb brightness, tell of a fictional fascination with space. The parred back grandeur of “Apollo” tells another story. From a base of brittle beats and static rinses, orbiting notes bend and reflect as a measured musical epic unfolds. Across the album, an unrivalled sense of balance is achieved. The bolder kicks of “Haemoglobin” give space for cascading, fragile keys. That same bedrock proves fertile ground for the crafted textures and smooth harmonies of “Inside Out.” The closer, “MCR”, brings another element to the proceedings. A raft of drum patterns and a liquid bassline give rise to a final foray into the stars, twinkling notes ebbing to twilight.

“Arrival” is emblematic of Derek Carr’s talent. Travelling across ten tracks, this audio journey explores the splendours of this world, and beyond, through lovingly crafted compositions. Timeless electronics from a modern-day master.

TRACK LISTING

1. Arrival
2. Alaska Blue
3. Lunar Cycles
4 Anoat System
5. Venus Impact
6. Haemoglobin
7. Droid World
8. Apollo
9. Inside Out
10. MCR

Official half-speed mastered re-issue of British trumpeter and bandleader Ian Carr's iconic jazz-fusion-rock hybrid ‘Belladonna’ from 1972.

Originally released on the Vertigo label, complete with collectable ‘swirl' record centre design, this sought-after jazz-rock-fusion rarity features some of the cream of the UK jazz musicians of the 70’s. Comprised from groups such as Nucleus, Brian Auger's band, Soft Machine, Stan Tracy group, the players included Brian Smith (tenor and soprano saxophones, alto and bamboo flutes), legendary guitarist Allan Holdsworth, Dave MacRae (Fender electric piano), and bassist Roy Babbington, to name but a few.

Seen as a benchmark point in Ian Carr's career, 'Belladonna’ is awash with atmospheric excursions and ethereal qualities, as well as a darker fusion aesthetic and prog-rock sensibility from Holdsworth's exceptional guitar playing. The moody, yet funky, vibe of the album has echoes of Miles Davis' electronic era à la 'In A Silent Way'.

The album is best enjoyed played in its entirety. There are ebbs and flows with certain tracks shining along the way. Standouts include the beautiful down-tempo track 'Summer Rain’, which has a soundtrack / library style brilliance and emotional electric piano soloing. Though recorded in the 70’s, the track has a timeless sound, a melancholic funk so often used in hip-hop and beat tape productions to this day. ‘Mayday's Shaft-like long extended intro builds the drama until the percussive release when the drums drop at over three minutes in.

To give a record of such quality the treatment it deserves, we have once again been lucky to enlist the service of mastering and lacquer cutting engineering don Miles Showell at Abbey Road Studios, to cut a brand-new half-speed master and let the music speak for itself.

TRACK LISTING

A1. Belladonna
A2. Summer Rain
B1. Remadione
B2. Mayday
B3. Suspension
B4. Hector’s House

Originally released on the Vertigo label, complete with collectable 'swirl' record centre design, this sought-after jazz-rock-fusion rarity features some of the cream of the UK jazz musicians of the 70's. Comprised from groups such as Nucleus, Brian Auger's band, Soft Machine, Stan Tracy group, the players included Brian Smith (tenor and soprano s axophones, alto and bamboo flutes), legendary guitarist Allan Holdsworth, Dave MacRae (Fender electric piano), and bassist Roy Babbington, to name but a few. Seen as a benchmark point in Ian Carr's career, 'Belladonna' is awash with atmospheric excursions and ethereal qualities, as well as a darker fusion aesthetic and prog-rock sensibility from Holdsworth's exceptional guitar playing. The moody, yet funky, vibe of the album has echoes of Miles Davis' electronic era à la 'In A Silent Way'.

The album is best enjoyed played in its entirety. There are ebbs and flows with certain tracks shining along the way. Standouts include the beautiful down-tempo track 'Summer Rain', which has a soundtrack / library style brilliance and emotional electric piano soloing. Though recorded in the 70's, the track has a timeless sound, a melancholic funk so often used in hip-hop and beat tape productions to this day. 'Mayday's Shaft-like long extended intro builds the drama until the percussive release when the drums drop at over three minutes in. To give a record of such quality the treatment it deserves, we have once again been lucky to enlist the service of mastering and lacquer cutting engineering don Miles Showell at Abbey Road Studios, to cut a brand-new half-speed master and let the music speak for itself.

TRACK LISTING

1. Belladonna
2. Summer Rain
3. Remadione
4. Mayday
5. Suspension
6. Hector’s House

The former Boo Radleys artist released previous album 'The Breaks' a few years back now, an intriguing document that dealt with the songwriter's increased feeling of isolation from the world around him.

Spending time working - unsuccessfully, he adds - on pop projects for other acts, the death of David Bowie left an enormous impact on Martin Carr.
Sparking a period of re-analysis, he emerged stronger and definitely reinvigorated. He explains: "I was wasting my time scrabbling around in the dirt for pennies, making myself more and more miserable. I reflected on how many years I'd wasted chasing smoke and mirrors, living the life of an artist but neglecting the art."

"I ditched everything else I was working on and decided to write a new album rather than waiting until I had a few songs. I started completely from scratch, writing and recording, often at the same time, in my home studio in Cardiff. I was looking for a sound and a voice to call my own. That was the starting point. The theme was to be myself, to attempt to discover what made me tick, to work out why I behaved the way I did. I wanted to go deeper and find more room in the depths."

One of the most satisfying and expressive modern jazz releases for some time. Herbie Hancock is on top form as is Gary Thomas on sax and undepinning it all is the wonderful drumming of Teri Lyne.

Saturday Night is the follow up to Carrtoons' surprise hit "Homegrown" which has over 30 million streams globally and saw Carrtoons emerge as one of the most exciting new producers with over 40 million streams worldwide to date!

TRACK LISTING

Saturday Night (Intro)
Spaceships (feat Haile Supreme)
Put Me On (feat Reuben James And Joanna Teters)
Grace (feat Rae Khalil) / Interlude I
Fool For Your Love
I Choose You (feat Jay Prince)
Sparkle (feat Bad Snack)
Another Time (Feat Jak Lizard)
Aint Too Much Else (feat Topaz Jones)
Interlude II
Dial It Back (feat Julia Zivic And Yoh)
Seams (feat MIA GLADSTONE)
Pre Game (Outro)

Tom Carruthers back in full form with a massive 18 track TRIPLE LP set. Huge Tip!

This has everything you could possibly want on it, going in heavy with the 88-92' vibes all the Bleeps, Detroit strings, shuffling 909s, and Chicago 727s one can possibly want. Every track is a winner, full dancefloor fodder you'll swear are lost classics unearthed from the grave. Carruthers has consistently proved he has mastered the formula to create perfect old school tracks that will have you jackin on the floor all nite long. This collection is what dance music is about and explores the full range of formative styles in all their intricacies from top to bottom. Undoubtedly his most comprehensive and definitive work to date.

TRACK LISTING

Algorithm
Cytoplasm
Delve
Industrial Sub
Mission Control
Reprise
Voltage
Dissolution
Xxx Scene
Textures
Visions
Launch Code
Resonator
The Future
House Authority
Tonight
Darkside

Blinding double pack of heavily old school influenced bleep, direct from the depths of England by prolific young producer, Tom Carruthers (the brains behind Non Stop Rhythm). These are heavily sample based mpc productions that harken to the carefree days when the pills were pure and the music was fresh and never stopped. When house was techno and techno was house, this long player takes the best elements from say Chill Records, early-Warp and the best Nu-Groove creating timeless dance tracks made for the warehouse dj. Essential stuff here. TIP!

TRACK LISTING

Can You Feel It
Cyclone
Fantasies
Forge
Dont Let Go
Eliminate
Quest For Rydm
Incognito
Channel Control
Fx Under

Christina Carter approached her new solo album with the specific idea of recording all of the songs in the same key and using the same guitar tuning. While some artists would be hampered by such self-imposed constraints, Christina uses it to her advantage by exploring seemingly innumerable ways to twist and turn the same basic notes into new shapes, creating just as much a mood as a song cycle. With "Electrice", Christina has created the most cohesive and fully realized version of her unique musical vision to date.

This is the third in a series of Charalambides - related reissues from Kranky, following Charalambides' "Unknow Spin" and Tom Carter's "Monument" album. This album was originally released as an extremely limited CDR by Wholly Other in 2001. It features recordings from the period between Charalambides' "Union" and "Houston" albums, with most of the material being recorded in 1995/6. This album proves that the simplistic combination of one woman's voice and guitar can be as ethereal and heavenly as a full band of musicians.

Christina Carter is an exceptional and compelling musician, pushing the boundaries of personal expression and innovative sonics, she is perhaps better known for her work as part of the popular free-folk duo Charalambides. Christina Carter has a gift. In a world where most people shy away from the truth, from honesty in emotion, Christina has the strength to address those feelings head on through her music. Within the songs of "Original Darkness", she confronts loneliness, self doubt, inadequacy and desire. She bares these emotions in a sometimes tender, sometimes forceful, sometimes pleading voice, a voice in which you can hear her vulnerability, her trepidation. Christina's words, and the mournful sound of them, stirs a melancholy that is supported and framed by her gently plucked guitar notes, notes that echo the sadness in the world she sings of, as well as the words she sings. These ten new songs paint pictures; exposing the underbelly of what we all really think but most will not say, of what we all really feel but push away. With the addition of gentle bells and occasional keyboards, Christina reminds us of what it means to be honestly human.

Double LP
This expanded edition features the complete album in it's original running order on LP 1 - including the band's biggest chart hit 'The Only Living Boy In New Cross' which reached No. 7 on the UK Singles Chart plus Top 40 singles 'Do Re Me, So Far So Good' and 'The Impossible Dream' (a cover of the Man of La Mancha standard).

LP 2 features '1992 - The Other Love Songs', the complete collection of B-sides from the period plus the non-album Top 20 A-side 'After The Watershed (Early Learning The Hard Way)'.

Newly remastered by Phil Kinrade at AIR Mastering and pressed on 180g blue (LP1) and yellow (LP2) translucent vinyl, housed in a gatefold sleeve with poly-lined inner bags.

CD Box
This new edition features the complete album newly remastered on CD 1- including the band's biggest chart hit 'The Only Living Boy In New Cross' which hit No. 7 on the UK Singles Chart, plus Top 40 singles 'Do Re Me, So Far So Good' and 'The Impossible Dream' (a cover of the Man of La Mancha standard).

CD 2 features rarities, B-sides, and the non-album Top 20 single 'After The Watershed (Early Learning The Hard Way)', plus BBC 'Live In Norwich' recordings, and a previously unreleased mix of 'Skywest And Crooked'.

CD 3 includes the complete 1992 Glastonbury headlining performance from the legendary Pyramid stage - available in its entirety for the very first time.

Rounding off the set is a DVD with the 55 minute 'What Do You Think Of The Programme So Far?' feature, plus three Top Of The Pops performances, all appearing on DVD for the first time and accompanied by exclusive new commentary by Jim Bob and Fruitbat.

Carter The Unstoppable Sex Machine were synonymous with the indie punk scene in the early ’90s with a run of top ten singles and albums.

They sold out multiple venues time after time playing to a fiercely loyal fanbase. 30 Something was Carter’s second album. Originally released in February 1991, it charted at number 8 in the UK spawning the singles “Anytime Anyplace Anywhere” and “Bloodsport For All”. With nods to The Clash and Bowie, the album contained the band’s trademark lyrical puns and snarling punk vocals juxtaposing with harmonisng guitars. The album received 10/10 from NME upon release and ranked as number 8 on their albums of the year list for 1991.

This deluxe version features 3CDs and a DVD housed in a clamshell box with a poster booklet. All audio content is remastered. The package also includes the “In Bed With Carter” live concert from Brixton in 1991. This was previously only available on VHS and is highly sought after with a new commentary from Jim Bob and Fruitbat.

TRACK LISTING

Surfin' U.S.M.
My Second To Last Will And Testament
Anytime Anyplace Anywhere
A Prince In A Pauper's Grave
Shopper's Paradise
Billy's Smart Circus
Bloodsport For All
Sealed With A Glasgow Kiss
Say It With Flowers
Falling On A Bruise
The Final Comedown
Re-Educating Rita
Alternate Title
Randy Sarf Git
2001: A Clockwork Orange
Bedsitter
Christmas Shoppers­ Paradise
G.I. Blues (Live At Kent Uni 27/10/90)
Rubbish (BBC Radio 1 At The Great British Music Weekend 19/1/91)
Re-Educating Rita (BBC Radio 1 At The Great British Music Weekend 19/1/91)
My Second To Last Will And Testament (BBC Radio 1 At The Great British Music Weekend 19/1/91)
Sheriff Fatman (BBC Radio 1 At The Great British Music Weekend 19/1/91)
Rent (BBC Radio 1 At The Great British Music Weekend 19/1/91)
Surfin' USM (BBC In Concert: Live At Kilburn 7/12/91)
Midnight On The Murder Mile (BBC In Concert: Live At Kilburn 7/12/91)
Rubbish (BBC In Concert: Live At Kilburn 7/12/91)
Good Grief Charlie Brown (BBC In Concert: Live At Kilburn 7/12/91)
My Second To Last Will And Testament (BBC In Concert: Live At Kilburn 7/12/91)
Re-Educating Rita (BBC In Concert: Live At Kilburn 7/12/91)
Anytime Anyplace Anywhere (BBC In Concert: Live At Kilburn 7/12/91)
Say It With Flowers (BBC In Concert: Live At Kilburn 7/12/91)
A Prince In A Pauper's Grave (BBC In Concert: Live At Kilburn 7/12/91)
Sheriff Fatman (BBC In Concert: Live At Kilburn 7/12/91)
After The Watershed (BBC In Concert: Live At Kilburn 7/12/91)
Shoppers' Paradise (BBC In Concert: Live At Kilburn 7/12/91)
The '90s Revival (BBC In Concert: Live At Kilburn 7/12/91)
Bloodsport For All (BBC In Concert: Live At Kilburn 7/12/91)
This Is How It Feels (BBC In Concert: Live At Kilburn 7/12/91)
A Perfect Day To Drop The Bomb (BBC In Concert: Live At Kilburn 7/12/91)
Introduction
Surfin' USM
Re-Educating Rita
Midnight On The Murder Mile
My Second To Last Will And Testament
Rubbish
Say It With Flowers
A Prince In A Pauper's Grave
Bloodsport For All
Billy's Smart Circus
A Perfect Day To Drop The Bomb
This Is How It Feels
Rent
G.I. Blues
Sheriff Fatman
Backstage With Mum And Auntie

Mute announce the release of Carter Tutti Void’s 'Transverse', a unique collaboration from Chris Carter & Cosey Fanni Tutti (Throbbing Gristle) and Nik Void (Factory Floor).

Transverse is a unique collaboration, created especially for the legendary Short Circuit presents Mute festival at the Roundhouse, London in 2011.

The tracks were prepared in the studio and then performed and recorded live in front of an audience. Outside of the trio, these recordings were unheard prior to the festival and the popularity of the performance left many being turned away at the door.

Mute is proud to make this groundbreaking recording available and to be working again with two of electronic music’s true pioneers and one of its new trail blazers.

Said The Quietus of the performance: “…a warm embrace, creating a deep connection… Carter at the back manipulates the electronics while on either flank, Void scratches noise with bowed guitar and Tutti plays while singing vocals that she mangles and distorts… there is no nihilism in this noise, nothing but a deep and wonderful sense of love.”

CARTER TUTTI VOID (Chris Carter, Cosey Fanni Tutti and Nik Void) have announced their third and final studio album containing all new studio recordings, Triumvirate brings Chris Carter, Cosey Fanni Tutti and Nik Void’s collaborative partnership as Carter Tutti Void to a conclusion.

The trio first came together as a collective for a live performance, in-vited by Mute for the Short Circuit Festival in 2011 and released their acclaimed debut, the live album Transverse the following year. Carter Tutti Void went on to release f(x) (Industrial Records, 2015), their first stu-dio recording and performed a handful of selected shows, culminating in their final live performance in Hull, part of a series of events for Hull City of Culture 2017 centred around the COUM Transmissions retrospective at Humber Street Gallery.
For some time Carter, Tutti and Void have been awaiting an opportunity when all three artists were able to gather at Carter and Tutti’s Studio47 in Norfolk, where the album was recorded, produced and mastered. Triumvirate was ap-proached with the improvisational spirit of previous Carter Tutti Void albums. The rhythms, created by Chris Carter, formed the foundation and starting point from which the process began of melding the live instrumentation of Cosey Fanni Tutti and Nik Void’s searing guitars, vocals, effects and the arsenal of sounds each had amassed from a variety of sources, some sounds manipulated to extremes, all fed into the mix. Tying the album together is the power of three, and a free open approach to sound shared by the trio.

Carter Tutti Void are Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Void (Factory Floor / NVPR). Chris Carter recently released his first solo album in 17 years, Chris Carter’s Chemistry Lessons Vol. 1 (Mute, 2018) and Cosey Fanni Tutti’s TUTTI, her first album since 1982, came out ear-lier this year on Conspiracy International (home of Chris and Cosey since 1982). Nik Void is currently working on her debut solo album.

STAFF COMMENTS

Barry says: I love Chris Carter, Cosey Fanni Tutti and Nik Void (inc. the superb Factory Floor, obviously), but there's some sort of unfathomable symbiosis when the three of them get together. It's a perfect marriage of intention and spread of influence over the whole record, and it couldn't be any more fitting a cessation of their project. Superb.

TRACK LISTING

T3.2
T3.3
T3.4
T3.5
T3.1
T3.6 

‘Archival Recordings: 1973 - 1977’: Originally only available in the now sold out ‘Miscellany’ vinyl box set released in 2018. 13 tracks that Chris found in his archive from years before he formed Throbbing Gristle with Cosey, Sleazy and Genesis. They show a young mind curious about electronic sound and melody, yet sound like a fully formed album that should never have been left in the archive for 40+ years. A perfect companion piece to his latest album ‘Chris Carter’s Chemistry Lessons Volume One’.

TRACK LISTING

Nodes - 1973
Head Less - 1974
Hegel Vogt - 1974
Null - 1974
Runclodler - 1974
Hexfoil - 1975
Jet Age - 1975
Warm Hair - 1975
Variables - 1976
Wybbel - 1976
Black Powder - 1977
Ghost Trains - 1977
See Sick - 1977

Seventeen years on from his last solo release, the twenty-five tracks collected on Chris Carter’s Chemistry Lessons Volume One (CCCL Volume 1) were the product of six years spent working on solo material in the Norfolk home studio he shares with Cosey Fanni Tutti. CCCL Volume 1 reinforces Carter’s significant but often under-appreciated role in the development of electronic music - a journey that for Carter started ahead of his work with Throbbing Gristle (alongside Cosey, Peter ‘Sleazy’ Christopherson and Genesis Breyer P-Orridge), and continued through Chris & Cosey, Carter Tutti, Carter Tutti Void as well as his own solo and collaborative releases under his own name.

Here you will find music with a distinctly futuristic leaning, with insistent melodic patterns and a distinct sense of wonderment at the limitless possibilities of science. “If there’s an influence on the album, it’s definitely ‘60s radiophonic,” Carter agrees. “Over the last few years I’ve also been listening to old English folk music, almost like a guilty pleasure, and so some of tracks on the album hark back to an almost ingrained DNA we have for those kinds of melodies. They’re not dissimilar to nursery rhymes in some ways.”

That combination of traditional music and the backing track for exciting, potential futures gives tracks like ‘Moon Two’ and ‘Tangerines’ a sheen of inquisitiveness and quiet euphoria, while ‘Modularity’ and ‘Roane’ have an anxious, sci-fi noir charm. Elsewhere, the skewed voices of the meditative ‘Cernubicua’ add a calming, human note to the album, even if deciphering any specific lyrical content is largely impossible. “That's completely intentional,” says Carter. “Sleazy and I had worked together on ways of developing a sort of artificial singing using software and hardware. This was me trying to take it a step further. I've taken lyrics, my own voice or people's voices from a collection that I'd put together with Sleazy, and I’ve chopped them up and done all sorts of weird things with them.”

Carter began the foundation work for what became CCCL Volume 1 in the years before Sleazy passed away in 2010, and the death of Carter’s fellow TG journeyman had a profound effect on the development of the album. “I’d been accumulating a lot of material, just tracks and elements of tracks, and I was going to start putting it together just before Sleazy died,” he says. “That’s what completely threw me, and that’s partly why it’s taken so long, because of dealing with the shock of that.” Carter describes going through a long grieving process which manifested itself in some of the darker, more introspective tracks appearing on the album.

STAFF COMMENTS

Barry says: There aren't many driving forces in electronic music as influential as throbbing gristle, and Chris Carter's role cannot be understated. Here we get a distillation of his influences from minimal wave industrial into cosmic and krautrock. Brilliantly evocative and enthralling.

TRACK LISTING

1. Blissters
2. Tangerines
3. Nineteen 7
4. Cernubicua
5. Pillars Of Wah
6. Modularity
7. Field Depth
8. Moon Two
9. Durlin
10. Corvus
11. Tones Map
12. Dust & Spiders
13. Gradients
14. Lab Test
15. Shildreke
16. Uysring
17. Ghosting
18. Noise Floor
19. Post Industrial
20. Rehndim
21. Roane
22. Time Curious Glows
23. Ars Vetus
24. Hobbs End
25. Inkstain 

Remixes from Chris Carter’s "Chemistry Lessons Volume One.1: Coursework" alongside a new piece - "Bongo Glow".

A work in progress at the time the album was completed, "Bongo Glow" was completed using the same processes as the rest of "CCCLV1", and it juusst about made the cut for the Japanese release date. But for you lucky listeners Mute have ensured its inclusion here. A slowly morphing, elasticated track with mangled, computerized vox, playful melodies and push-pull rhythms; it's deliciously quirky and textured and should appeal to both die hard electronica fans and lovers of leftfield pop.

The additional three reworkings included here were created without direct instruction as an experiment to see how they changed with input from external sources. Daniel Avery’s remix of "Usyring" is a slow building, mesmerizing industrial pounder which fits perfectly with the producer's current MO. 

Meanwhile The Radiophonic Workshop took "Blissters" and created a more experimental reworking exectued in their unique style and Chris Liebing gives "Tones Map" a brooding end-of-world type feel, adding his 'Slow Burn' remix technique.

TRACK LISTING

Bongo Glow
Uysring (Daniel Avery Remix)
Blissters (Radiophonic Workshop Remix)
Tones Map (Chris Liebing Burn Slow Remix)

‘Disobedient’: Chris Carter’s live documentation of his performance at the legendary Disobey Club in London, Manchester and Vienna from October 1995. Double vinyl in gatefold sleeve with bonus track ‘Disobedient Redux’ recorded in 2018.

TRACK LISTING

Pantavistiq
Pulsec
Solomo
Lixiez
TVX
Chakutut
Versix
Sublev
Domank
Disobedient Redux

Electronic Ambient Remixes One was originally released in 2000 and includes ambient remixes and reinventions of the album ‘The Space Between’. Tracks from this instrumental series have been used internationally in gallery installations, performed at numerous electronic music festivals, featured on TV and radio broadcasts and within Hollywood movie trailers. Electronic Ambient Remixes One is now available for the first time on double violet coloured vinyl as well as CD, download and streaming.

Electronic Ambient Remixes Three was originally released in 2001 and includes ambient remixes and soundscapes utilising Chris Carter’s original Throbbing Gristle rhythm tapes from the 70s and 80s. Tracks from this instrumental series have been used internationally in gallery installations, performed at numerous electronic music festivals, featured on TV and radio broadcasts and within Hollywood movie trailers.

‘Mondo Beat’: Chris Carter’s second solo album, originally released in 1985. Includes the haunting classic track ‘Moonlight’.

TRACK LISTING

Moonlight
Real Life
Noevil
Mondo B
Nobadhairdo
Beyond Temptation

‘Small Moon’: Originally released in 1999. A pulsing classic that takes you down to the nightclub and floats you home. Double vinyl in gatefold sleeve with bonus track ‘Small Moon Redux’ from 2018.

TRACK LISTING

Arcadia
Praxiz
Klypp'D
Non-Pop
Reazymn
Soho… 3am
Small Moon Redux

The first ever reissue of the work of American composer Dorothy Carter, master of the hammered dulcimer, zither, and other instruments of the hammer chord zither/ psalterium family. A true musical vagabond, Dorothy was born in New York in 1935, though her spiritual pursuit of an expansive musical knowledge would take her to monasteries in Mexico, conservatories in France and London, and the founding of the Central Maine Power Music Company (CMPMC), with new-age/minimalist luminaries such as Constance Demby and Robert Rutman.

Dorothy Carter was many things - a virtuoso player, storyteller,historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Wailee . Underscored by Bob Rutman's cavernous bowing of the steel cello, the richness of Waillee Waillee's sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, "Summer Rhapsody" and "Tree of Life,'' glide with the shimmering filigree of hammered dulcimer and Dorothy Carter's ephemeral voice floating over Rutman's droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album.

The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refined as on this, her most outwardly accessible song.

She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman's Berlin studio, many, many years later. As recounted in Laraaji's contribution to the liner notes, Dorothy was "someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording," after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelvepage booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.

The recording of Waillee Waillee would mark the end of an era for Dorothy: leaving behind the familiar confines of the northeast, she embarked to New Orleans, settling with her family there. An outsider more so in a city known for its rich musical tradition in jazz and zydeco, Dorothy continued to busk - performing on corners, Mississippi riverboats, and more. She immersed herself in the city such that after suddenly and unexpectedly passing in 2003, the church played "Tree of Life" (this album's final track) at her memorial service, the community revelling in her wondrous life. "Tree of Life" would remain a composition that Dorothy Carter returned to many times throughout her life, appearing in a much more stripped down version on an earlier album, Troubadour . Its deep meaning and significance informed Dorothy's life and ineffable spirituality in ways that provide insight into her music, writings and expression of sound, heard remarkably through her songs and mastery of dulcimer and zither playing.

TRACK LISTING

1. The Squirrel Is A Funny Thing...
2. Dulcimer Medley - Robin M'aime
3. Along The River
4. Summer Rhapsody
5. Waillee, Waillee
6. Celtic Medley
7. Autumn Song
8. Tree Of Life

Frank Carter & The Rattlesnakes return with their fifth studio album, 'Dark Rainbow' - set for release on 26 January 2024. The Rattlesnakes have built a reputation for blistering anthems that owe as much to brooding desert rock as it does hardcore and power-pop. They’re redefining punk-rock with a sound that straddles eras and genres, putting The Rattlesnakes in a category all their own, while also challenging tired cliches and setting the world to rights.

TRACK LISTING

1. Honey
2. Man Of The Hour
3. Can I Take You Home
4. American Spirit
5. Happier Days
6. Brambles
7. Queen Of Hearts
8. Sun Bright Golden Happening
9. Superstar
10. Self Love
11. A Dark Rainbow

‘Sticky’, the new album from Frank Carter & the Rattlesnakes, is the sonic eruption of a year-plus of suppressed energy.

While it’s an escapist experience, recent reality is never too far away. It’s there in ‘Go Get A Tattoo’, which was inspired by Carter’s experience of having to shut his first London based tattoo parlour, Rose of Mercy, almost immediately after it opened.

It’s just as present in ‘My Town’, a suburban vignette of society’s collective mental health quickly unravelling.

TRACK LISTING

Sticky
Cupid's Arrow
Bang Bang
Take It To The Brink
My Town
Go Get A Tattoo
Off With His Head
Cobra Queen
Rat Race
Original Sin

The John Carter and Bobby Bradford Quartet/Quintet were critical to the progressive jazz movement around Los Angeles in the late 60s alongside the likes of Horace Tapscott. Both hailed from the Watts area and trumpeter, Bradford played with a woodshedding Ornette Coleman for two years in the early 60s when the legendary free movement leader decided not to record for a while but wanted to hone his trademark sound on the saxophone. Multi-reed player, Carter also worked with Coleman who brought them together to lead their own band.

Their first outing on Flying Dutchman was “Flight For Four” as the Carter Bradford Quartet that was released in 1969. This is the second album they recorded where Carter and Bradford were supported by Tom Williamson (bass), Buzz Freeman (drums) and another uncredited bass player on four extended improvisations – ‘The Sunday Afternoon Jazz Blues Society’, ‘The Eye Of The Storm’, ‘Loneliness’ and ‘Encounter’.

The album has been out of print on vinyl since 1971 and Ace are delighted to release it with audio taken from hi-res digital transfers from the original masters.

TRACK LISTING

Side One
1. The Sunday Afternoon
Jazz Blues Society
2. The Eye Of The Storm
Side Two
1. Loneliness
2. Encounter

A delicate collection of songs for meditation on spiritual struggle, The Leaves Fall is a window into the parallel reality of Justin Carter. Centered on his intimate vocals, pointed with hints of Arthur Russell and John Martyn; the eight tracks are buttressed by warm acoustic guitars, vibraphones, organs and flourished with modern production. They are familiar but distant, like ghosts living in the present. Carter grew up in a country house in rural North Carolina, a place with a pecan tree and abandoned train tracks in the front yard. On long car rides from home to his dadʼs work as a school teacher, his ears were filled with the prog of Yes, the vocals of Al Jarreau and the complexity of Christopher Parkeningʼs take on Bach. It was his father, who himself has moonlighted as a guitar player and songwriter for nearly 50 years, that taught Carter to sing and play in his early teens.

The Leaves Fall was written on and off over the course of about five years, a secret to most. Carter is more familiar, alongside Eamon Harkin, as co-founder of popular New York parties Mister Saturday Night and Mister Sunday, and their label offshoot, Mister Saturday Night Records. As the Mister thrived, his songwriting continued to tick along in the background, days and weeks stolen here and there to write and record in various locations – from remote studios in the Catskills to basements in Venice Beach.

The album features Jason Lindner, pianist on Bowie's final masterpiece, Blackstar; cello from Archie Pelago's Greg Heffernan; and programming by LIES Records and The Trilogy Tapes producer Marcos Cabral. It was mixed by Benjamin Tierney, who also worked his magic on Kamasi Washington's The Epic. It finds its context in the world of Planetarium, a new listening session established by Carter and his Mister Saturday Night DJ partner, Eamon Harkin, where live music is mixed amongst hours of records to create an immersive, communal listening experience focused on quality hi-fi sound in non-traditional spaces; the album will presented in this manner when toured.

“Nothing makes me happier than to see people letting go. My ambition in all my creative work is to make moments where that can happen. As a DJ, I use othersʼ music to create those moments, but itʼs always been in me to make my own music for that purpose. After twenty-five years of writing music for myself, it makes me really happy to have something to share with others.” - Justin Carter

TRACK LISTING

1. Great Destroyer
2. Infinite Pieces
3. Know It All
4. With The Old Breed
5. The Island
6. What Can You Tell Your Children About Hope?
7. Leaves
8. A Presence

Describing herself simply as a ' modern English musician', Eliza Carthy is
one of the most recognisable faces in British folk.

From the purest unaccompanied traditional songs to original music incorporating myriad infuences, she has moved through English folk music like a force of nature, both stirring it up & putting it back on the map, and as a member of big bands The Imagined Village, and the musical force- of- nature that was The Wayward Band she has headlined main stages at festivals around the world. With a wealth of musical & life experience under her belt, Eliza's talent has matured and is fourishing. She continues to bring new audiences to English folk through well-judged recordings, performances, and collaborations with the likes of Paul Weller, Jools Holland, Patrick Wolf, and Kae Tempest. 2022 sees Eliza celebrating an incredible 30 years in the music business with album Queen Of The Whirl, featuring new interpretations of fan- selected favourites from her previous albums, recorded with her band Eliza Carthy & The Restitution.

TRACK LISTING

1. Whirly Whorl
2. The Snow It Melts The Soonest
3. The Company Of Men
4. Jacky Tar
5. Stumbling On
6. Mohair
7. Mr Magnifco
8. My Father's Mansions
9. Space Girl / Two Tears
10. Blood On My Boots
11. Pretty Ploughboy
12. In London So Fair
13. Accordion Song
14. Good Morning Mr Walker

Pioneering English traditional folk powerhouse, Eliza Carthy, first assembled the Wayward Band in 2013 in order to explore and celebrate her long and varied career in folk music; 'the last truly underground music scene'.

To do this Eliza put together a team of hugely talented people from across the UK, and set out on the road to promote her 'Best Of' compilation, 'Wayward Daughter,' which coincided with a biography of the same name. Since then, the band has become a festival favourite, and Eliza has been awarded the MBE for services to folk music. Eliza and the Wayward Band loved playing together so much it seemed natural and inevitable, as well as characteristically ambitious, that this 12-piece would set about recording an album. Early in 2016 they did just that. 'Big Machine' is the result and the renowned Real World and Rockfield Studios are where it all happened.

The material represents a healthy slice of everything good that is happening in traditional music now, across a sparkling spectrum of sound. The album features three contemporary songs; Eliza's own 'You Know Me' about the migrant crisis and notions of hospitality (featuring MC Dizraeli), a powerful cover of Ewan Maccoll's Radio Ballad 'The Fitter's Song' (at the behest of Peggy Seeger - and the song which inspired the album title) and an affectionate reworking of 'Hug You Like a Mountain' (Rory MacLeod), re-imagined here as a duet with Teddy Thompson.

There are also several examples of the Broadside ballad collections housed in Chetham's Library in Manchester given a new twist with music by Eliza and the band. This follows an acclaimed programme Eliza presented for Radio 4 about the Manchester Ballads last year, covering everything from songs about and caused by domestic abuse ('Devil in the Woman,' 'Fade and Fall (Love Not)'), to love of the seafaring life ('The Sea'). Added to that a couple of searing instrumentals, a song about dying from custard poisoning and a heartbreaking traditional ballad 'I Wish that the Wars were all Over' (performed live with the band onstage in Real World Studios' Studio One and featuring Irish superstar Damien Dempsey), and you begin to get the picture.

A very Big picture, a Big Machine firing on all cylinders. 'Big Machine' is one of Eliza Carthy's most adventurous and accomplished works to date -- and given that Eliza is the most passionate and groundbreaking English traditional singer of her generation, 'Big Machine' is an album you really won't want to miss.

Re-pressing of Martin Carthy's debut album, originally released on Fontana in 1965 and re-issued by Topic in 1977. In the early 1960s, the approach Martin Carthy took to folk music was nothing short of revolutionary, albeit a relatively quiet revolution befitting of his humble nature.

You wouldn't find Carthy's music clambering up the singles charts; his was not a face adorning the teen magazines. Instead, his influence was felt at a grass-roots level. He plied his trade in the folk clubs, which is where the likes of Bob Dylan and Paul Simon sought him out, enamoured of his traditional repertoire and keen to learn songs like 'Scarborough Fair' and 'Lord Franklin' directly from him before adapting them for their own purposes.

His debut eponymous album, re-released here, on vinyl by Topic Records as part of their ongoing Topic Treasures series, is a snapshot of the work he was doing at the time.

Originally finding its way into the world in 1965, courtesy of Fontana Records, Martin Carthy pulled together 14 songs from his burgeoning repertoire. Produced by Terry at the Philips Recording Studios in Marble Arch, the album was a must-learn checklist for budding guitarists and folk club orgas, and, to this day, remains an essential listen for anyone attempting to find their way into traditional English folk music. Most people turn up for 'Scarborough Fair', very few leave without getting hooked on 'High Germany', 'Sovay' and 'Ye Mariners All'.

The album also introduces Carthy's earliest collaborations with Dave Swarbrick, an enduring and much-copied partnership that lasted, off and on, until Swarbs death in 2016, and became a blueprint for how guitar and fiddle duos ought to sound. While Carthy had been building up his solo repertoire over the previous five or six years, several of the duo arrangements on this album ('Lovely Joan', 'A Begging I Will Go', 'Broomfield Hill') were thrown together in the studio, adding a fizz and freshness to the recordings. This became the pair's standard way of working. "We used to rehearse on stage, in front of the audience," he explains today.

TRACK LISTING

Side 1
1. High Germany
2. The Trees They Do Grow High
3. Sovay
4. Ye Mariners All
5. The Queen Of Hearts
6. Broomfield Hill
7. Springfield Mine Disaster

Side 2
1. Scarborough Fair
2. Lovely Joan
3. The Barley And The Rye
4. The Wind That Shakes The Barley
5. The Two Magicians
6. The Handsome Cabin Boy
7. And A Begging I Will Go

The daughter of guitarist / vocalist Martin Carthy and vocalist Norma Waterson, Eliza Carthy has continued in her parents' footsteps and has become one of the leading lights of the new generation to carry on the folk tradition. She has almost assumed the mantle of Sandy Denny on her brilliant new album "Anglicana", her work again showcasing her ability to breathe new life into England's folk music. Eliza Carthy is one of the few people who can take this wonderful music and perform it in a totally convincing contemporary style - both true to its sources and firmly relevant to today's values. This is what traditional music in the twenty-first century is all about. A true triumph.

Two giants of the English folk scene with a canny selection of tracks from their early years together. Carthy has never been better than on "Lucy Wan", "Davy Lowston" and the equally haunting "Long Lankin" all songs dripping in blood and death. The understanding between the two players is there for all to see and the intervening years has simply enhanced these tracks.

Cartwheel have been together since 1998, playing gigs around Melbourne, Sydney and Adelaide alongside noteworthy bands such as Ninetynine, The Lucksmiths and Architecture in Helsinki. This is their first release for Valentine and features four tracks of skewed, down-beat electro-pop which slips somewhere between Stereolab and Lali Puna - with a touch of old-school 909 action along the way.

The in-depth history of the rise, fall and rise of the independent record shop in the UK. Travelling the length and breadth of the UK, Garth Cartwright conducted 100+ interviews with many record shop pioneers, noted musicians and record collectors. Utilising comprehensive research, Cartwright traces record retail history across a century of unprecedented social, cultural and political change.

With foreword by Stewart Lee

From market traders selling music hall 78s via HMV's gloved classical emporium through Soho's post-WW2 jazz, blues and folk scene to mods hungry for imported ska and soul 45s, Going For A Song documents how popular music and youth fashions took shape around influential record shops. Brian Epstein, the genius behind Liverpool's NEMS shops, utilises his trade contacts to launch The Beatles. Psychedelia's golden dawn is overseen at Mayfair's One Stop (Jimi Hendrix's being a regular) while A Clockwork Orange is filmed in the Chelsea Drug Store. The '70’s finds Richard Branson’s Virgin shops leading a revolution in record retail. Rough Trade and Small Wonder launch punk record labels from within their respective shops. Disco and reggae, techno and dubstep, are all shaped by visionary record shops. Then, at the dawn of this century, hundreds of record shops crash. From these ruins rise independent shops surfing the vinyl revival and Record Store Day.

Never before published research documents how a young Bob Dylan records in the basement of a Soho shop while David Bowie, Dusty Springfield, Elton John, Danny Baker and Pete Burns all first entered the music industry via working in record shops. Here friendships were forged, knowledge shared, bands formed and history shaped.

Out of print for over 40 years, this is a true rare 12” party hip-hop classic, reissued by Soul Jazz Records.

Absolutely stunning very rare old school party disco rap 12” performed by members of the Chicago public high school, Carver High.

Originally released in 1982 on their own private press label, Challenger Records.

The track is the opening highlight of Soul Jazz Records’ recent ‘Yo! Boombox’ collection and is featured here in its full glorious seven and a half minutes and comes complete with exact replica of the striking original hand-drawn artwork.

TRACK LISTING

Get Live ’83 (The Senior Rap)
The Carver Senior Song (Class Of ’83)

Filed neatly and undisturbed within the micro-genre of 1970′s Italian artsploitation, amongst films soundtracks such as Girl With The Crystal Plumage, A Quiet Place In The Country and House With The Laughing Windows, this obscure library LP is one of the few fully formed concept albums from the recently reappraised discography of Rome’s most versatile and adventurous female production-music composer Daniela Casa. Once destined for a shelf life within the storage rooms of defunct TV studios and educational facilities Daniela’s previously strictly commercially unavailable music has in recent years been given new focus at the hands of open-minded disc detectives and sonic salvage hunters earning Casa’s distinctive feminine take on experimental instrumental mood and movie compositions a place next to her widely respected masculine counterparts such as Alessandro Alessandroni, AR Luciani, Pierro Umiliani, Morricone and Nicolai.

Sharing tight studio space and strict syndication schedules with all of the aforementioned artists Daniela Casa embraced a liberating wind change in affordable music technology which opened doors for uninhabited solo compositions in home studios taking advantage of communal recording consoles and domestic synthesisers which nurtured a lesser-documented creative family tree (or rather secret society) and paved the way for individualistic projects from the likes of Magnetic System’s Fabio Frizzi and Goblin’s Claudio Simonetti.Here, on this repress of the impossibly rare, one-time subscription-only album, Arte Moderna, we find Daniela at her versatile best creating a wide thematic suite (based on paintings and sculptures in an abstract art gallery) for which she would deploy mostly organic and acoustic instruments to construct a set of unorthodox compositions straddling avant garde, free jazz and Giallo tension (with some brief moments of brooding electronics and italian pop). Veering from her stylistic pop interests (which clearly included a fondness for the music of Black Sabbath and Led Zeppelin) Daniela Casa’s Arte Moderna saw her adopt a less era specific approach combining neo-classical elements and piano improvisations akin to the likes of France’s Francois Tusques or Burton Greene, or America’s Mal Waldron without compromising her strong narrative personality for this unique abstracted picture music.

Unintentionally but profoundly political in her prolific existence Daniela Casa’s contribution to a predominantly male industry earned her a small clutch of inspired idiosyncratic Italian female bedfellows such as Nora Orlandi, Giullia De Muittis (aka Kema), Fiorella Fratini, Emma De Angelis and Maria Teresa Luciani, who, with faceless anti-celebrity as its essence, never benefitted the wider critical focus that much of this music now duly commands on the collectors circuit. Finders Keepers Records in continued collaboration with the Di Barri company, with the Casa/Ducros family blessing, are now proud to shine new light on this sonic sculptures and provide a fresh context where educated music listeners are ready to fill the gaps between Delia Derbyshire, Ennio Morricone, Suzanne Ciani and Harry Partch and patronise a very welcome considered alternative to the recent rise in popularity of Italian Giallo soundtracks from a seldom savoured feminine creative vantage point. Daniela’s musical paintings can now be unveiled to the public for the first time, with Modern Art sounding as contemporary as it did when it was recorded forty years ago. The gallery is now open for limited sittings, discerning ears and open minds.

Written and recorded over the past year, the album features Casablancas and Voidz band members Jeramy Gritter and Amir Yaghmai (Salt & Pepper) – guitar, Jeff Kite – keyboards, Jake Bercovici – bass, Alex Carapetis – drums and was produced by Shawn Everett.

The album incorporates world underground music from the 70s and 80s, hardcore/punk and modern harmony, using modern and analog recording and sampling techniques.

Of the album's title Casablancas says, "Tyranny has come in many forms throughout history. Now, the good of business is put above anything else, as corporations have become the new ruling body. Most decisions seem to be made like ones of a medieval king: whatever makes profit while ignoring and repressing the truth about whatever suffering it may cause (like pop music, for that matter)."

TRACK LISTING

1. Take Me In Your Army
2. Crunch Punch
3. M.utally A.ssured D.estruction
4. Human Sadness
5. Where No Eagles Fly
6. Father Electricity
7. Johan Von Bronx
8. Business Dog
9. Xerox
10. Dare I Care
11. Nintendo Blood
12. Off To War…

The first release in a new catalog series dedicated to the 7" . Here are two reworks produced between Italy and the United States, inspired by Italian cosmic atmospheres of the late 70s: “Cascades” by Stephen Schlacks (1978) and “Pulsazioni” by Filippo Trecca (1979).

“Cascate Emozionali Volume One” is a tribute to these two composers, and to all others that, just like them, have created immortal melodies and atmospheres. This project is also a work of sound archeology, of careful research of the synthesizers and the sounds that have given life to the original versions, here reproduced with a contemporary luster, honoring their original essence.
This music is a container full of emotions, of nostalgia for an era that no longer exists, of faded memories that are suspended in the cosmos, of moments that we miss. All of them connected to our childhood, our family, to our loved ones, and to the objects that were there all along, like the ‘Selene’ chair of Vico Magistretti, redesigned for the cover by French illustrator Alexis Jamet.

Music to remember.

STAFF COMMENTS

Matt says: Italian musings and meanderings that loosely tread a kinda cosmic / library ley line into horizontal abandon.

TRACK LISTING

Cascades
Pulsazioni

When it comes to breathing new life into classic cuts Joseph Caserta is as good as it gets, proven many times on his imprint BridgeBoots. Making punchy and jackin' house sounding like it's been dipped in some secret sauce is another trick of his.

The first track on his Local Talk debut, "Hip Hop", comes in two flavours with the special sauce added on top. Both the Rap Mix and the Haus Dub got swinging drums and a meaty, stabby chord that keeps the energy tight.

On the flip, "g'Head" is a punchy and bumpy house jacker that takes a hold of you and doesn't let go. It's certainly got us bum shuffling here at Picc HQ! Recommended heat from the Local talk schtable. 

STAFF COMMENTS

Matt says: Well rugged, elbows out basement house tackle that's got a bit of a Sheffield vibe about it.

TRACK LISTING

A1. Hip Hop (Rap Mix)
A2. Hip Hop (Haus Dub)
B1. G'Head (LA Mix)
B2. G'Head (Boston Dub)

Caserta’s favourite era of house was when the line between hip hop and house was really only made visible by the tempo of the songs. An art mastered by legends like Kenny Dope, Armand Van Helden and DJ Sneak to name a few.

FF to 2023, Caserta returns to that form with Joe’s Boutique. An obvious nod to the craftwork of the seminal album Paul’s Boutique by the Beastie Boy’s. Caserta fired up the samplers and sliced and diced his way to his first EP in years. With swinging drums, heavy basslines, chopped up vocals and music you might think you stumbled across a lost Strictly Rhythm acetate but mixed and mastered to year 2728 by the man himself.

Complete with vocal interludes segueing from track to track this truly is a listening experience as well as a dance floor filler all in one.

TRACK LISTING

A1. Day N Nite
A2. Let U Go
B1. Red
B2. Flowers

With a little bit of research you'll realize that Ricky 1 actually didn’t come out on Bridge Boots but on thatmanmonkz imprint Shadeleaf back in 2015 and received loved from Matthew Dear and Sam Divine to name a few.

A little over 5 years later and Caserta is back with the sequel! Contrary to popular belief Caserta doesn’t usually 'edit' (with the exception of BB45003 release Diana). But he decided to bust out the ole’ Razor-N-Tape for the 40 year anniversary of this dancefloor classic! While anyone with party rock capabilities can improve on an already classic composition. 'Supa Engineer Caserta' made sure to take his time to take make sure the sonics went for 1981 to 2081.

STAFF COMMENTS

Patrick says: Caserta revisits Rick James' disco-funk bomb 'Give It To Me Baby' with a fresh variation for 2021. Helluva drug etc...

TRACK LISTING

A1. Ricky 2 (Caserta’s Multitrack Edit)
B1. Ricky 2 (Caserta's Intoxicated Mix)

"Remembering is not the opposite of forgetting," Casey MQ sings at the start of Later that day, the day before, or the day before that, his new LP and Ghostly International debut. It's a phrase fittingly misremembered from something the LA-based, Canadian-born composer came upon as he spiraled into unconscious and subconscious-led writing sessions at the piano. Casey’s known for his 2020 breakthrough release babycasey, which gave voice to songs seen through the lens of childhood, various film score work and collaborations with artists such as Oklou (who returns here), Eartheater, and Vagabon. His gifts as a producer and songwriter are rooted in textural world-building and the excavation of personal truth. With Later that day... he questions what is true entirely, understanding our mind's tendency to bend and project onto pictures of the past. Across vivid, baroque pop balladry, Casey MQ reorients his recording project and point of view under the notion that memories are malleable. All the joy, pain, love, and loss housed within remembrance is open to interpretation and deconstruction, which he does deftly, with curiosity and complete artistic freedom.

"It's a memory album," Casey puts it simply, winding up for the deeper unpacking, "and it might be a breakup album, too...there are more questions than answers." Engaging his dreams and sitting with sheet music at his newly acquired piano, he looked to new and old inspirations including the works of Claude Debussy, Joni Mitchell, and Joe Hisaishi's beloved Studio Ghibli film scores. "Since I was young, I always wanted to write a piano album." babycasey's studied electronic sound isn't wholly abandoned on Later that day... instead, it comes through like an atmosphere, giving Casey's more spacious, minimal arrangements a distinct luster and sheen. The textures and tones shift from song to song as if mirroring the way our minds constantly recontextualize, remember, and forget.

Cathartic opener "Grey Gardens" — its title derived from a dream abstractly related to the Toronto restaurant, but not the 1975 film, which he cites as another coincidental false memory — presents the record's plaintive, haunted feeling. "Even if not reading into lyrics, sonically I wanted it to feel like you're being pulled into a universe. Not fantasy or otherworldly per se, something more tangible, of the body and mind,” Casey says. “Hearing it back, I realized this track was the key to unlocking it." His tender falsetto hovers above ambient washes and echoed keys, each word falling carefully in the crevices. "Asleep At The Wheel" unfolds on arpeggiated synth before a burst of symphonic color; the synth returns inverted to harmonize with the outro, "I love a car crash, I love a story, I love a memory, I swear it's real..."

Casey leans into digital imagination on the warm, introspective "Me I Think I Found It." Subdued, stuttered percussion underscores the singer as he cycles through pixelated imagery — screenshots, smiles, streetlights — searching for higher meaning through love. Built on ascendent chord distortions, "Dying Til I'm Born" gives the record one of its boldest pulses of emotion. The back half stretches out; "Is This Only Water" is sparse and foggy, "Baby Voice" is intimate and desperate for something to remain. "Words For Love" grooves on guitar, and "Tennisman9" aches in heartbreak. French musician Marylou Mayniel, aka Oklou, appears as the collection’s only guest for the closing duet, "The Make Believe," a bright and buoyant send-off that gives Later that day... both a sense of resolve and cyclical-motion. "We are young, under the sun," they sing together, a parting image brimming with lightness.

TRACK LISTING

01. Grey Gardens
02. Asleep At The Wheel
03. Me, I Think I Found It
04. Dying 'Til I'm Born
05. Is This Only Water
06. See You Later
07. Baby Voice
08. Words For Love
09 Tennisman9
10. The Make Believe (feat. Oklou)

When Casey called it a day back in 2019, it felt like a premature demise. Their two full-length albums – 2016’s ‘Love Is Not Enough’ and 2018’s ‘Where I Go When I Am Sleeping’ – had firmly established the Welsh five-piece as one of the most exciting bands in Britain’s alternative scene in just a few short years.

Some four or so years later, the band have returned; not only to sold out crowds on their first reappearance on stage, but also with new music in hand. One listen to the new songs, and it’s clear the band needn’t worry about the integrity of their fresh creative vision, nor their emotional investment in it. The new music is quintessential Casey, open hearts dripping with the same kind of pain and trauma that defined the band from the start. Because Casey songs don’t just replicate the feelings that inspire them – they embody them. That hasn’t changed.

The critically acclaimed second album from Welsh melodic hardcore band Casey. Released in 2018, the record sees the band focus their creativity around vocalist Tom Weaver's physical and emotional afflictions that have dogged the majority of his life.

TRACK LISTING

1. Making Weight
2. Waving
3. Phosphenes
4. &
5. Fluorescents
6. Flowers By The Bed
7. Needlework
8. Morphine
9. Bruise
10. The Funeral
11. Where I Go When I Am Sleeping
12. Wound 

Arguably the best of the American Recordings series.
Once again Cash worked with Tom Petty on a couple of tracks including the Neil Diamond-penned "Solitary Man".
The album also includes stunning covers of Bonnie Prince Billy, Nick Cave and U2.

STAFF COMMENTS

Laura says: The Rick Rubin produced American Recordings totally rejuvenated Cash's career, and they're all great. This one just edges it for me with amazing covers of Bonnie Prince Billy, Nick Cave and (suprisingly) U2.

TRACK LISTING

I Won't Back Down
Solitary Man
That Lucky Old Sun (Just Rolls Around Heaven All Day)
One
Nobody
I See A Darkness
The Mercy Seat
Would You Lay With Me (In A Field Of Stone)
Field Of Diamonds
My Time
Country Trash
Mary Of The Wild Moor
I'm Leavin' Now
Wayfaring Stranger

"Johnny Cash At Folsom Prison" fully captures Cash's gritty intensity and hard-headed humanity, capturing a high-energy set performed for an equally spirited audience. With a set list tailored for the occasion, Cash focuses on songs dealing with crime and imprisonment, balancing dark subject matter with wry, playful humor. The album opens, appropriately enough, with the venerable "Folsom Prison Blues," and continues with such outlaw anthems as "Cocaine Blues," "25 Minutes to Go, "The Wall" and "I Got Stripes," alongside such Cash classics as "I Still Miss Someone," "Orange Blossom Special" and "Jackson," with the latter track featuring Cash's wife and frequent duet partner June Carter. The album closes on an inspirational note with "Greystone Chapel," a song written by convict Glen Shirley, which Cash and his band learned especially for this show.

TRACK LISTING

Side A
1. Opening Announcements From Hugh Cherry
2. Blue Suede Shoes - Johnny Cash / Carl Perkins
3. This Ole House - Johnny Cash / The Statler Brothers
4. Announcements And Johnny Cash Intro From Hugh Cherry
5. Folsom Prison Blues
6. Busted
7. Dark As A Dungeon
8. I Still Miss Someone

Side B
1. Cocaine Blues
2. 25 Minutes To Go
3. I'm Here To Get My Baby Out Of Jail
4. Orange Blossom Special
5. The Long Black Veil

Side C
1. Send A Picture Of Mother
2. The Wall
3. Dirty Old Egg-Suckin' Dog
4. Flushed From The Bathroom Of Your Heart
5. Joe Bean
6. Jackson - Johnny Cash / June Carter
7. I Got A Woman (with June Carter)

Side D
1. The Legend Of John Henry's Hammer
2. June's Poem
3. Green, Green Grass Of Home
4. Greystone Chapel
5. Closing Theme And Announcements

Johnny Cash's two legendary prison concerts packaged together. If you don't already own these two album, you need this!

Perhaps even more so than its predecessor, "Johnny Cash At San Quentin" captures Cash at his most raw and uninhibited. The artist's raucous rapport with his captive audience is obvious on an inspired mix of Cash classics ("I Walk the Line," "Folsom Prison Blues"), jailhouse ballads ("Starkville City Jail," "San Quentin"), traditional tunes ("Wreck of the Old 97," "There'll Be Peace in the Valley") and well-chosen covers (Bob Dylan's "Wanted Man," the Lovin' Spoonful's "Darling Companion"). The album's most popular track, though, remains the Shel Silverstein-penned novelty number "A Boy Named Sue," which became the biggest hit single of Cash's career.

TRACK LISTING

Side A
1. Wanted Man
2. Wreck Of The Old 97
3. I Walk The Line
4. Darlin' Companion
5. Starkville City Jail

Side B
1. San Quentin
2. San Quentin
3. A Boy Named Sue
4. (There'll Be) Peace In The Valley
5. Folsom Prison Blues

Double LP pressing featuring essential cuts from Johnny Cash''s back catalogue, including: Ring Of Fire, Hey Porter, Folsom Prison Blues, A Boy Named Sue and many more!

TRACK LISTING

Side A
1. Hey Porter
2. Cry, Cry, Cry
3. I Walk The Line
4. Get Rhythm
5. There You Go
6. Ballad Of A Teenage Queen
7. Big River
8. Guess Things Happen That Way

Side B
1. All Over Again
2. Don't Take Your Guns To Town
3. Five Feet High And Rising
4. The Rebel-Johnny Yuma
5. Tennessee Flat-Top Box
6. I Still Miss Someone
7. Ring Of Fire

Side C
1. The Ballad Of Ira Hayes
2. Orange Blossom Special
3. It Ain't Me, Babe - Johnny Cash With June Carter Cash
4. The One On The Right Is On The Left
5. Jackson - Johnny Cash With June Carter Cash
6. Folsom Prison Blues

Side D
1. Daddy Sang Bass
2. Girl From The North Country - Bob Dylan & Johnny Cash
3. A Boy Named Sue
4. If I Were A Carpenter (Live In Denmark) - June Carter Cash / Johnny Cash
5. Sunday Morning Coming Down
6. Man In Black
7. One Piece At A Time

To celebrate the 20th anniversary of the demise of Johnny Cash, rediscover all the greatest song of the man in black on a nice double vinyl. Including Walk the line, Hey Porter, Folsom Prison Blues...

TRACK LISTING

A1. I Walk The Line
A2. Get Rhythm
A3. Hey Porter
A4. So Doggone Lonesome
A5. Hey, Good Lookin'
A6. Sugartime
A7. Frankie'S Man Johnny
A8. Bonanza!
A9. Delia's Gone
A10. I Still Miss Someone
B1. Folsom Prison Blues
B2. Don'T Take Your Guns To Town
B3. I Got Stripes
B4. Transfusion Blues
B5. Chain Gang
B6. Born To Lose
B7. In The Jailhouse Now
B8. Country Boy
B9. All Over Again
C1. Cry, Cry, Cry
C2. Big River
C3. Oh Lonesome Me
C4. It Was Jesus
C5. Girl In Saskatoon
C6. Locomotive Man
C7. Clementine
C8. Mean Eyed Cat
C9. Luther Played The Boogie
D1. Five Feet High And Rising
D2. Guess Things Happen That Way
D3. I Love You Because
D4. Katy Too
D5. I Forgot To Remember To Forget
D6. I Want To Go Home
D7. Leave That Junk Alone
D8. I Got Shoes
D9. Honky Tonk Girl
D10. Thanks A Lot
D11. What Do I Care

Man in Black may be the 38th album by Johnny Cash, but it is definitely one of the most memorable album in his discography. Man in Black is perhaps one of Cash's most political albums and the title refers to Cash's tendency to wear only black during his live shows. This was to reflect the turbulent times during the Vietnam War. This message is also reflected in the album's lyrics. The singles “Man in Black” and “Singin' in Viet Nam Talkin' Blues” can be seen as his most important protest songs. Both singles were successful on the Billboard Country charts. All this makes the album a unique milestone in his career and still a must for all Johnny Cash fans

TRACK LISTING

Side A
1. The Preacher Said, “Jesus Said” (With Billy Graham)
2. Orphan Of The Road
3. You’ve Got A New Light Shining In Your Eyes
4. If Not For Love
5. Man In Black

Side B
1. Singin’ In Viet Nam Talkin’ Blues
2. Ned Kelly
3. Look For Me (With June Carter Cash)
4. Dear Mrs.
5. I Talk To Jesus Every Day (With June Carter Cash)

Limited Edition 180g orange coloured vinyl pressing of Johnny Cash's iconic LP 'Sings I Walk The Line' Released in 1964, Johnny Cash's own retrospective of his early career on the Sun record label has become, arguably, his most iconic album release. It was a bold move at the time, as he'd already enjoyed a run of chart-topping albums and become one of country music's most prolifc and celebrated recording artists. Yet, 'I Walk The Line' went on to become one of his greatest selling albums.

Originally released in 1958 on Sun Records, Johnny Cash's second album was a smash success, with singles such as "I Walk The Line", "Guess Things Happen That Way", and "Ballad of a Teenage Queen" shooting to the top of the charts and earning Cash a reputation as one of country's greatest songwriters and performers. The Man In Black is accompanied by Luther Perkins and Marshall Grant, known at the time as The Tennessee Two. The album was produced by Sun Records founder, Sam Phillips, and Jack Clement.

TRACK LISTING

SIDE A
Ballad Of A Teenage Dream
There You Go
I Walk The Line
Don’t Make Me Go
Guess Things Happen That Way
Train Of Love
SIDE B
The Ways Of A Woman In Love
Next In Line
You’re The Nearest Thing To Heaven
I Can’t Help If If I’m Still In Love With You
Home Of The Blues
Big River

Introducing the new album from Johnny Cash titled 'Songwriter'.

Johnny Cash recorded an album’s worth of unreleased, self-penned songs in 1993 ahead of him signing with American Records and his releases with Rick Rubin that re-established himself as one of world’s best songwriters to a new generation of fans. Songwriter’s 11 songs have been updated by his son John Carter and longtime producer David Ferguson.

In early 1993, the legendary Johnny Cash found himself between contracts in his then nearly 40-year career and recorded an album’s worth of songwriting demos at LSI Studios in Nashville of songs he’d written over many years. LSI at the time was owned by his son-in-law Mike Daniels and daughter Rosey, and he wanted to help the family financially while also record some songs special to him. Not long after the fruitful session, Johnny met producer Rick Rubin, and the recordings were shelved as the two embarked on an important and prolific musical partnership that revitalized the Man in Black’s career that would last the rest of his life.

Some thirty years later, John Carter Cash, the son of Johnny and June Carter Cash, rediscovered the songs and stripped them back to just Johnny’s powerful, pristine vocals and acoustic guitar. Along with co-producer David “Fergie” Ferguson, the two invited a handpicked group of musicians that played with Johnny, including guitarist Marty Stuart and the late bassist Dave Roe, along with drummer Pete Abbott and several others, to the Cash Cabin, a hallowed space in Hendersonville, Tenn. where Johnny would write, record and relax, to breathe new life into the tracks, taking the sound back to the roots and heart of the songs.

TRACK LISTING

Vinyl:
Side A
1. Hello Out There
2. Spotlight
3. Drive On
4. I Love You Tonite
5. Have You Ever Been To Little Rock?
Side B
1. Well Alright
2. She Sang Sweet Baby James
3. Poor Valley Girl
4. Soldier Boy
5. Sing It Pretty Sue
6. Like A Soldier

CD:
1. Hello Out There
2. Spotlight
3. Drive On
4. I Love You Tonite
5. Have You Ever Been To Little Rock?
6. Well Alright
7. She Sang Sweet Baby James
8. Poor Valley Girl
9. Soldier Boy
10.Sing It Pretty Sue
11. Like A Soldier

Bonus Disc (2CD):
1. I Walk The Line (1988 Version)
2. The Night Hank Williams Came To Town (with Waylon Jennings)
3. Sixteen Tons
4. Long Black Veil (1988 Version)
5. Cry, Cry, Cry (1988 Version)
6. Guess Things Happen That Way (1988 Version)
7. Get Rhythm (1988 Version)
8. Ring Of Fire (1988 Version)
9. Folsom Prison Blues (1988 Version)
10. Cat's In The Cradle
11. Hey Porter
12. Wanted Man

“The Rebel Sings” is a collection of Johnny Cash recordings as released on six U.S. EP’s in the late fifties. “Don’t Take Your Guns To Town”, Cash’s breakout single on Columbia; “Five Feet High And Rising”, “Frankie’s Man, Johnny” and “Rock Island Line” are among the hits here. The final four tracks show Cash’s penchant for “concept” albums. “The Rebel – Johnny Yuma” (the theme for the Western TV show “The Rebel”) was a hit single. With the addition of “Remember The Alamo”, “The Ballad Of Boot Hill” and “Lorena”, Cash presents four songs reminiscing on 19th century life in the West, something Cash would revisit frequently in his career.

All legends start somewhere, and With His Hot and Blue Guitar is where the legend of Johnny Cash began.

Newly remastered in honor of Sun Records’ 70th Anniversary, Cash’s debut album was also the first LP issued by Sam Phillips on the legendary label.

TRACK LISTING

Rock Island Line
I Heard That Lonesome Whistle 
Country Boy
If The Good Lord's Willing
Cry, Cry, Cry
Remember Me
So Doggone Lonesome
I Was There When It Happened
I Walk The Line
The Wreck Of The Old '97
Folsom Prison Blues
Doin' My Time

Since his first recordings in 1955, Johnny Cash has been an icon in the music world. In his newly discovered poems and song lyrics, we see the world through his eyes. The poetry reveals his depth of understanding, both of the world around him and within - his frailties and his strengths alike.

He pens verses in his hallmark voice, reflecting upon love, pain, freedom, fame and mortality. Illustrated with facsimile reproductions of Cash's own handwritten pages, Forever Words is a remarkable addition to the canon of one of America's heroes. His music is a part of our collective history, and here he demonstrates the depth of his talent as a writer.

Edited and introduced by Paul Muldoon, with a foreword by John Carter Cash, this is a book sure to delight and surprise fans the world over.

Part 1 of a two part project from Casino Times exploring the fertile ground between techno, breaks and bass. The two 12”s make up a fully realized album; cemented into a durable yet expansive electronic framework which is perfect for Joseph Spencer and Nicholas Church to hang their ergonomic high voltage tapestries. These are functional tracks with just the right amount of head space and cerebral leaning to gift home listeners as much as club goers. The ingenuity and creativity levels are high right across the two parts; landing in the same territories as KH, TOHT, Overmono and Club Winston yet with their own rugged, hardware driven outer shell. 

TRACK LISTING

A. A Change In Motion
A. Tweak Feat. Cimmerli
B. End Of Civilisation
B. Passing By
B. Square

Casinoboy makes a triumphant return to Duca Bianco with a sparkling EP that once again shows his studio mastery. Previously featuring alongside luminaries like Rune Lindbaek and Khidja on a well-received compilation, Casinoboy's latest kicks off with 'Honesty' which is a blend of Balearic and breaks that brings a shuffle-and-wiggle experience with uplifting samples and an old-school UK rap edge. 'This Feeling' has a catchy Street Soul feel, while 'Searos' mixes up ambient sounds and Spanish Guitar to evoke the essence of the White Isle. Closing with 'Astral Go Go,' really pumps the party in ways only he knows how.

STAFF COMMENTS

Mine says: Friends of the shop Duca Bianco are back with another varied edit compilation, this time curated by Casinoboy. DB12 013 sold out super quick so don't snooze!

TRACK LISTING

Honesty
This Feeling
Searos
Astral Go Go

The long-awaited debut album from CASISDEAD, released via XL Recordings. Famous Last Words is a fully realised expansion of the dystopian futurism that has captivated audiences since CAS first announced himself in 2013. Over the past decade, he’s dipped in and out of the shadows, blessing fans with cult hits while maintaining his anonymity and shunning media attention; a rejection of the spotlight that’s helped to create folklore around a rapper who’s widely regarded as one of the UK’s most inventive lyricists.

Famous Last Words is as much a sci-fi film as it is a rap record, a labyrinth of vice, crime and faded glamour. The listener steps through a portal into a realm narrated by CASISDEAD, whose command of storytelling drops you right into the underground of a city where he is the main character in a shady network of gangsters, girls and drug deals. However, Famous Last Words isn’t a story of bravado or posturing; much of the album deals in themes of loss, regret and paranoia, a persona constantly self-reflecting amongst the madness that surrounds him. The album features a carefully curated roll call of collaborators including Pet Shop Boys’ Neil Tennant, Desire, and Connie Constance. The vocalists are immersed in CASISDEAD’s hallmark 80’s-inspired synthpop soundscapes, aided and abetted by a production cast that includes Stranger Things composer Kyle Dixon and ‘Italian’s Do It Better’ label founder Johnny Jewel.

TRACK LISTING

1. Do You Trust Me?
2. A Spark
3. Loosin’
4. Steptronic
5. DEADCORP
6. Pineapple Juice
7. I Wanna Go Home
8. Actin’ Up
9. Sarah Connor
10. Do You Remember What It Was Like?
11. Marilyn
12. Aghast 6
13. Boys Will Be Boys
14. Venom
15. Traction Control
16. The Ants
17. Matte Grey Wrap
18. Pat Earrings
19. Before This
20. Jane
21. Sugar Free
22. Access Denied
23. Skydive

The Cassandra Complex are a British electronic rock band formed in Leeds in 1980 by Rodney Orpheus, Paul Dillon and Andy Booth. Its name refers to Cassandra syndrome. Over the years, the band's sound has included elements of EBM, industrial rock, gothic rock, dark wave, new wave and synthpop, and the band's style has been described as a mix between Joy Division, Ramones and Kraftwerk. Their albums “Theomania” or “Satan, Bugs Bunny and Me” are considered as “classics” of the genre.

TRACK LISTING

1. One Millionth Happy Customer (Ebm Mix)
2. The War Against Sleep
3. Night Fall
4. What Can I Do For You?
5. (In Search Of) Penny Century
6. Give Me What I Need

Tripe. It’s what graces the cover of Cassels’ third album, A Gut Feeling. It looks gross. And Cassels are a rock band who’ve often sounded gross. You know the adjectives. ‘Discordant’. ‘Angular’. ‘Cynical’. Shellac quickly mentioned. I’ve done it already, see?Listening to A Gut Feeling, though, Cassels sound different. Not too different – the molten riff of advance single ‘Mr Henderson Coughs’ puts paid to the idea that the London-based duo have taken a hard 180. But instead of writing as quickly as possible, riding the churn forced on DIY bands by an indifferent ecosystem, the Covid-19 pandemic gave the brothers Beck (Jim, guitar/vocals, and Loz, drums/BVs) some time to mull things over. Instead of sticking with the stripped-back recording approach of previous LPs, Jim and Loz spent time at Tom Hill’s Bookhouse Studios in South London, considering tone, layering tracks, and bringing new instruments into the fold.

Lyrically, the approach has changed too. Rather than presented as personal experience, Jim notes that his words this time around “are an intentionally muddy mix of experience, opinion, red herrings and fiction,” adding, “I found that setting myself the brief of writing character pieces offered a nice way of sneaking quite personal things into the songs without being explicitly autobiographical.” The result is the most satisfying and unexpected collection of songs in the Cassels catalogue. Instruments at turns razor-sharp and bludgeon-blunt provide the backing track to a savage, hilarious, and tender collection of short stories. Jim notes that “writing can be a great way of unearthing hang-ups and becoming acquainted with your own anxieties”. Hardly new ground for a rock band, but presented in this third person format – unbiased and filled to the brim with human warmth – these songs are more empathetic than anything the band have written before. You might have been Michael on his daily commute.

Perhaps you’re Sarah, or have a mum like her. And many of us will recognise ourselves in the heart-breaking ‘Family Visits Relative’. It’s clear that the band still aren’t afraid to tackle weighty subjects too, with A Gut Feeling picking up where their previous album, The Perfect Ending, left off. ‘Charlie Goes Skiing’ pulls a similar trick to Future of the Left’s ‘Goals in Slow Motion’ – setting a screed against consumerism to one of the most propulsive, catchy tracks on the record. It’s followed by ‘Dog Drops Bone’, a rustling loop overlaid with sad, simple chords reminiscent of a Sparklehorse tune, which uses the internal monologue of a beloved canine companion to question the true depth and sincerity of human relationships. This kicks into the breakneck ‘Beth’s Recurring Dream’ – a track exploring a sexual identity crisis which owes as much to early Los Campesinos! as it does Steve Albini. Of ‘Your Humble Narrator’, the album’s punishing, pulsing opener and A Gut Feeling’s thematic frame, Jim explains: “I liked the idea of introducing an unreliable narrator who frames the album as an exercise in manipulation for personal gain. When a person engages with a piece of art they are invariably being manipulated by the artist to some degree – that’s part of the fun. The artist aims to elicit some sort of emotional response, the audience buys into the conceit at the promise of experiencing some form of escape.” as listeners, we experience that manipulation first-hand on A Gut Feeling. But the fact Cassels have packaged it up as offal feels like another bleak wink. This is far from a stinking by-product, salvaged and sold to maximise profit. It’s nothing less than the most complete, relatable, and fully realised piece of art the duo has produced to date. Emotional response elicited. Conceit embraced. Escape gratefully achieved.

STAFF COMMENTS

Barry says: At points arrhythmic and delightfully angular, heavy af and absolutely littered with a++ riffs, Cassels' 'Gut Feeling' is every bit the modern punk-rock monolith. At points hilariously obscure, before being brilliantly incisively candid and all above a roaring, jagged collection of time signatures and perfectly avant momentum. Very clever and VERY exciting.

TRACK LISTING

1. Your Humble Narrator
2. Pete's Vile Colleague
3. Family Visits Relative
4. Mr Henderson Coughs
5. Michael's Daily Commute
6. Charlie Goes Skiing
7. Dog Drops Bone
8. Beth's Recurring Dream
9. Sarah Misses Them

As the first single off the EP, ‘High Tones’ is an ode to festival season and getting drunk in the blissful chaos, then jumping in the van and driving home with the noise still ringing in your ears. It’s a funky bop of a song complete with a riotous video filmed at London’s famous Rivoli Ballroom. ‘Whatstheuse’ sees the band return to Cornwall where they busked in their early days, reflecting on their growth, whilst ‘Find My Way Around’ saw the band embody quirky characters in a music video that can only be described as ‘Wes Anderson meets Peep Show’ with an optimistic track that saw their social media channels boom.

Cassia’s indie-pop contemporaries Kawala, collaborate on ‘Circular Motion’. Cassia and Kawala’s collaboration came about after the two bands met at Barn on the Farm during the summer of 2022, and a couple pints in, the bromance started to blossom. A writing session later, the resulting track is everything you’d come to expect from two of the UK’s most feel-good bands- rhythmic and understated with bright toplines and harmonies, working together in synergy for a track that is an instant classic.

‘Circular Motion’ is the fourth piece of Cassia’s eclectic new puzzle and a key element of the ‘Home Soon…’ EP. A sonic collage of their recent expeditions to new writing locations and experiences with new collaborators, the EP artwork is based upon an everyday fridge that you would find in a busy kitchen, covered in magnets, postcards, pictures and anything fun collected over time giving insight into the bands touring life, travels and where the EP songs were written.

Rob shares: “Summed up, the EP is based around life cycles. I feel that l always struggle to cope with chapters drawing to a natural close because it forces me to change what is comfortable, it is just a natural response of mine and so these songs act as an outlet for me, some tracks reminded me of the positive outcomes that come off the back of change, whilst some songs were jotted down during a painful switch of reality.” As they prepare for another year filled with new music, live shows and festival appearances, Cassia’s party is alive and kicking once again.

TRACK LISTING

A1. Find My Way Around
A2. Circular Motion
A3. Gamma Rays
B1. Whatstheuse
B2. High Tones

Cassia find escapism in bright, blissful melodies, but beneath the surface is a deep well of introspection. 2022 brings ‘Why You Lacking Energy?’, the trio's vivid follow up to the 2019 album ‘Replica’.

From lush, spacious piano ballads to crisp, synth-driven anthems, the self-produced record digs into the tension in Cassia's music: these are songs that feel like living in the moment, but are caught up in thoughts of the past and anxieties for the future.

The soaring new single Motions "feels like sand slipping through your fingers," they say, "and that wave of relief when you realise you're not alone." Empowering for the band as much as their listeners, Cassia make songs that turn fears into fuel.

TRACK LISTING

1. Morning's Coming
2. Similar
3. 16-18 (Why You Lacking Energy?)
4. Motions
5. Colossal Happiness
6. Seasons
7. Boundless
8. Dreams Of My Past
9. Drifting
10. Not Enough Time To Think
11. Right There
12. See Myself

Proper new mastering from original files for this classic album that was released 25 years ago.

TRACK LISTING

Cheek To Cheek (2021 Master)
Stormy Monday (2021 Master)
Bridge Over Troubled Water (2021 Master)
Fine And Mellow (2021 Master)
People Get Ready (2021 Master)
Blue Skies (2021 Master)
Tall Trees In Georgia (2021 Master)
Fields Of Gold (2021 Master)
Autumn Leaves (2021 Master)
Honeysuckle Rose (2021 Master)
Take Me To The River (2021 Master)
What A Wonderful World (2021 Master)
Oh, Had I A Golden Thread (2021 Master)

In March of 2023 Mercury Prize nominated composer &alto saxophonist Cassie Kinoshi premiered acommissioned suite of music ni front of a sold out crowd at London's Southbank Centre. She wrote the piece - gratitude - for her flagship large ensemble seed., ni a special augmented formation that also featured turntablist NikNak and the London Contemporary Orchestra. Months later, Kinoshi passed the live recording to Dave Vettraino, who began the mixing process at International Anthem Studios ni Chicago. Kinoshi and Vettraino then convened ni November of2024 at Livingston Studios ni London to do final mixes and overdub additional sounds from members of seed.

Some know Kinoshi from her work as a former member of Kokoroko. And even beyond her work as leader of seed. (including Driftglass, the band's critically-lauded 2019 debut on jazz re:freshed) her compositional résumé extendsdeeply into orchestral work for concert hal, contemporary dance, film, visual art, and theatre, with high profile collaborators including London Sinfonietta, Philharmonia Orchestra, and the London Symphony Orchestra. That depth of experience si on ful display here, with the textural and dynamic flexibility of her large ensemble covering musical ground from groove-focused modal melancholia ot anthemic brass and string themes. Striking upon first listen and even richer on repeat visits, gratitude scores the soul of contemporary Black London with philharmonic craftwork ni the tradition of legendary jazz arrangers like Mary Lou Williams, Oliver Nelson, and Carla Bley.

TRACK LISTING

1. I
2. Ii
3. Interlude I
4. Iii Sun Through My Window
5. Interlude Ii
6. Iv
7. Smoke In The Sun

Influenced by a life split between Lima, London, and Twentynine Palms, Peru-born M. Caye Castagnetto’s Leap Second is an intriguingly personal and hard to classify debut album. The album is a thick collage of samples Caye recorded with different artists and musicians, including Beatrice Dillon and the late Aileen Bryant, that spans five years in the making. There is something in Leap Second that tracks the speed of bodies, how they approach and retreat. The ten tracks are speedy and languid, thick ruffles, and dirges. In parts it feels like one’s stumbled upon a forgotten incredible ’70s folk record but that feeling gets broken quickly by clever sleights of hand. Caye’s balladry is angular, time is elastic. Each song is a fresh cape. How dandies really mean it, so masc- that it’s fay, how the only moment is this one and it’s just passed, etcetera.

“While it doesn’t really sound like anything else, there are moments that feel like a Latin-flavored Nico, that’s edging its way towards some of the outings of the Sun City Girls. In my opinion it checks all the boxes, by checking none of them.” —Bjorn Copeland, Black Dice. 

“A truly interesting conglomeration of loose inspirations and conjurings. A hard to decipher sound all together which makes it worth every moment...a sprinkling of Catherine Ribeiro, Dr. John, Terje Rypdal and Nico. Far-out sun-soaked odysseys and moon-dappled woodland night creepers...” —John Dwyer.

TRACK LISTING

1. I Invented Disco
2. Stopping You
3. Slippery Snakes
4. Mi Mentira
5. All Points North
6. Amor Cabra
7. Hands On The Business
8. Until
9. Street Trees, Evening Green
10. Chase Water, Blue Moon

Recorded live at O2 Academy Liverpool in January 2022 during their 25th
Anniversary tour to celebrate the release of their debut album - All
Change.

TRACK LISTING

Promised Land
Mankind
Reflections
Back of My Mind
Sandstorm
Fine Time
Four Walls
Walkaway
History
Tell It Like It Is
Two Of A Kind
Alright
Magic Hour
Live The Dream
I'm So Lonely
Beat Mama
Flying
Guiding Star
Free Me

The wind blows hard. We need songs for shelter and Raymond Raposa can build a shelter from almost anything: the sun-bleached bones of a drum track and a couple of spare organ chords; a carpet of creeping synth arpeggios, a scaffolding of multi-tracked harmonies, a few scraps of alto sax to prop up the whole structure. ‘Decimation Blues’, Raymond Raposa’s sixth release as Castanets, marks a decade of scavenger architecture.

‘Decimation Blues’ sees Raposa stepping out in front of the hermetic persona he’s crafted over ten years. There have always been shards of pop songs glinting in the dark corners of Castanets records. Here we get whole gleaming edifices.

‘Decimation Blues’ is the music of a man who’s learned to live and build among the wreckage - twelve seemingly offhand, secretly meticulous tracks that we can hunker down in. “Still always good to be alone in someone else’s home,” Raposa sings. Come in out of the rain, put your shoes by the fire. The walls might shake and the wind might howl but you’ll be safe here a while.

TRACK LISTING

It’s Good To Touch You In The Sunlight
Be My Eyes
Thunder Bay
Out For The West
To Look Over The
Grounds
Blackbird Tune
Cub
Pour It Tall And Pour It True
There Is A Place Up The Road There
My Girl Comes To The City
Tell Them Memphis
Somewhere In The Blue

An album based on a Hindu fable about being trapped in an escapable fate, with death and the limitations of our physical lives closing in from all corners. "In The Vines" was written in the aftermath of a mugging, which was the climax of a year of depression and nomadic, nocturnal dislocation. But "In The Vines" is not all peril and darkness; the songs are sung with such intimacy and earnestness that it sways somewhere between the serpent, elephant, bees and rats, the honey representing a strange sense of hope and delight in the brief moments of beauty that sustain our lives. The record features guest appearances from Sufjan Stevens, Jana Hunter, Viking Moses and many others.

Originally released on Polydor Records in October 1995, 'All Change' reached No 7 in the UK charts, and spawned four Top 20 singles.

Cast were formed in 1992 and were something of a scouse supergroup, with
leader, guitarist John Power previously bassist in The La's and bassist Peter Wilkinson coming from Shack. Originally a loose conglomerate with various
members, Power added guitarist Liam 'Skin' Tyson and drummer Keith O' Neill, and by 1994 Cast were signed to Polydor.

Led by singles 'Finetime' and 'Alright', Cast's blend of ultra- melodic Merseybeat Britpop proved that they were the right band at the right time. 'All Change' became a runaway success, selling over a million and becoming the fastest-selling debut album in Polydor's history, bolstered by further singles 'Sandstorm' and 'Walkaway'. The catchy, upbeat album closed with the eight- minute epic 'Two Of A Kind', showing that the band had sufficient skills to take on any Britpop heavyweight.

This re-issue faithfully replicates the original 1995 Polydor Records UK 2LP release with gatefold sleeve and 12 page booklet and is pressed onto high quality 180g vinyl.

TRACK LISTING

1. Alright
2. Promised Land
3. Sandstorm
4. Mankind
5. Tell It Like It Is
6. Four Walls
7. Finetime
8. Back Of My Mind
9. Walkaway
10. Reflections
11. History
12. Two Of A Kind

Long out of print 1979 roots reggae classic - limited 7" repress / in-demand roots dub cut, backed with Prince Jammy's black belt dub cut.

Recorded at Channel One and mixed at King Tubby's.

Produced by Prince Jammy.

STAFF COMMENTS

Matt says: lassic Jammy's from just before he went digital! Mixed at Tubby's it's full of that authentic original dub flavour and shows he was just as skilled and mixing these styles as he would later, dancehall.

TRACK LISTING

Lacksley Castell - What A Great Day
Prince Jammy - Throne Of Blood

Cast are an English rock band from Liverpool, formed in 1992 by John Power (vocals, guitar) and Peter Wilkinson (backing vocals, bass) after Power left The La's and Wilkinson's former band Shack had split. Following early line-ups with different guitarists and drummers, Liam "Skin" Tyson (guitar) and Keith O'Neill (drums) joined Cast in 1993.

The band are back with their 6th studio album ‘Kicking Up The Dust’ on 14th April 2017.

TRACK LISTING

Side 1
1. Kicking Up The Dust
2. Roar
3. Do That
4. Further Down The Road
5. Paper Chains
6. Birdcage

Side 2
1. Every Little Thing You Do
2. Baby Blue Eyes
3. How Can We Lose
4. Clear Blue Water
5. Out Of My Hands