MAGIC MIX

STAFF PICKS

VINYL REISSUES

Filling in the gaps in your record collection? Look no further with these staff approved vinyl reissues.

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Suicide

Suicide - Art Of The Album Edition

    By the Summer of 1969 the US hippie dream lay in tatters but the cultural influence exerted by New York City would echo loudly through the decades that followed and no louder than it did with the incendiary electronic NYC duo, Suicide, who came to notoriety nearly a decade later. If dismissive at first, the music press have gone through something of a dramatic U-turn in more recent years with many mainstream publications now regarding Suicide’s 1977 debut as a stone cold classic.

    It sits at #39 in Pitchfork’s Top 100 Albums Of The 1970s; it placed at #441 in Rolling Stone’s 500 Greatest Albums Of All Time; and reached #236 in NME’s The 500 Greatest Albums Of All Time.

    Four decades later, we are only just now counting the positive cost of their influence across genres such as techno, noise, electro clash, goth, synth pop, psych and industrial. However, a sense of their vital impact can be discerned from the number of cover versions of Suicide tracks there are delivered by the likes of Pearl Jam, Bruce Springsteen, Peaches and R.E.M. Elsewhere they have had been praised widely by Nick Cave, Jim Thirlwell and M.I.A. and count Jason Pierce (Spacemen 3/ Spiritualized), Lydia Lunch, Nik Void of Factory Floor and Savages as fans. This Art Of The Album edition of Suicide sees the record remastered and presented in its original form and packaging, with in-depth liner notes covering the context, craft, impact and legacy of the album.

    FORMAT INFORMATION

    Ltd LP Info: Deluxe edition celebrating the album as an art form, with in-depth liner notes covering the context, craft, impact and legacy of the album.
    Plus exclusive 12" sleeve art print.
    Limited edition red vinyl.

    Neil Young

    Dead Man: A Film By Jim Jarmusch (Music From Motion Picture)

      Re-release of the classic Neil Young album, Dead Man – A Film by Jim Jarmusch Music from and inspired by the Motion Picture.

      The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and they're on a mega-buzz to give it the reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.

      Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.

      All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.

      Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.

      The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.

      Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.

      Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.

      STAFF COMMENTS

      David says: Yessir, I like to boogie. Do you like to boogie too? If so this Leeroy Burgess, Salsoul nugget is definitely for you. Six slices of pure heaven.

      FORMAT INFORMATION

      Ltd LP Info: 180 gram vinyl.

      If ever an album could transport you to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches “magic hour” in Santa Ana or Anaheim, then it’s Vaughan Mason and Butch Dayo’s Feel My Love. A brilliantly produced deep slung, low rider funk classic originally released on Salsoul in 1983. It’s a masterpiece of “funk love music”.

      Yes, this is indeed a perfectly formed five track “mini LP” of unparalleled heat, but there’s one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, “Feel My Love”.

      This is a work of art that made people fall in love with the funk. It transcends the limitations of genre. “Feel My Love”’s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It’s sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so, so much raw energy. This is music.

      The rest of the record is hardly filler though. Opener “Oh, Love” is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing. It’s sensational. A rollerskating jam named “Rollalong Songs” is an ultra-swish piece of dance floor dynamite. Its slick drums, staccato piano and neck snapping claps underscore Dayo’s buoyant vocals. It’s essentially “Bounce, Rock, Skate, Roll Part II”.

      The flip begins with “Party On The Corner”. Smoother than silk vocals, day-glo synths, a bubbling bassline and guitar licks that surely received the Prince seal of approval. It’s another example of how Vaughan Mason and Butch Dayo flirt with perfection so routinely. The most majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater “You Can Do It” is a proto-rap groover that truly smokes.

      This prized LP is a stone cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

      STAFF COMMENTS

      David says: Yet more heat from Be With, the reissue label de jour. They're so hot at the moment they have their own fire department just in case things get out of hand.

      FORMAT INFORMATION

      Ltd LP Info: 180 gram vinyl.

      It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.

      The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.

      There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's one of his most vital LPs that returns today.

      The originals were quietly pressed on to a single piece of vinyl and they have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets. “Soul Food Taqueria” continued Guerrero's guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.

      Guerrero's atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.

      As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO's memorable artwork. Furthermore, the title's hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero's special blend, it's always a pleasure to indulge in something so creative and adventurous.

      Dubby, bass-heavy instrumentals give way to moody folk-soul – witness "It Gets Heavy", featuring melancholic vocals from Gresham Taylor – whilst "Thank You MK" is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check "Lost Unfound", "Another Brother Gone" and "Broken Blood" - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn't be out of place on the latest Jonny Nash release.

      Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, "Falling Awake" is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.


      STAFF COMMENTS

      Patrick says: Superb slacker funk and sunkissed downbeat from legendary skater Tommy Guerrero. A classic that's filling the margarita shaped hole in my life on this sweltering Piccadilly afternoon.

      FORMAT INFORMATION

      2xLP Info: 2019 Repress.

      Captain Beefheart

      Trout Mask Replica

        Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.”

        In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica.

        Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind.

        Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts.

        This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling

        1977, East Hartford, Connecticut. Rahni Harris, a 21 year old reverend and multi-instrumentalist, and his band, Family Love, were not afraid to embrace their love of R&B and gospel. They laid down "A Different Drummer" LP - one of the most forward thinking LPs recorded during this period and arguably of all time.

        "Syncopated Love", "He’s My Friend" and "Make It Easy" have been supported by DJs and collectors in the know for many years. Now, Rain&Shine give Rahni’s’ seminal record another lease of life for discerned collectors, DJs and music lovers worldwide!

        Remastered with full original artwork.



        Shuggie Otis

        Inspiration Information -

        This beautiful Shuggie Otis album went largely overlooked at the time of its release in 1974. Which is a shame, because it’s one of those albums that you hear new things in every time it’s on the platter. Shuggie played every instrument here himself, giving us a look into his psyche: soothing, subtle, harmonious and elegantly funky. Some say the album is ahead of its time - so much so it would fit into the Trip Hop genre with ease. We’ll let you decide, all we know is we can’t stop playing it!

        Inspiration Information 45th anniversary limited edition is available as 1500 individually numbered copies on flaming (yellow & orange marbled) vinyl.

        STAFF COMMENTS

        Andy says: All you need to know about this beautiful record is that it was a massive influence on none other than Prince, and in a normal world would have propelled Shuggie Otis onto world super stardom ! Think a gentler, subtler Sly Stone. Stunning.

        FORMAT INFORMATION

        LP Info: LIMITED 45TH ANNIVERSARY EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON FLAMING (YELLOW & ORANGE MARBLED) VINYL

        Airto Moreira

        Soul Jazz Records Presents Airto: Samba De Flora

        Soul Jazz Records re-release Airto Moreira’s classic album ‘Samba de Flora’, out of print for 30 years ever since its original release in 1988.
        The impact of Airto Moreira in both the world of American jazz and in Brazilian music is unparalleled. At the start of the 1970s Airto was invited to join Miles Davis’ groundbreaking ‘electric’ group, which with albums such as the seminal ‘Bitches Brew’ helping Davis regain his title from John Coltrane as the most important jazz artist of all time.
        Two years later Airto helped establish two of the most important jazz fusion groups of all time: Weather Report, with Wayne Shorter, Joe Zawinul and Miroslav Vituous; and Return to Forever, with Chick Corea, Stanley Clarke and Flora Purim.
        Airto Moreira also began his solo career in the USA in 1970 and alongside his wife, the singer Flora Purim and Brazilian artists such as Hermeto Pascoal, Sivuca, Deodato, Raul de Souza, Azymuth, all played a major part in the Latinised sound of American jazz fusion throughout the 1970s. By this time Airto established himself in the USA in the 1970s, he had already had a formidable career back in Brazil in the 1960s as an important figure in the Bossa Nova movement, which soon after spread throughout the world. Airto played in a number of important groups during this time - Quarteto Novo Sambalanco Trio and Sambrassa Trio (all of with Hermeto Pascoal) - which proved to be three of the most ground-breaking groups of this era.
        The album ‘Samba de Flora’, including the seminal jazz dance title track, is a masterpiece of jazz and Brazilian fusion and features Airto Moreira alongside Flora Purim, fellow Brazilian artist Raul de Souza and heavyweight USA jazz musicians Alphonso Johnson, percussionist Don Alias (from Stone Alliance), Cuban conga player Cachete and Argentinian pianist Jorge Dalto.
        The album was originally released on the small independent Montuno Record label (which was run out of the unassuming Record Mart record store situated in the Times Square underground subway station!) and has been unavailable for many, many years.
        This album is fully remastered and re-released by Soul Jazz Records for the first time ever.

        "The Tipping Point" is the sixth studio album by hip hop band The Roots, following-up the phenomenal "Phrenology" with a concept album, the concept being to record an LP while they were on tour! Released on July 13, 2004 on Geffen Records, it is named after Malcolm Gladwell’s book of the same name (2000), Featuring rough-and-ready joints like "Duck Down!" and the single "Don't Say Nuthin'", warmer soul-induced songs like "Guns Are Drawn" and "Somebody's Gotta Do It" (with Jean Grae) plus a mad cover of George Kranz's bonkers disco cut "Din Da Da"! Plus, there's a secret, uncredited cover of the Booker T breakbeat fave "Melting Pot", which is a real bonus. "The Tipping Point" has been noted by music writers for exhibiting and emphasizing soul, jazz, and funk influences as well.

        STAFF COMMENTS

        Matt says: Vintage Roots album here, feverishly collected by hip-hop buffs and often fetching big bucks 2nd hand. A timely repress then, and flawlessly re-presented. Need? Want? Get!

        Donny Hathaway

        Everything Is Everything - Speakers Corner Edition

          Already a respected arranger and pianist who'd contributed to dozens of records (by artists ranging from the Impressions to Carla Thomas to Woody Herman), with this debut LP Donny Hathaway revealed yet another facet of his genius -- his smoky, pleading voice, one of the best to ever grace a soul record. Everything Is Everything sounded like nothing before it, based in smooth uptown soul but boasting a set of excellent, open-ended arrangements gained from Hathaway's background in classical and gospel music. All of the musical brilliance on display, though, is merely the framework for Hathaway's rich, emotive voice, testifying to the power of love and religion with few, if any, concessions to pop music. Like none other, he gets to the raw, churchy emotion underlying Ray Charles' "I Believe to My Soul" and Nina Simone's "To Be Young, Gifted and Black," the former with a call-and-response horn chart and his own glorious vocal, the latter with his own organ lines. "Thank You Master (For My Soul)" brings the Stax horns onto sanctified ground, while Hathaway praises God and sneaks in an excellent piano solo. Everything Is Everything was one of the first soul records to comment directly on an unstable period; "Tryin' Times" speaks to the importance of peace and community with an earthy groove, while the most familiar track here, a swinging jam known as "The Ghetto," places listeners right in the middle of urban America. Donny Hathaway's debut introduced a brilliant talent into the world of soul, one who promised to take R&B farther than it had been taken since Ray Charles debuted on Atlantic.

          Dark Carnival

          The Last Great Ride

            Detroit High Energy Rock in its purest essence!!!! Niagara (DESTROY ALL MONSTERS) & Ron Asheton (THE STOOGES) among other great Detroit musicians recorded this killer album back in 1996.

            Now it is finally reissued on vinyl with two added tracks to the original vinyl release, remastered in order to get its purest sound, and new artwork courtesy of Mrs. Niagara Detroit and Mr. Colonel Galaxy. And guess what?

            This is an extension of Destroy All Monsters with absolutely killer guitars in line with The Stooges "Funhouse" with the unique stamp and signature of Mr. Ron Asheton.

            10 classic shots which need to be in your record collection right by The Stooges, Destroy All Monsters, MC5, Sonic’s Rendezvous Band, Radio Birdman, The New Christs, Bored!, etc. 

            FORMAT INFORMATION

            Ltd LP Info: 150 grams vinyl, 500 copies ltd.

            The Modern Lovers

            Rock 'N' Roll With The Modern Lovers

              Rock ‘n Roll with the Modern Lovers is the second album released as Jonathan Richman and The Modern Lovers. The band, which is build around singer-songwriter and guitarist Jonathan Richman, almost totally focuses on the sound from the ‘50s. The lo-fi record breathes folky roots music and rock ‘n roll as it would sound ages ago. “Ice Cream Man”, “Egyptian Reggae” (earning them a UK Top 5 hit) and “Roller Coaster by the Sea” are all superb songs, uncomplicated and wonderful. This is one of the most remarkable projects recorded by Jonathan.

              The Modern Lovers were formed in 1970 by teenage singer, songwriter, guitarist Jonathan Richman, augmented with Jerry Harrison (keyboards), Ernie Brooks (bass) and David Robinson (drums), with Richman’s friend and original band member John Felice joining them occasionally.

              FORMAT INFORMATION

              Coloured LP Info: 180 gram audiophile.
              Limited edition of 1500 audiophile turquoise coloured vinyl.

              The Artwoods

              Art's Gallery

                The new release from Top Sounds Records honours one of the mid 1960’s most revered cult bands with the label’s first single artist long playing record and CD – the ARTWOODS!

                The ARTWOODS – Art Wood, Derek Griffiths, Malcolm Pool, Keef Hartley and future Deep Purple organist Jon Lord – recorded for Decca, Parlophone and Fontana from 1964 to 1967 and their Decca back catalogue in particular has been well documented by retrospective re-issues and compilations. The thirteen canvasses in ‘Art’s Gallery’ however are sourced completely from three live radio sessions that the ARTWOODS recorded for the BBC during 1965 and early 1966 and were not known to still exist. The British Broadcasting Corporation saved a number of tracks the group played for the Beeb and these have since appeared on the Cherry Red ‘Steady Getting It’ set, the rest of the ARTWOODS’ radiophonic output however was not kept by the BBC with the tapes being erased or junked. Thanks to diligent home taping by a particularly keen fan at the time, the ARTWOODS’ music for radio on ‘Art’s Gallery’ can again be heard in public for the first time in over fifty years. And besides welcome live takes of familiar favourites such as ‘Oh My Love’, ‘She Knows What To Do’ and ‘Don’t Cry No More’, there’s a spoil of cool numbers that the band never committed to disc. There’s the upbeat jazz of ‘That Healin’ Feelin’ and ‘Smack Dab In The Middle’, the slow burning blues of ‘How Long, How Long Blues’ and ‘Black Mountain Blues’, the soulful grooves of ‘Out Of Sight’ and ‘I Got A Woman’ and the pure mod suave of ‘Comin’ Home Baby’ (and more!).

                The music has been restored to the highest possible standards from the only known surviving reel to reel recordings and Top Sounds feel sure there’s a splendid time for all to be had from a visit to ‘Art’s Gallery’!

                A limited edition in both formats!!!!

                FORMAT INFORMATION

                Ltd LP Info: The vinyl version features a profusely illustrated 16 page ‘Radio Times’ sized booklet with a story featuring contributions from lead guitarist Derek Griffiths.

                Ltd CD Info: With 24 page booklet.

                Alternative Fox delivers a landmark release in the history of minimalism with a live performance documented from one of the genre’s key figures - Steve Reich. Recorded live at Berkeley University in the 1970s (home also to key minimalism figures Terry Riley and La Monte Young), this performance sees Reich deliver some of his now legendary compositions, such as the shifting tape-loop experimentation of "My Name Is", whereby vocals are cut up, looped and played at different speeds to create constantly shifting combinations. Similar to his "It’s Gonna Rain", it’s utterly disorientating and makes for an absorbing listening whilst doffing a cap to cut-up techniques championed by early Dadaists and later Brion Gysion and Burroughs. The two-part "Piano Phase" demonstrates the effects of playing minimalistic notes on two separate pianos at slightly different speeds, so the two drift in and out of phase with each other. The effects are highly meditative, causing subtle rhythmic mutations throughout the piece, whilst "Phase Patterns" explores a similar technique albeit with a grainer electric organ. Last but not least, "Four Organs" explores the effects of sustained chords on multiple organs, set amongst a perpetual maraca, whereby the combination of interlocking chords on the separate instruments amalgamate to form a dense, textured tonal tapestry.

                Sigur Rós

                Ágætis Byrjun - A Good Beginning (20th Anniversary Edition)

                  In 1999 the band released Ágætis Byrjun (‘A Good Start’), Q magazine deemed Ágætis Byrjun ‘the last great record of the 20th century’. By the end of the year, it had won the inaugural US Shortlist Prize for Artistic Achievement in Music.

                  This year celebrates the 20th Anniversary of Ágætis Byr-jun, and the band expand their breakthrough album with demo and archive versions of songs from the album, plus never-before-heard newly unearthed material from the time, rare b-sides and the full 95 minute concert played in Reykjavík on the day the record was released.

                  STAFF COMMENTS

                  Barry says: I mean, we all obviously know the original is one of the greatest albums of all time, but who would have thought that there could be this many amazing extra tracks and live material that could make an already stunning package even better. Their live show is indescribable, but this should give you a decent idea of what it's like. Essential purchase.

                  FORMAT INFORMATION

                  2xDeluxe LP Info: Double heavyweight vinyl. As released June 12th 1999 Original album plus download insert of rarities & live album.
                  DOWNLOAD INSERT OVERVIEW: The band expand their breakthrough album with demo and archive versions of all songs on the album, plus never-before-heard newly unearthed material from the time, rare b-sides and the full 95 minute concert played in Reykjavík on the day the record was released in 1999.

                  4xCD Box Set Info: 4 CD discs containing original album, live album and rarities with a soft back book:
                  CD1: Original Album - as released June 12th 1999
                  CD2: Live at Íslenska Óperan (includes previously unreleased tracks)
                  CD3: Live at Íslenska Óperan & Rarities (Live at Íslenska Óperan plus 3 previously unheard and unreleased tracks).
                  CD4: Rarities

                  Emotional Rescue is honoured to reissue the benchmark in new age ambient music, Michael Stearns epic Planetary Unfolding album. Out of press on vinyl for over 30 years, here is Stearns masterful electronic symphony in 6 movements, recorded using his Serge modular synthesizer at the Continuum Studio in 1981.

                  The culmination of years of exploration in "space" music, Stearns journey, to the album's release, was one of learning and application. Involved in music since his teens, he graduated from guitar bands in the late 60s to an increasing interest in the principles of electronic music synthesis and the physics of musical instruments.

                  He moved from Tucson, Arizona to Los Angeles in 1975 where he performed live during movement meditation classes at the Continuum Studio. He released his first cassette album in 1977 before going on to record 7 albums during this formative period.

                  With Planetary Unfolding, the musical ideas that Michael performed on the Serge developed into this 52-minute masterpiece of music, six movements, three on each side of the LP. Based on the idea that the universe is made of sound held together through resonance, where atoms, cells, oceans, plants, animals and humans, all are part of a complex orchestration - the Earth as a being of sound.

                  Having first approached Michael in 2013, his uncertain response that the album could be rereleased in a way that the music would be given justice via vinyl, the idea was never forgotten. Gaining discovery, appraisal and prominence when "As The Earth Kissed The Moon" appeared in edited form on the "I Am The Centre" box set from Light In The Attic, this excellent window into the world of Private issue new age music, superbly compiled by Douglas McGowan, further increased the interest in Michael's and others, such as Laraaji, music.

                  With the likes of Matthewdavid's Leaving Records and Jonny Nash's Melody As Truth pushing the ambient curve beyond a post club, chill out fad, classic albums can rightly sit alongside this 'new age of the new age', so that ambient music again has a gravity and place of it's own.

                  This specially re-mastered version by Bob Ohllson features the original artwork by Leilani Bost, liner notes by long-term friend and fellow musician, Gary David, as well as the photography of Ron Peterson, together bringing this wonderful album to life once again. 

                  Being the hip, musically minded record shopper you are, I assume you're well aware of Gil Scott-Heron's 2010 comeback, "I'm New Here". Depensing on your vintage, you may not be as acquanited with his 1994 comeback "Spirits", which enjoys a 25th anniversary reissue here. On its release, it was the first new material from the revolutionary poet and musician for 12 years, and found Gil in fine voice and sharp mind. The title track is an interpretation of the John Coltrane piece, and "The Other Side" is a live version of Scott-Heron's 1971 track "Home is Where the Hatred Is" with a new arrangement and many new verses that expand the original to nearly twenty minutes. It was later sampled for "Home" on the 2011 Jamie XX collaboration album We're New Here.

                  Repress of her in-demand and sought after 10 track LP compilation with all her Selector Sound 7in output. 180 gram pressing housed in heavyweight tip-on jacket Amidst much anticipation from collectors, record stores, DJ's and producers alike Gloria Ann Taylor's musical output on Selector Sound have been compiled and will be presented in a deluxe triple-gatefold double LP package complete with photos and extensive liner notes. Soul singer Gloria Ann Taylor has no rags to riches tale to tell. Her story is one of personal sacrifice, failed relationships, and missed opportunity. She was leading a hard knock life before being swept-up by the flash and promise of a marriage and business partnership with a successful record producer. She would be nominated for a Grammy, rub shoulders with James Brown and Bootsy Collins, and turn heads from Motown. But in the end she rejected professional singing, the music business, and the lifestyle that came with it.

                  Thankfully for music lovers, before Gloria closed the doors on her singing career, she left us with some amazing soul songs. Deeply shaded by gospel roots, her haunting sound clearly comes from the gut. Gloria did not fake the funk. Gloria was a partial owner of the Selector Sounds label, along with her husband/producer Walter Whisenhunt (previously a right-hand man to James Brown), and her brother Leonard. They released five Gloria Taylor singles between 1971 and 1977. They also released the three-song Deep Inside You EP, under the name Gloria Ann Taylor and Walter Whisenhunt's Orchestra. In the studio Whisenhunt would work up a unique musical brew that mixed northern soul with exotic percussion and fuzzy psychedelic guitars. He moved Gloria through a range of tempos and stylings from ballads to disco. Her gritty vocal performance was set to orchestral arrangements creating a juxtaposition of grandeur and solace. The pinnacle of their collaborations has to be the jaw-droppingly epic EP version of "Love Is a Hurting Thing"; a chugging, string-laden disco track, that sounds like proto-Theo Parrish. 

                  Kashmere Stage Band

                  Texas Thunder Soul 1968-1974

                  After capturing audience awards festivals like SXSW and the Los Angeles Film Festival, the word is out that Kashmere was the greatest high school band - ever. Their story is tucked in between slabs of hard 70s funk, soul, and jazz: Conrad Johnson transformed a bunch of rough-hewn high schoolers into a band that could compete with any in the nation – professional, or otherwise. Forget high school bands, we’re talking about sixteen year old kids who would give the JBs a run for their money! The Kashmere Stage Band released a total of eight albums and three 45s on Johnson’s Kram label. The band’s best tracks are collected here. Producer Eothen “Egon” Alapatt features an expanded booklet with updated liner notes and essays, more rare photos and ephemera, and a download card which contains the B+/Flying Lotus produced Texas Jewels: The Making Of Texas Thunder Soul short, a recently unearthed 1973 documentary on the band, and a 1972 performance.

                  FORMAT INFORMATION

                  2xLP Info: Double LP, including booklet and download card.

                  Mono

                  Hymn To The Immortal Wind (10 Year Anniversary Edition)

                    To commemorate the 20th anniversary of MONO – and the 10th anniversary of their most iconic album Temporary Residence Ltd. proudly presents Hymn to the Immortal Wind – Anniversary Edition. Beautifully remastered from the original analog master tapes by Bob Weston at Chicago Mastering Service, this super deluxe reissue sounds, looks, and feels more pure and powerful than ever before. The CD format has been repackaged in a gorgeous full-color gatefold jacket with metallic gold inks, matte varnish, and custom inner sleeve. The 2xLP vinyl format is packaged in a mind-blowing full-color, custom die-cut jacket with metallic gold foil stamping, matte varnish, and 7 interchangeable full-color cover inserts. The vinyl is pressed onto 100% virgin, audiophile-quality vinyl. No expense was spared in properly honoring what has become MONO’s most beloved album. 

                    FORMAT INFORMATION

                    2xColoured LP Info: Indies Only Metallic Ocean Blue & Green vinyl.

                    2xColoured LP includes MP3 Download Code.

                    In 1994, hip-hop was going through an at-times painful growth spurt. Since NWA’s and Ice-T’s ascent in the late 80s, the rap game was no longer owned by the East Coast. After the worldwide popularity of Dr. Dre’s ‘The Chronic’ in 1992, things were looking even worse for hip-hop’s hometown. The East Coast / West Coast feud that would later indirectly claim the lives of Biggie and 2Pac was still in its infancy, but New York needed a shot in the arm. The hype behind young Queensbridge native Nasir “Nas” Jones had been in full swing months before his smash debut album ‘Illmatic’, thanks to Columbia Records’ promo machine. From his earliest appearance on Main Source’s ‘Live At The BBQ’, to his own accomplished debut ‘Half Time’ (as Nasty Nas, in late 1992), it was clear that this kid was something special. In fact, the pressure on him must have been overwhelming at times. April 19, 1994 couldn’t have come soon enough. And as soon as the first lines of ‘NY State Of Mind’ kick in, bolstered by perhaps DJ Premier’s darkest beat of all time, the entire East Coast breathed a collective sigh of relief. God’s Son had arrived. Backed by an absolute all-star cast of New York’s top-shelf producers - Premier, Pete Rock, Large Professor, Q-Tip and a youngster named LES - the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, “Don’t f*** with the East… we are BACK”. ‘Illmatic’ was actually a slow-burn, which might surprise fans that have come to its genius more recently. Despite an unheard-of “5 Mics” rating in The Source – breaking an unwritten rule of never awarding classic status to debuts - it didn’t go gold until early 1996, and didn’t hit platinum status until late 2001. But when you dive deeper that shouldn’t be a shock: like Black Moon and Wu-Tang’s debuts, it was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills and heart.

                    STAFF COMMENTS

                    David says: This album pretty much single handedly reignited the flame of East Coast hip hop. Produced by DJ Premier, Large Professor, Pete Rock AND Q Tip!! It's an authentic, masterpiece of minimal beats and street poetry that is universally recognised as one of the greatest rap albums of all time.

                    Six Organs Of Admittance

                    For Octavio Paz

                      Hermit Hut is pleased to announce their first Six Organs Of Admittance release with remastered For Octavio Paz, on vinyl for the first time since it’s original pressing of 500 on Time-Lag records in 2003 (which sold out in 24 hours). This new edition has been re-mixed and remastered from the original four-track cassettes to bring out the resonant tones of the acoustic guitars that were lost in the original transfer (2019 analog-to-digital technology has come a long way since early 2000 16-bit DAT machines, remember those?)

                      For Octavio Paz is considered by many to be a high point in the early Six Organs of Admittance catalog. Almost wholly instrumental, it is the only Six Organs record that sounds fully dedicated to touching the edges of an acoustic finger-style world that was still quite underground back in the first few years of the new century.

                      The songs here utilize a variety of approaches to the acoustic guitar, both steel string and nylon, solo and overdubbed, but always in the service of atmosphere. The record ends with a side long solo steel string piece that sounds equally at home next to modern guitar players like Tashi Dorji (who released his first LP on Hermit Hut) as classic American Primitive players such as Robbie Basho.

                      When released on CD in 2004, For Octavio Paz earned an 8.0 from Pitchfork who said, “Though they vary from melancholy to warm memory in between notes, the emotions that Chasny creates on For Octavio Paz are always stark and imagistic.”

                      Iggy Pop

                      Zombie Birdhouse

                        Originally released on Animal Records in 1982 and produced by Chris Stein of Blondie, ‘Zombie Birdhouse’ is something of a lost classic.

                        Produced by Chris Stein
                        Remastered by Paschal Byrne at The Audio Archive, London
                        Features the singles “Run Like A Villain” and ‘The Villagers”
                        Sleeve Notes by Irvine Welsh
                        Rare Photographs from the original photo shoot


                        FORMAT INFORMATION

                        Coloured LP Info: Indies exclusive orange vinyl limited to 800 copies.

                        CD Info: The CD edition is Expanded with the addition of a Bonus Track in the form of the original version of “Pain & Suffering”, which features Debbie Harry on backing vocals. The song was originally recorded for the ground-breaking animated feature film, “Rock & Rule” (Iggy provided the voice of the Monster From Another Dimension and Debbie Harry the voice for the character, Angel) but the OST was never released.

                        W. H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.

                        That approach was challenged when they released their debut 10” ('Inspiration!/Nothing Is') in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.

                        W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut - the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement 'Simpatico People'.
                        “I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”


                        STAFF COMMENTS

                        Mine says: Possibly one of the most anticipated albums of the year here at Piccadilly (we wouldn't interrupt our Christmas do for just anyone but if it clashes with a W.H. Lung gig then that's where we end up!)... Like a joint effort from Talking Heads and NEU! thrown head first into 2019 with an extra portion of shimmery beats and hooks. PLAY IT LOUD!

                        FORMAT INFORMATION

                        2xLP Info: Black 180g double LP in gatefold jacket.

                        2xLP includes MP3 Download Code.

                        CD Info: CD In Card Wallet.

                        "Step in the Arena" is the second studio album by hip-hop duo Gang Starr, printed as a 1990 release and commercially released on January 15, 1991. The album received critical acclaim and was also included in the book 1001 Albums You Must Hear Before You Die.

                        The Source magazine stated: 'Step in the Arena stands alone on a musical level, yet it also remains true to hip-hop’s underground heritage.' In 1998, the album was selected as one of The Source’s 100 Best Hip Hop Albums. 


                        FORMAT INFORMATION

                        2xLtd LP includes MP3 Download Code.

                        Tunng

                        This Is Tunng...Magpie Bites And Other Cuts

                          Since forming in 2003 and over the course of six studio albums, Tunng are a group that have explored the boundaries between acoustic and electronic music, becoming synonymous with the folktronica genre before moving into territory that managed to both evade that label and continue to redefine it. This is a collection of rare gems and oddities released from 2004 to 2018. These are the 7”s, special editions, b-sides and hidden tracks that would otherwise be lost in the ether. Here they are sitting side by side like a wonky gang, leaning in to share their strange tales.

                          FORMAT INFORMATION

                          2xColoured LP Info: Clear vinyl.

                          William Hooker

                          ...is Eternal Life

                          Drummer, composer and poet William Hooker has been a tireless force in free improvised music for over 40 years. He emerged from New York’s loft jazz scene in the mid-’70s, part of a generation of artists fueled by the social, political and cultural frustrations of their era. This second wave of American free jazz would push relentlessly into new territories, collaborating in a variety of non-traditional settings, establishing their own labels, venues, etc.; all in an effort at creative self-determination. While William Hooker’s output extends past 70 albums as leader, it all began with the double LP "... Is Eternal Life". Recorded in 1975-1976 and released privately on the artist’s own Reality Unit Concepts imprint, "... Is Eternal Life" is nothing short of visionary. Filled with tension, intricacy and raw fury, these extended compositions feature the playing of David Murray, Mark Miller, David S. Ware, Hasaan Dawkins and Les Goodson. 

                          First time reissued on vinyl!

                          Originally issued as a hand-dubbed demo tape in 1982, Elisa Waut’s icy debut gets its first vinyl issue. The Flemish trio of Chery Derycke and siblings Elsje and Hans Helewaut took new wave to its natural conclusion; trading Europe’s organic post-punk approach for the new cold war order of synth and rhythm box. Soviet paranoia, isolation, suicidal musings, and other miscellaneous bouts of young adult depression are covered in both French and English. A 28-minute minimal wave masterpiece.

                          Julian Cope

                          Autogeddon (25th Anniversary Box Set)

                            In 1994 Julian Cope released his eleventh solo album Autogeddon. This is the 25th anniversary deluxe edition with rare bonus material and a newly written book, which contextualises this underground masterpiece for the first time. Celebrating it’s 25th anniversary this year and inspired by Heathcote Williams’ poem of the same name, Autogeddon is largely a diatribe against car culture. As recounted by Julian in the American Records biography:

                            “My wife and I were walking along near Covent Garden. Just as we were crossing the street, out of the corner of my eye I saw this yellow Ferrari Testarossa. They only make three of these a year in yellow – it’s like – ‘not only have I got money, but I’ve got yellow money so I need to flaunt it. And it went past – ZOOM – and just missed my wife. I thought, ‘that was really close, what’s that about? Tense asshole with all that money.’ I suddenly realized that he’d gone down a one-way street, so I started walking. I didn’t know what I was going to do, I just thought I’d go check this guy out and see what his problem was.I came round the corner and, parked outside this sandwich shop was the yellow Ferrari. So I just stood in front of it with my legs against it and started rocking it. Then I walked back 50 yards or so to this building site and heaved up this big bag of industrial rubble, and jerked it very, very slowly along the street. I finally got it in front of the Ferrari and, well I didn’t throw the bag, I just tossed the rubble all over the car, and it fell almost slow motion all over the front of this car. I thought, ‘fuckin’ hell, what have I done?’ All these people were looking at me and I just legged it. That was really the start.”

                            Autogeddon concludes a trilogy of started by Peggy Suicide and Jehovahkill, it showcases Cope’s continuing focus on heathen religious practices and ancient monuments.


                            FORMAT INFORMATION

                            2xCD Info: Comes with 32-page booklet, housed in book style CD size hard case.

                            LP Box Set Info: LP in gatefold sleeve, 12" EP, hand stamped 7", postcard set and 24-page book, housed in a clothbound box.

                            Mort Garson

                            Mother Earth's Plantasia - Reissue

                            In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

                            Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

                            Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

                            But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.

                            The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

                            “My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

                            Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

                            Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’s new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.


                            FORMAT INFORMATION

                            Coloured LP Info: Green vinyl.

                            Disco lovers rejoice! Chic's first three albums are back on wax in wonderful remastered form. These versions of Chic, C’est Chic and Risqué feature the Nile Rodgers’ Signature Edition Remasters, which debuted last year as part of The Chic Organization 1977-1979 boxed set.

                            Each album was remastered from the original Atlantic stereo tapes by Miles Showell at Abbey Road Studios. Rodgers served as executive producer and supervised the remastering with the approval of Bernard Edwards’ estate. To ensure exceptional sound quality, the albums were mastered at half-speed and pressed on 180-gram vinyl.

                            The group's 1977 debut, self titled of course, introduced the world to the majesty of America's premier disco ensemble, and a whole load of happy people glued to the floor thanks to the sublime "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)" and "Everybody Dance". 

                            The Oh Sees

                            Graveblockers (Reissue)

                              Encased in a brown paper wrapping like a forgotten bit of smut from behind the beaded curtain, this unassuming disc is a time-capsule back to John Dwyer’s early SF days, janglingly fingerpicked wisps of melody and electronics baking in the all-too anemic sunshine of San Francisco’s elusive summer. Like a seashell to the ear, one can hear within it Baker Beach bike ride excursions, holding court and gently harassing passers-by on a Haight street stoop, and midnight rambles with friends from out of town, daring the sun to come up.

                              Somewhere chronologically between the folky whisper of Songs About Death And Dying and the recently reissued Cool Death Of Island Raiders, this one’s been vexing to find for way too long and Castle Face has decided to give it “the treatment”. May it awaken the gentle glow of possibility dappled with the dancing shadow of danger that it stirs around this castle.

                              STAFF COMMENTS

                              Mine says: Much anticipated reissue of this low-key/lo-fi The(e) Oh Sees EP from 2006, now available on green vinyl. Don't snooze!

                              FORMAT INFORMATION

                              Coloured LP Info: Limited edition green coloured vinyl with insert.

                              Coloured LP includes MP3 Download Code.

                              Michael Rother

                              Katzenmusik

                                “This is a special guy. Rare among fine musicians is one who never bit the industry weenie. This guy never did. He’s done nothing but superior work just the way he hears it. An understanding of space within the music, nothing there that doesn’t need to be and an attention to every note. It’s an exceptional talent and one that’s heavily influenced all sorts of people for a long long time. 

                                He hit all the right notes in the post-war evolution of German music. 

                                God bless Michael Rother” - Iggy Pop, 2018

                                Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums on Fable by Austin bands 47 Times its Own Weight, Steam Heat and Starcrost. With only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all 3 have gone on to become highly sought after by collectors and DJs around the world.

                                We meet with Michael at our UK offices and over several hours he tells us the highs and lows of running Fable Records, leaving no stone unturned and with success and tragedy in equal measure. We also speak with members of all 3 bands, and they share with us interesting stories and cool anecdotes of the wild times in the mid '70s when their records were made. We acquire informative press cuttings and some awesome posters & flyers, and all of this we publish in a booklet included with each LP which are housed in a US-style tip-on sleeve. Jazzman Records - We Dig Deeper.



                                STAFF COMMENTS

                                David says: Jazzman have long been one of the UK's finest reissue labels. On their latest releases they're mining the underground Texan funk and soul scene of the early seventies. Steamheat are heavy on the Rhodes piano and funkier than a mosquito's tweeter.

                                The Montgolfier Brothers

                                Seventeen Stars

                                  After a short label hiatus, Caroline True Records bring US a limited vinyl edition of a classic Salford / Manchester album. The Montgolfier Brothers, Mark Tranmer (GNAC) & Roger Quigley (At Swim Two Birds) initially released “Seventeen Stars” on the Salford-based Vespertine label in 1999.
                                  Much critical acclaim & appreciation from pop dynamo Alan McGee led to a 2000 rerelease on his nascent post-Creation Poptones imprint.

                                  “So we ended up pressing records as usual. Our first record was Seventeen Stars by the Montgolfier Brothers, a baroque, cinematic classic that almost no-one has ever heard.” Alan McGee (On Poptones in “Creation Stories: Riots, Raves & Running A Label” 2013 )

                                  Since that moment, “Seventeen Stars” has gathered universal plaudits & affection, along with occasional live performances from the group. To mark the 20th anniversary of the original release, CTR have remastered this brilliant work for vinyl. The sleeve expands the original Vespertine CD release artwork to LP size. Beautiful, memorable, fragile ... An album that proves the longevity of great songwriting, tunes and textures that stay with you. 
                                  For lovers of Felt, The Durutti Column, Jacques Brel, Blue Nile & François de Roubaix

                                  STAFF COMMENTS

                                  Laura says: One of the real hidden gems of Manchester music history, The Montgolfier Brothers' debut album, originally released on Vespertine Records back in 1999, gets a much needed reissue. Their intricate melodies, combined with a cinematic lushness, and heartfelt songs were never easy to pigeonhole and consequently, despite being championed and re-released by Alan McGee on his Poptones label in 2000, this album never received the acclaim it deserved.

                                  FORMAT INFORMATION

                                  Ltd LP Info: Fully Restored Vinyl Remaster & Restored Original CD Release Artwork For Vinyl With Memorabilia Assemblage Full Colour Inner-Sleeve

                                  Hot Casa hit us with a fantastic and rare album by Manu Dibango, the Afro Soul Maestro!
                                  These tracks were recorded in 1971 at Pathé-Marconi studio (Boulogne Billancourt) for professional sound illustration intended for the cinema, television and advertising. The jazzman experimenting with all genres was then beginning to convert solely to what soon to be called “Rare Groove” somewhere between Soul, Jazz and Afro-Funk, with a hint of Latin clave.
                                  In 2019, these tunes have not aged and the sound can be considered as “Huge” by many crate-diggers. These recordings were not supposed to reach the club or radio audience, it was more free sessions, a moment during they can open their imagination and test their “Afro something”, like Manu Dibango call it. Theses recording sessions included the best of the french soul scene at this time, Yvan Julien (Trumpet), Slim Pezin (Guitar), Jacques Bolognesi (Trombone), Lucien Dobat (Drums), Emile Boza (Percussions, Manfred (Bass) and the conductor himself at the vibraphone, marimba, saxophone, organ ...
                                  This album is a wonderful return to the future and should satisfy the need of the Afro-Soul aficionados! We're very happy to celebrate the 86th anniversary of the best French musician in history with one of his best recording reissue!

                                  STAFF COMMENTS

                                  Sil says: Hot reissue in a hot label! This is Dibango at its finest. The pressing is excellent with a heavy and rich sound. This is a collector's item and will fly pronto!

                                  Aswad

                                  Live And Direct

                                    Aswad’s 1983 album Live and Direct was recorded at the Notting Hill Carnival. Accompanied by a powerful horn section they created an energetic show, in which they let the listener hear the depth of their music. It’s an amazing journey with highlights like “Drum & Bass Line”, “Soca Rumba”, and the fantastic “Rocker’s Medley”. This British Reggae classic is fully packed with their unique rhythm and funky grooves. Amazing beats and wobbly bass lines marks this as one of the greatest live albums from the Reggae scene.

                                    The long-lasting British reggae group Aswad recorded over 20 albums, released several charting hit songs, and are still performing live. 

                                    STAFF COMMENTS

                                    Andy says: Early 80's UK reggae, classic live album, recorded at the Nottinghill Carnival, no less. Aswad I'm talking about!

                                    2015 was another great year for Z Records, a year that saw the release of the new artist album from Opolopo, the Joey Negro compiled Le Freak - a tribute to the sound of Chic, 90’s House & Garage and the long awaited Supafunkanova Vol.2 alongside Sean P.

                                    Z Records is starting 2016 in similarly strong fashion with the follow up to Remixed With Love. It's been over two years since the first instalment which topped many sales charts on its release so now the remixes that made up that album have been heard on house and disco dancefloors around the world ever since, it's time for Volume 2. So allow us to present 20 more reworkings of classic soul, funk, disco and boogie tracks from the likes of Grace Jones, Robert Palmer, Cheryl Lynn, The O'Jays, Gwen McCrae, George Benson and many more.

                                    Admittedly, we live in a world where remixes and edits of vintage dancefloor anthems aren't exactly hard to come by, in the same way that grains of sand aren't hard to come by on a beach. But where Soundcloud, Beatport et al heave under the weight of a gazillion bootleg offerings, many taking a dusty, scratched old 12-inch or a dodgy MP3 as their starting point, Remixed With Love is a little different. Not only is the man with one of the most legendary record collections in the game guaranteed to dig deeper than most, every track you hear has been (re)created using spanking new analogue transfers of the original multi-track tapes, with the full consent and co-operation of the copyright owners. Which means not only are you getting the best possible sound quality, the creators of the original tracks are getting paid too – as they damn well should be. These multi track tapes also uncovered elements that were not used in the original mixes so Joey has incorporated some of these never before heard parts such as the Grace Jones aerobic workout instruction.

                                    Putting an album like this together is no easy feat, as Dave himself explains in the extensive liner notes that accompany this package. First, you have to get permission from the copyright owners to undertake the project at all – which can in itself entail hundreds of emails and phone calls. Then you have to track down the original tapes – when many may have been recorded over, lost or simply destroyed – and convince the label archivists to get them digitised. And that's before you even start on the remixing… which is when you find half the parts are missing, or you can't foreground that killer piano lick you wanted to because the original was recorded live in the studio and the piano track has the bassline bleeding all over it. The title of this album is extremely appropriate, because for Mr Lee this definitely has been a labour of love!


                                    STAFF COMMENTS

                                    Matt says: Wanna hear a secret? Disco edit LEG-ENDS Joey Negro Vs. John Moralles - playing only their own edits and reworkings in a b2b style for hour upon hour; with the winner being the first one not to loose the floor. Good idea? I just need a venue. Please get in touch lads!

                                    Chocolate Buttermilk Band

                                    Head Games (The Story Of Larry Akles & CBM Records)

                                    Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades. While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.

                                    Jerome Derradji & Past Due Records present “Head Games (The Story of Larry Akles & CBM Records)”. Released on a double LP with printed inner sleeves (or booklet) that include never seen before pictures of the band and a story written by Jacob Arnold. Artwork is by the mighty Al Kent. 

                                    This compilation includes every song released by the Chocolate Buttermilk Band, remastered and reissued for the first time. Needless to say, this is an essential release for fans of Boogie, Soul and Funk as the Chocolate Buttermilk Band releases are known to fetch thousands in the collectors market.

                                    In Larry Akles own words, “This girl in Atlanta told me one time, she said ‘Larry, I heard on the radio that Chocolate Buttermilk was going to be on the show, and I told my girlfriend, Oh, it’s gonna be onnnn if Chocolate Buttermilk on there, ’cause whoever come behind them, they got to go!’” He continues, “When we hit the stage, boy it’d be some fire. We wouldn’t have to get warmed up. We’d start off hot!”

                                    Joy Division

                                    Unknown Pleasures - 40th Anniversary Edition

                                    A limited edition 40th anniversary version of Unknown Pleasures will be released on June 14th, almost forty years to the day after it was originally released. The LP will be pressed on 180g ruby red vinyl with an alternative white sleeve resembling the original design idea.

                                    It's a celebration of one of the most important albums of our time as well as a landmark in music/design crossover history.

                                    One of the most significant debuts of all time, the album’s legacy continues to endure with NME claiming it to be ‘simply one of the best records ever made’


                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited 180 gram red vinyl.

                                    While the Sex Pistols and The Clash might have soaked up much of the punk spotlight in the ’70s, Buzzcocks brought something equally influential to the table. The Buzzcocks’ influence on indie rock, power-pop, punk rock and pop-punk is hard to overemphasize. When you think of the punk-pop tag, no band embodied it or perfected it quite like Buzzcocks.

                                    Their songs were gritty, speedy and short like a lot of other punk music, but few punk bands remained committed to pure pop songwriting like Buzzcocks. Pete Shelley’s voice was snotty and full of attitude, their lyrics pushed social boundaries and the band’s guitars were pumping and lightning fast, but their infectious melodies might have fallen more in line with the pop or New Wave acts of the day than say, The Damned or The Stooges.
                                    While albums like Another Music in a Different Kitchen or Love Bites are still worth digging into, the general consensus is that Buzzcocks’ most essential release is their 1979 singles compilation Singles Going Steady. It contained album cuts like “Ever Fallen in Love (With Someone You Shouldn’t’ve),” non-album singles like “Orgasm Addict” and “Everybody’s Happy Nowadays” as well as B-sides like “Autonomy” and “Noise Annoys.” The album’s eight singles and eight B-sides buff out the occasionally forgettable moments of their LPs and it’s the most accurate document of Buzzcocks as a band.

                                    The songs that make up Singles Going Steady are largely about relationships and youthful frustration, and the album leads off with “Orgasm Addict,” an explicitly sexual song about everything from masturbation to full-on sex addiction. The song, which also features Shelley’s erotic moans, was unsurprisingly banned by the BBC upon release. Continuing with themes about the universal, inevitable shortcomings of youth, “I Don’t Mind” sums many of them up in a sharp, snappy rock ’n’ roll nut shell. Shelley paints a picture of the longing for another and the highlighting of your own insecurities when you do find that person. What begins with a song about loneliness and escape transforms into a song about fear of unreciprocated romantic feelings, which stems from a lack of self-confidence.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Indies exclusive translucent violet coloured vinyl.

                                    It's conceivable that internal friction helped inspire the title of the third Buzzcocks longplayer, 'A Different Kind Of Tension'; the group would splinter shortly after the album's 1979 release. But the U.K. pop punk band went out with a bang, marshaling one of their most diverse and exciting sets of songs under the guidance of producer Martin Rushent. The breakneck pace of their first recordings is well represented by such tracks as opener “Paradise,” though by the closing sound collage “Radio Nine,” chief songwriter Pete Shelley has managed to indulge his more experimental side as well – without ever abandoning the trademark Buzzcocks wit and emphasis on melody.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Indies exclusive yellow vinyl.

                                    Performing throughout the 1980s as Art Carnage to the gloomy hipsters of Portland, Attilio Panissidi III decided he needed a vacation. The result of his creative escape became Art Takes A Holiday, an album of fabricated FM synthscapes and MIDI environments that embrace elements of smooth jazz, new age, and pop.

                                    Attilio had been playing in bands since he was thirteen, and had opened live shows for countless acts, from The Shangri-Las to Bruce Hornsby. The experience of producing, performing, as well as years spent writing for local music magazine The Downtowner, earned Attilio a gig to score a commercial film for a home security systems company. The opportunity allowed him to explore softer elements in his writing, and he created a suite of songs much deeper than the commission warranted. These instrumentals caught the attention of Marlon McClain (Gap Band, Shock), who invited Attilio to produce and release the music on his fledgling Nu-Vision label. Thus "Art Takes A Holiday" found its commercial release on cassette and CD in 1989. Although originally intended as soundtrack music, the album retains its own momentum, narrative and evocative imagery that betrays Attilio’s years of crafting songs. Attilio found a perfect ambience on this mythic retreat, somewhere between William Aura’s summer cottage on Half Moon Bay and DJ Alfredo’s Balearic island getaway.

                                    STAFF COMMENTS

                                    Patrick says: Originally released in the era when New Age and new technology found a perfect synergy, “Art Takes A Holiday” is a killer set of exotic synth suites, future primitive grooves and esoteric dancers, each of which could have graced the soundtrack of a late 80s film about cops, surfing and computer systems.

                                    Reissue of rare UK ambient techno from ’93-‘94. Cold Blow has joined forces with Berlin’s AVA. Records in unearthing some of the finest ambient techno from the Artificial Intelligence era in a beautiful double LP package. The compilation covers essential cuts from the back catalog of J. M. Adkins’ releases and includes 2 tracks available on vinyl for the first time!

                                    Aside from "Descent", a previously unreleased track, the material was previously released on the short-lived Metatone Recordings which was founded by Adkins himself together with Damon D’Cruz known from his preceding Jack Trax label. Today the original releases are sought after rarities which demand high prices on the 2nd hand market.

                                    Compiled from the original DAT tapes and remastered by Andreas 'Lupo' Lubich at Calyx Mastering, “Electro Music Union, Sinoesin & Xonox Works 1993 - 1994” reintroduces Adkin’s work as some of the era-defining classics from the early years of techno. A must-have reissue for the fans of early B12, AFX, The Black Dog, Kirk Degiorgio, et al.


                                    STAFF COMMENTS

                                    Matt says: Another humbling reissue from the mid 90s UK techono scene that's painfully beautifully. If you liked Safe Trip's Trans-4AM re-release, you need this in your baskets now! I'm shocked at how many lesser celebrated masterpieces from this era these labels are digging up - but I'm not complaining - keep 'em coming please!

                                    R.E.M.

                                    In Time: The Best Of R.E.M. 1988-2003

                                      In Time: The Best Of R.E.M. 1988-2003 is more than a greatest hits compilation, it’s an opportunity to reflect on the astonishing creative and cultural influence of one of the most innovative bands of modern rock history.

                                      With “Losing My Religion,” “Man On The Moon,” “Nightswimming,” “What’s The Frequency, Kenneth?,” “Orange Crush,” “Everybody Hurts” and many more, In Time serves as a reminder of R.E.M.’s key role in shaping the sound of the last three decades. The set also features the tracks “Bad Day” and “Animal,” both originally released for the first time as part of this collection. 

                                      STAFF COMMENTS

                                      Andy says: It's ridiculous how many classic songs there are on this LP. Even as latter records faded in impact, they still had top lead tracks, top singles. They were one of my favourite ever bands.

                                      FORMAT INFORMATION

                                      Ltd LP Info: Pressed on 180gram heavyweight black vinyl.

                                      Duster

                                      Contemporary Movement

                                        A muffled cry into the technological darkness, Contemporary Movement slid into the world right as the MP3 was seeping out of college dorms. A 39-minute drift into the void, drenched in Cold War-era reverb and then submerged in four track hiss for good measure. Duster constructed a Brutalist masterpiece on the outskirts of a suburban mall, as if to say, “We were here.” 

                                        Duster

                                        Stratosphere

                                          Best listened to from inside the womb, Duster’s 1998’s debut Stratosphere simultaneously capped off and reinvented the slow core’s first wave. A four track dreamscape that will wake the neighbors and then lull them back to sleep. Hazy, arpeggiated guitars layer over a deliberate drummer with no real place to be, as semi-inaudible vocals warn of millennial malaise and subtly encourage the listener to “rock out, rock out, rock out, rock out.

                                          Politico dub-collage practitioners Guerilla Welfare came from Edmonton, Alberta, coincidentally the birthplace of prophetic media sage Marshall McLuhan. Armed with vanguard ideas taken from Steve Reich, Fela Kuti, Robert Fripp and Material, the duo of Curtis Ruptash and Brian Schultze adopted the “studio as instrument” mindset of Eno and King Tubby creating complex textural and polyrhythmic sonic insurgencies. They overdubbed drum computers, guitar, bass, noise-makers, mallet percussion, sitars, often accompanied by sampled vocals and found sound taken from TV. Their pan-global, multi-media palette supported zeitgeist commentary — often, with a healthy dose of gallows humour — on gender, power structures, and sexual and geopolitical tensions in the late 80s. Their DIY bunker studio experimentations align them with genre defying dub-infused outfits like African Head Charge, Dome, Lifetones, Naffi, Woo, Negativland and The Residents. "The Nature of Human Nature" captures Guerilla Welfare’s most formidable output, compiling tracks selected from their entire discography (two LPs and a cassette collaboration with poet Mary Howes), all originally self-released from 1986 to 1991. Remastered from the original tapes.

                                          Tess Parks

                                          Blood Hot

                                            Long overdue vinyl issue of Tess Parks 2013 Mazzy Star-esque debut. 

                                            A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music. Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music.

                                            Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her “gauzy psychedelic sound” and “smouldering voice”. Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet ... her most beautiful quality is her lack of ego. Tess is an amazing lady”.

                                            June 2015 saw the spine-tingling collaboration between Tess Parks and Anton Newcombe (Brian Jonestown Massacre) and the resultuing LP ‘I Declare Nothing’ released to critical acclaim on ‘A’ Recordings. 

                                            FORMAT INFORMATION

                                            Coloured LP Info: Repress on white vinyl.

                                            The Modern Lovers

                                            The Modern Lovers - Coloured Vinyl Version

                                              This is the eponymous debut studio album by the American Rock band The Modern Lovers, originally released in 1976. Six tracks (“Roadrunner”, “Astral Plane”, “Old World”, “Pablo Picasso”, “She Cracked” and “Someone I Care About”) were produced by John Cale. They influenced numerous aspiring punk rock musicians on both sides of the Atlantic, including the Sex Pistols, whose early cover of “Roadrunner” was placed on The Great Rock ‘n’ Roll Swindle. The album was included in Robert Dimery’s 1001 Albums You Must Hear Before You Die. In 2003, the album was listed on Rolling Stone magazine’s list of the 500 greatest albums of all time.

                                              The Modern Lovers were formed in 1970 by teenage singer, songwriter, guitarist Jonathan Richman, augmented with Jerry Harrison (keyboards), Ernie Brooks (bass) and David Robinson (drums), with Richman’s friend and original band member John Felice joining them occasionally.

                                              The Modern Lovers is available as a limited edition of 3500 individually numbered copies on silver coloured vinyl.

                                              STAFF COMMENTS

                                              Andy says: Sounding like a chunkier Velvet Underground, blasted into the Seventies, this is crammed full of classic songs and incredible words. One of the best albums ever!

                                              FORMAT INFORMATION

                                              LP Info: 180 GRAM AUDIOPHILE VINYL
                                              LIMITED EDITION OF 3500 INDIVIDUALLY NUMBERED COPIES ON SILVER COLOURED VINYL

                                              "A manner or style, a frame of mind, thought or existence" (Mode).
                                              "Intelligence quotient, the use of perception or awareness." (IQ).

                                              Mode I/Q, the self-proclaimed unknown band, was a richly textured, bold project starting life in 1979 out the embers of punk and new wave resulting in a hypnotic convergence of love, the future, life and art.

                                              Lucian and Nicolas, two creative spirits who viewed the world through their own prism, augmented by a moving cast of friends and acolytes, were together compelled to make great music. This was a concept from the heart, with transformativelive performances, channelling spaces into art "Mode" events orchestrated to bring about a full integration of site and sound.

                                              Psychedelic, punk overtones. A funky electronic hybrid, mixing Kraftwerk with black music. Guitars delayed and twisted through echo boxes and micro synths. Casio and Commodores delivering the machine funk. Mode I/Q played CBGBs, Max's Kansas City and Danceteria in their three year lifespan. Just 3 releases deep, 1984's mini LP "Mind/Soul" captures the band at their best. 6 songs to immerse, dance and shake the mind.

                                              STAFF COMMENTS

                                              Patrick says: Machine funk at its finest here, on my personal reissue of the week. Whether you're snaking your hips to the wavy "Competition", enjoying the pre-shoegaze and post motorik pulse of "Looking Through Your Mind" or strutting to the gnarly new wave of "Two Different Things" there's so much to love here!

                                              Richard Hawley

                                              Richard Hawley - Clear Vinyl Edition

                                                Before the release of this 7 track mini album in 2001, Richard Hawley was solely know as a guitarist, having been a member of The Longpigs and touring guitarist for Pulp. With this album though, he demonstrated his knack for writing a killer tune and it was our first introduction to THAT VOICE.

                                                Both this and the following full length album, "Late Night Final" are absolutely timeless albums that draw on a rich musical history and could have as easily been written in the middle of the 20th century as the start of the 21st: His rich baritone vocals crooning over gorgeous guitar melodies and hushed drums.

                                                To celebrate his new album "Further" our good friends at Music On Vinyl have presented to us the three Setanta albums from their back catalogue. A super limited one off pressing with just 275 of each available on clear wax - gotta move quick on these pop pickers!

                                                Richard Hawley

                                                Lowedges - Clear Vinyl Edition

                                                  More gorgeous, late night, storytelling songs by the erstwhile Pulp and Longpigs guitarist. Hawley croons lovelorn words which evoke the late 50s in their charm and sweetness. Musically it's pretty and melodic, acoustic guitar ballads, lushly fleshed out with lapsteel, vibes, Mellotron and shimmery, echoey electric (guitar). Warm, poetic and inviting, this is a beautiful record and a balm for aching hearts everywhere!

                                                  To celebrate his new album "Further" our good friends at Music On Vinyl have presented to us the three Setanta albums from their back catalogue. A super limited one off pressing with just 275 of each available on clear wax - gotta move quick on these pop pickers!

                                                  Richard Hawley

                                                  Late Night Final - Clear Vinyl Edition

                                                    "Late Night Final" was Richard Hawley's first full length album, released in 2002. It follows on from where the previous years self titled mini album left off: his rich baritone, delivering his timeless, heartfelt songs over gorgeous guitar melodies. The album has a noir-ish cinematic feel to it - imagine the soundtrack to Blue Velvet written in Sheffield.

                                                    To celebrate his new album "Further" our good friends at Music On Vinyl have presented to us the three Setanta albums from their back catalogue. A super limited one off pressing with just 275 of each available on clear wax - gotta move quick on these pop pickers!

                                                    Sonic Youth

                                                    Battery Park, NYC: July 4th 2008

                                                      Recorded at Battery Park NYC’s River to River Festival on July 4th 2008, this now classic Sonic Youth set features totemic live versions of career spanning tracks such as ‘The Sprawl’, ‘Schizophrenia’ and ‘Bull In The Heather’. Initially only available with preorders of 2009’s ‘The Eternal’, this incredible live document has been made available again on vinyl a decade after its original release.

                                                      Pink Floyd

                                                      The Division Bell - 25th Anniversary Edition

                                                        Warner Music Group in association with Pink Floyd Records releases a 25th anniversary edition of ‘The Division Bell’, the band’s 1994 multi-million selling album that included the Grammy Award winning track Marooned (Best Rock Instrumental Performance) . This Limited Edition 25th anniversary edition will be available on translucent blue vinyl (echoing the original limited blue vinyl release in 1994).

                                                        ‘The Division Bell’ was the last studio album to be recorded by the band: David Gilmour, Nick Mason and Richard Wright. The album debuted at No 1 in the UK, the USA, Australia and New Zealand, staying at the top of the US charts for 4 weeks; it also went to No 1 in six other countries and, to date, has reached total album sales of over 12 million. The album was recorded by the band at Astoria and Britannia Row Studios with the majority of the lyrics being written by Polly Samson and David Gilmour. ‘The Division Bell’ contains Pink Floyd’s only Grammy-awarded track, the instrumental ‘Marooned’. A video for Marooned was made for the 20th Anniversary Immersion release of the album and has now had almost 25 million views

                                                        ‘The Division Bell’ sleeve artwork was the first Pink Floyd image to be featured on a Royal Mail stamp, in an issue of ‘Classic Album Covers’. The iconic album artwork of the two huge metal heads in profile talking to each other (and in turn, creating a third forward-facing head) was provided by long-time Floyd collaborator Storm Thorgerson. 


                                                        Placebo

                                                        Placebo

                                                          Originally released in July 1996 and now available on standard weight black vinyl, ‘Placebo’ is the debut studio album from the critically acclaimed Placebo.

                                                          Placebo

                                                          Without You I'm Nothing

                                                            Originally released in October 1998 and now available on standard weight black vinyl, ‘Without You I’m Nothing’ is the second album from the critically acclaimed Placebo.

                                                            Königsforst – following the 1997 release of Zauberberg (Kompakt 370.1), Wolfgang Voigt’s GAS project returned with Königsforst, a full length that has stood the test of time as a template for introducing fundamentals of 90’s techno into the principles of contemporary electronic music.

                                                            Originally released in 1998 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS “BOX”, Zauberberg is now released on his own label KOMPAKT on 180 gram 3LP vinyl in its original artwork.

                                                            Königsforst brings glimmers of light into Voigt’s dark, magnificent forest. Melodic strings and brass are added to his signature layers of ominous intensity. The forest path is laid out by muffled kick drums as classical music loops incessantly swirl with no direction. 


                                                            STAFF COMMENTS

                                                            Matt says: I don't know much about Gas or Wolfgang Voigt but I do know his records always grab me by the gonads! Impenertrable darkness, smudges atmospheres and lost reverbations of grand pianos, orchestras and wind seem to be order of the day heree. Like being irrevocably lost in a vast wilderness; there's an eeries tension to the tracks on offer here.

                                                            FORMAT INFORMATION

                                                            3xLtd LP includes MP3 Download Code.

                                                            Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary Azymuth. Lush Rhodes, soaring synths and fusion guitars from Malheiros and Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound. The album moves from mellow soulful moods, into screaming disco-jazz-fusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout.

                                                            At last, the wondrous, expansive and meditative music of Spanish musician, Luis Paniagua is explored with this Emotional Rescue reissue of his classic 1987 album, "Neptuno".
                                                            Released on the now cult El Cometa de Madrid label - itself a sub label of Grabaciones Accidentales (Finas Africae/Suso Saiz/Javier Bergia) - the album is another is the canon of exploratory new age, world and ambient recordings that came out of Spain during the formative period as the country returned to democracy.
                                                            Luis Paniagua, a musician, composer and producer, was born in Madrid, in 1957. His first associated release was in 1974 to record the pioneering album "Music of Ancient Greece" as a member of Atrium Musicae. As a member of Babia, alongside Luis Delgado (ERC045), he released the sought after folk and fusion album "Oriente - Occidente" in 1982, before dedicating exclusively to compose his own music with many instruments of the world.

                                                            In late summer 1987, his friend and now creator behind the El Cometa de Madrid label, Delgado proposed to record an album of music in Paniagua's attic in Madrid. Bringing his eight-track they recorded the music found here in a mere few days. Predominantly written by Paniagua - the rhythmic Gacelle being co-written with Don Cherry and Cancion De Senegal - and produced with Delgado, the album is, in his own words, a journey to the balm of love, truth, beauty and purity.
                                                            Exploring new age music, world music and spiritual music without being of a specific religion, Neptuno, flows as one. Centred on the beautiful multi-instrumental mastery by Paniagua, including percussion, chimes, guimbri, sitar and vocals, he is joined by friends and family on keys, flute and drums.
                                                            Performing today, with 16 albums released and counting, Luis Paniagua's dedicates himself through music. To discover that has always been within.

                                                            Arriving in 2000, with impeccable credentials (they'd released three beautiful EPs on Casino Records) Doves' debut album was astonishing in its completeness. Deep, doomy but always beautiful, there was a seamlessness to its 12 songs which created a good old-fashioned Proper Album vibe; a record that ebbed and flowed, and a record to lose yourself in. There's a filmic quality to a lot of the sound; a brooding, symphonic, melancholy air which soothes as it grooves. And groove it does: Doves have always had the bottom end well and truly sorted out, and no less than on this, their gorgeous, mellow, darkly comforting debut. What a mix! 


                                                            STAFF COMMENTS

                                                            Andy says: Doves’ debut was a stunning, cinematic, beautiful, doomy and heavily melancholic masterpiece. With their Factory Records affiliations, this band were just what Manchester ( and by definition therefore: Music in general) needed after the emptiness of ( latter day) Oasis and the banality of “ Britpop”.

                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: Double 180 gram grey coloured vinyl.

                                                            April 2002 saw Doves return, with the Roses inspired "There Goes The Fear" single crashing into the Top 3. It was a massive song, all groove, headrush melody and scope, but even that couldn't prepare us for the sheer brilliance of the album that followed. Every single song is fantastic and whilst still heavy on the sadness, this is a defiantly uplifting record. The appropriately titled "Pounding" is testament to that; it's one of many heart-tugging anthems. Elsewhere Doves cover folk, gospel and early-Floyd style psychedelia, effortlessly blending it into a singular listening experience. It was around this time that another musician (I forget who) described Doves as 'pure emotion on tape'. Whoever he was, he was right! 



                                                            STAFF COMMENTS

                                                            Andy says: Two years on from their debut and lead single “ There Goes The Fear” felt like a Roses style statement of massive intent. It was a monster! Toweringly majestic and superbly arranged, it was the perfect introduction to a record which was a clear step up in every way. Who knew sadness could be so thrilling?!

                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: Double 180 gram orange coloured vinyl.

                                                            This superb record was originally released in February 2005. Doves continued where they left off but this time they go even one better again: song for song this probably outslugs "The Last Broadcast"! You could actually describe this as a pop record, just for its massive melody quota, except pop music rarely displays such soul, depth or intelligence. There's Air-ish grooves, Cocteau's-shimmering echoes, a Strokes rip, a Northern Soul stomper, and one song "Snowden" has the sweetest Mercury Rev-style, swooning keyboard refrain. But then you probably know all this by now? This stunning album catapulted Doves right into the big league. Albums with not one duff track can do that for a band. To see a group who'd played live in our shop to a handful of people only six years earlier, go on and connect with so many, and in such a meaningful way, was heartwarming, to say the least. 

                                                            STAFF COMMENTS

                                                            Andy says: By now Doves were an enormous band and their third album in 5 years felt like the summation of all that had gone before, then squared! Unfettered, defiant, confident and brimming with life, this was their most uplifting record propelled by gigantic melodies. A total triumph. Doves at their peak.

                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: Double 180 gram white coloured vinyl.

                                                            Little-known trio The Bees' 1988 album 'She’s A Witch (Tikoloshi)' features six dancefloor-ready, distinctively South African tracks that show how bubblegum in the late 80s embraced house music. Produced by Steve Cooks, who would go on to work with heavyweights Senyaka, Spokes H and Umoja in the years that followed. Searing vocals and percussive synth basslines are best on ‘Hlabalaza’ (already a DJ favourite) and the title track, it lyrics telling the spooky tale of an evil woman who rules the night - ‘Tikoloshi’ being the mischievous creature of Zulu folklore (usually a man) who is still widely blamed for all manner of mysterious happenings in the middle of the night.

                                                            STAFF COMMENTS

                                                            Patrick says: If you pay any attention to me and Kickin' Pidge's musical obsessions, you'll know that we spent SS'17 obsessing over an Afro edit record from Jeff Solo and Chaiba. The killer track, hammered at Wet Play, Gottwood, Talking Drums, Ohm in Berlin and every all-back-to was as it turns out, a very minimal rework of The Bees' "Hlabalaza", which is an utter banger in its original form. And it's in good company too, with the other five tracks on this ace LP bringing the hottest kwaito, Afro-house and bubblegum boogie you'll hear. YES!

                                                            Released in September 2008, "Everything Is Borrowed" became the bands fourth consecutive Top 10 album. The Title was described by Mike Skinner as 'all about peaceful, positive vibes' and in the six years from when "Original Pirate Material" was released, The Streets and Skinner undoubtedly became the voice of a generation. Now reissued on heavyweight vinyl, it completes the series of essential Streets album reissues.

                                                            The album formed a prominent part of the band's 2018 and 2019 Greatest Hits Tour. "The Escapist", the first single from the album, become an instant classic when it originally dropped as a free download to an unexpecting audience ahead of the album release. It was the first new music from the band for over two years and has stood the test of time and is one of the most eagerly anticipated tracks of the recent live shows. Likewise, the albums other two singles, "Everything Is Borrowed" and "Heaven For the Weather", have also become a bedrocks of the tour.


                                                            STAFF COMMENTS

                                                            Matt says: Reissue of this crowd-pleasing Streets album. Anyone that's caught Mike on his recent tour should know most of this by now!

                                                            A true Balearic / Cosmic classic LP - Columbian brothers Elkin & Nelson's 1974 debut double album 'Angeles Y Demonios' is the perfect blend of traditional latin music, psychedelia, fuzz, glam, ethnic rhythms, progressive rock leanings and everything else in-between! The album had been received quite well on its release, enabling the brothers to move to Spain and explore their ideas and melodies full-time, but it wasn't until the late 1980's Balearic explosion that the brothers unique musical vision struck a chord with those outside of Spain whose interests were rooted in the more esoteric corners of the record shop racks. Possibly the most well-known track from this LP was 'Jibaro (Enrolle)' that featured on the closing side of the set. This track was picked up and subsequently covered by Paul Oakenfold and the burgeoning wave of UK DJ's who had become enamoured with the white isle and her many sounds, thus birthing the term 'Balearic Beat'. 'Jibaro (Enrolle)' is perhaps one of the benchmarks of that particular microcosmic scene and sound but that doesn't mean the rest of this amazing LP should be ignored. A truly wondrous trip through the rock underground, not traditional by any means, if you dig the Balearic sound, psych-rock, funk and all of it's orbiting planets then this will certainly flip all the right switches for you. A very original set.

                                                            *REPRESS OF THIS CLASSIC LINKWOOD ALBUM - NOW ON HIS OWN, NIGHT THEATRE IMPRINT!!*

                                                            After gaining high praise for his previous productions on both Firecracker Recordings and Prime Numbers (tracks such as "Miles Away", "RIP", "Piece Of Mind" and "Lost Experiment"), Linkwood's Nick Moore now delivers his debut full length outing, "System". The album clearly shows the breadth of Linkwood's influences with a spectrum of styles confidently blended including 80s boogie, Detroit techno, house and deep soul. From start to finish the album is brimming with the drama of integral, subterranean dance music. The album has been well engineered and produced, giving a distinctly powerful and affecting finish to all the tracks. Collaborating with Linkwood are Fudge Fingas, who features on keys on several tracks and the singer, comedian, entertainer Reggie Watts, who provides the vocal for "Tears". A mightily impressive debut.

                                                            STAFF COMMENTS

                                                            Matt says: Fuckin' devo'd when I missed this first time round (10 years ago! - ed). Now back with BEAUTIFULLY screen-printed sleeves, plus a gentle touch-up from the artist, "System" never sounded and looked so good! Another classic from the burgeoning, boutique UK house scene of the noughties, every home needs a copy of this masterpiece!

                                                            FORMAT INFORMATION

                                                            2xLtd LP Info: Fresh with a new two colour screen printed sleeve and a couple of track changes, the album (in his own words) 'is how it should have looked and sounded the first time around'; occupying an important transitional space between the highly collected early Firecracker 10"s and the crafted Linkwood sound of today.

                                                            Originally released in 1982 on the short-lived Lyncell Records imprint, BBE Music is excited to present the brilliant and ultra-rare album ‘African Sunset’ by South African band Kabasa. Formed in Soweto by vocalist and bassist Tata “TNT” Sibeko, guitarist Robert “Doc” Mthalane (described as the Jimi Hendrix of South Africa) and percussionist OupaSegwai, Kabasa recorded a trio of powerful albums in early-80s Johannesburg. Having been part of the iconic Afro-rock band Harari, the first ever local black pop band to appear on South African TV, Mthalane and Segwai decamped to team up with Sibeko for Kabasa’s eponymous debut in 1980. ‘African Sunset’ is their third and final album and is produced by the band with songwriting duties shared between founding members Sibeko and Mthalane as well as newly-joined percussionist and flautist Mabote “Kelly” Petlane. Taking in psychedelic rock influences alongside shades of jazz, funk and more traditional sounds, ‘African Sunset’ is a timeless album, standing out to this day thanks to its heavy grooves, great songwriting and superior musicianship. With original pressings of ‘African Sunset’ now virtually impossible to find, BBE Music is delighted to present this carefully remastered version that includes original artwork. Available on vinyl, CD and digital formats.

                                                            The first ever reissue for this ultra-rare 1982 album by South African band Kabasa. Kabasa was formed in Soweto by vocalist and bassist Tata “TNT” Sibeko, guitarist Robert “Doc” Mthalane (a former member of iconic Afro-rock band Harari, the first ever local black pop band to appear on South African TV). A unique and timeless album taking in psychedelic rock influences alongside shades of jazz, funk and more traditional sounds. Carefully remastered and pressed on heavyweight vinyl, complete with original artwork. Original copies of the LP are now almost impossible to find, fetching hundreds of pounds when they occasionally surface.


                                                            Brief Encounter is the ultimate Disco/Soul anthem for 2019. 6 years talking to the Family, which led to Gary Bailey (Singer and co-writer) coming to Scotland to meet, the private press grail is finally here. Modern Soul, Disco, Sweet Soul there is a not a bad track on the whole record. Play this one loud as it’s bound to bring the house down with applause. 

                                                            Mr Bongo do all the diggers a favour here and give us a welcome reissue of the Japanese jazz/breakbeat, folkloric mega-rarity as hallowed the likes of DJ Shadow, Cut Chemist, Egon and co. Rumour has it the last time someone saw an original copy in the wild City were in the second division and Lenny Henry was funny. "Bamboo" uniquely combines traditional Japanese instrumentation with Western jazz influences for a seriously esoteric sound.
                                                            Minoru Muraoka plays ‘shakuhachi’ - a traditional bamboo Japanese flute - joined by his band members accompanying him on the ‘koto’ (strings) and ‘tsu-tsumi’ (drum) amongst others, to create their ‘Shakuhachi Jazz’ sound.
                                                            Alongside covers of well known jazz and pop classics we also get two ace original songs and SO many killer breaks!

                                                            The Raconteurs

                                                            Consolers Of The Lonely - Vinyl Reissue

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

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

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

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

                                                              Deep-frozen for many decades, something is on the verge of being released from obscurity. Dark Star is the project of Wolfgang Reffert (Ger). In the late '80s through the early '90s he released a couple of albums that invoke the darkness of infinite space. Clearly influenced by '60s and '70s sci-fi, the mechanical grooves and spiraling synths bring to mind the worlds of Alien, The Forbidden Planet and Solaris. Utilizing a less is more aesthetic, Dark Star breathtakingly soundtracked space travel to far away galaxies like no other. Rhythmic postpunk drums lay the foundation for slow, down-tuned spacerock that goes deep into industrial proto-techno-like territory, while always maintaining a sense of groove. Resurrected from the days of yesteryear, Dark Star once again re-imagines the eternal harshness and emptiness surrounding spaceship Earth. Cyborgs, extraterrestrials and genetically modified creatures rejoice on the dancefoor! This is a collection of Dark Star’s best material. Originally released on two cassettes and one CD. Mastered by Wouter Brandenburg. Photography by Rogier Houwen. Poetry by Alex Deforce.

                                                              STAFF COMMENTS

                                                              Patrick says: So, to the disdain of the true heads, this is my first introduction to the world of Dark Star, and I’m hooked. From the drifting kosmische of the opener, through chugging machine funkers, proto techno stompers, slo-mo slammers and asteroid assaults, this is home listening for the apocalypse. Fuck what anyone else thinks, be your authentic self.

                                                              The Flying Lizards

                                                              The Secret Dub Life Of The Flying Lizards

                                                              Reissue. Unavailable for years Jah Lloyd meets David Cunningham - the legendary recordings from 1978 for the first time available on vinyl. David Cunningham says “The source tapes for this LP were recorded in Jamaica by Jah Lloyd as part of a series he made for Virgin Records' Front Line label. The original tapes were not released and were offered to me by Front Line's Jumbo Vanrennen with the suggestion that I should "remix" the music. I accepted the project, expecting lots of time in one of Virgin's studios to play with the music and the equipment, only to be presented with a mono master tape. So I began to invent (or perhaps re-invent) techniques of editing, looping, filtering and subtraction to deal with unremixable mono material (these were the days before samplers. The techniques used here expanded my vocabulary of musical electronic (as opposed to electronic music) treatments and appear in a very different form on records made at that time. Notably "Fourth Wall", my collaboration with Patti Palladin, and my production work on Michael Nyman's records.”

                                                              Lambchop

                                                              Nixon - Reissue

                                                                Much has been said and written about Nixon, the album that broke Nashville's finest little big band into the mainstream in the UK (we walked into the Met bar one night in 2000 and saw Noel Gallagerand Patsy Kensit and people like that, and guess what was playing on the bar's hifi? Is that considered mainstream?). It was album of the month left right and center and album of the year in Uncut, if we remember it correctly. Maybe not. Still, it's sophisticated mix of alt.country, white man's soul music, gospel choirs and thick use of strings and Kurt Wagner's last chance to lay down some falsetto vocals before age, smoking and whiskey caught up with him were a sensation. The Zero 7 remix of Up With People added longevity and weight to a campaign that stretched well into 2001. This re-issue comes with an additional full concert DVD from Lambchop's second London show at the legendary Royal Festival Hall with an added string section. Filmed by a TV company that consequently went bust, we were able to save this gem of a document from the vaults of the insolvency and present it here in its raw original form.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Red vinyl.

                                                                General Strike

                                                                Danger In Paradise

                                                                  Limited rerelease. Unavailable for years. VINYL ONLY.

                                                                  The legendary album from 1984 available on vinyl. Fully remastered by David Cunningham. These recordings were originally released on cassette by Touch in 1984 with the exception of 'Parts Of My Body', released on a single by Canal Records in 1979. Performed by: Steve Beresford: bass, piano, farfisa organ, prophet 5, trumpet, flugelhorn, euphonium, percussion, glockenspiel, voice, toy piano, melodica, noises, rhythm tracks, drumkit; David Toop: guitar, prepared guitar, bass, percussion, flute, alto flute, glockenspiel, voice, tapes, noises, rhythm tracks; David Cunningham: tape treatments with guests: Lol Coxhill, Dawn Roberts and Maartje ten Hoorn. 

                                                                  Be With have raided the KPM archives to re-issue another of thei favourites from the KPM 1000 series.

                                                                  They say: A comprehensive collection of descriptive contemporary scores.

                                                                  We say: Just look at the track titles of The Road Forward and swoon: Strangelands, A Man Alone, Sheer Elegance, Mystique Voyage, Cruising. Don’t you just want to hear those? The maestro Alan Hawkshaw really spoils us on this, one of the most sought after KPM greensleeves.

                                                                  This collection from 1977 is a brilliantly varied blend of silky smooth synths, funk-fuelled clavichord grooves and soft focus space beats. Essential.

                                                                  As with all of their KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. They’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.
                                                                  And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                                                  FORMAT INFORMATION

                                                                  LP Info: 180g vinyl, remastered from the original tapes.

                                                                  Alan Parker / John Cameron

                                                                  Afro Rock - 2019 Reissue

                                                                  Be With have raided the KPM archives to re-issue another of their favourites from the KPM 1000 series.

                                                                  They say: Hard Afro Pop featuring large percussive rhythm section and front line.

                                                                  We say: One of the best-loved of all the KPM LPs.

                                                                  Afro Rock was recorded at Morgan Studios by John Cameron and Alan Parker in London in 1973 as a collection of stripped-down African rhythms, virtuoso jazz instrumentation, fuzzed up wah wah guitars and spaced out library breaks. The percussion is effortlessly funky, and those flutes so melodic, it’s as if the LP was crafted with the beat lovers of the future firmly in mind.

                                                                  As Cameron himself described it in Unusual Sounds, this is “heavy duty drum-and-bass salsa music”.

                                                                  As with all of their KPM re-issues, the audio for "Afro Rock" comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. They’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

                                                                  And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                                                  FORMAT INFORMATION

                                                                  Ltd LP Info: 180g vinyl, remastered from the original tapes.

                                                                  Be With have raided the KPM archives to re-issue another favourite from the KPM 1000 series. 

                                                                  They Say: Underscore moods and links - contemporary beat music idiom.

                                                                  We say: Includes some of the most sublime, sub-ten second tracks you’re ever likely to hear, alongside more traditionally-lengthed library funk heat. The dream team of Alan Hawkshaw and Keith Mansfield are here at the helm of one of the most legendary of the legendary KPM albums, originally released in 1969.

                                                                  Beat Incidental is psychedelic pop-soul that hits hard thanks to fuzz guitars, growling flutes, deep hammond grooves and drum breaks galore: it’s basically “drama jazz”.

                                                                  As with all of their KPM re-issues, the audio for "Beat Incidental" comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. They’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


                                                                  Be With have raided the KPM archives to re-issue another of their favourites from the KPM 1000 series.

                                                                  They say: A Dramatic Suite Of Themes, Montage, Sequences And Generics.

                                                                  We say: An enormously influential and heavy KPM set of timeless, killer funk breaks from 1972 by the mighty John Cameron.

                                                                  "Jazzrock" is an aggressive, percussion-heavy album with an energy that leaves jaws on the floor. Breaks and beats for days with electric piano, bass loops, and pounding percussion. Funky jazz with a deep, tough, soundtrack feel.
                                                                  As with all of their KPM re-issues, the audio for "Jazzrock" comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. They’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.
                                                                  And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                                                  FORMAT INFORMATION

                                                                  Ltd LP Info: 180g vinyl, remastered from the original tapes.

                                                                  Causa Sui

                                                                  Summer Sessions Volume 1

                                                                    Causa Sui's three volumes of Summer Sessions are back in print! This time on the band's own label, on individual LP's for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso’s signature style. Originally the Summer Sessions were intended as a side project for the band – a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums.

                                                                    But these three albums came to define the band, and have become become modern classics of psychedelia and progressive rock since their were initially released ten years ago. In a scene often characterized by loyalty to a specific period, there’s something refreshing about Causa Sui’s eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example – the 24 minute ”Visions of Summer” taking up the entire A-side: here new and old sounds dissolve in a mindbending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancocks Mwandishi group, as much as it sparks associations to Kyuss or Hendrix.

                                                                    Other tracks, such as the frenetic Rip Tide (vol. 2), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for savory, atmospheric pieces such as the sun-drenched ”Venice by the Sea” (vol. 3) or the Morricone-esque ”Cinecitta” (vol. 2). Praise for Summer Sessions: Causa Sui, psychedelic/desert-space rock band from Denmark, effortlessly takes the prime trimmings of almost every element rock has to offer and propagates a sensation of their own...It’s almost impossible to not appreciate the groovy jazz-rock bass lines of Jess Kahr, the endless expressive jazz styles of drummer Jakob Skøtt, and most importantly the extravagant lead guitar and keyboard work of Jonas Munk...These enduring works of art must be beheld by the likes of rock enthusiasts and/or anyone wishing to seek what psychedelic-rock has to offer.

                                                                    For a modern psychedelic/jazz-fusion/jam rock album, Summer Sessions is as essential as it gets. Sputnik Music. Formed in the late summer of 2004, this Danish four-piece unashamedly reference such esteemed cosmic talents as Blue Cheer, Amon Düül II and Ash Ra Tempel. Yes, it's another improv quest for the heart of sonic enlightenment, but they do it with a conviction, dexterity and drive that few modern bands possess. -Mojo.This is space music, that flows as a lysergic trip with poetic flights that remind us of the cosmic couriers, and also derives from the most free-jazz contaminated by rock music.

                                                                    Causa Sui

                                                                    Summer Sessions Volume 2

                                                                      Causa Sui's three volumes of Summer Sessions are back in print! This time on the band's own label, on individual LP's for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso’s signature style. Originally the Summer Sessions were intended as a side project for the band – a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums.

                                                                      But these three albums came to define the band, and have become become modern classics of psychedelia and progressive rock since their were initially released ten years ago. In a scene often characterized by loyalty to a specific period, there’s something refreshing about Causa Sui’s eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example – the 24 minute ”Visions of Summer” taking up the entire A-side: here new and old sounds dissolve in a mindbending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancocks Mwandishi group, as much as it sparks associations to Kyuss or Hendrix.

                                                                      Other tracks, such as the frenetic Rip Tide (vol. 2), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for savory, atmospheric pieces such as the sun-drenched ”Venice by the Sea” (vol. 3) or the Morricone-esque ”Cinecitta” (vol. 2). Praise for Summer Sessions: Causa Sui, psychedelic/desert-space rock band from Denmark, effortlessly takes the prime trimmings of almost every element rock has to offer and propagates a sensation of their own...It’s almost impossible to not appreciate the groovy jazz-rock bass lines of Jess Kahr, the endless expressive jazz styles of drummer Jakob Skøtt, and most importantly the extravagant lead guitar and keyboard work of Jonas Munk...These enduring works of art must be beheld by the likes of rock enthusiasts and/or anyone wishing to seek what psychedelic-rock has to offer.

                                                                      For a modern psychedelic/jazz-fusion/jam rock album, Summer Sessions is as essential as it gets. Sputnik Music. Formed in the late summer of 2004, this Danish four-piece unashamedly reference such esteemed cosmic talents as Blue Cheer, Amon Düül II and Ash Ra Tempel. Yes, it's another improv quest for the heart of sonic enlightenment, but they do it with a conviction, dexterity and drive that few modern bands possess. -Mojo.This is space music, that flows as a lysergic trip with poetic flights that remind us of the cosmic couriers, and also derives from the most free-jazz contaminated by rock music.

                                                                      Causa Sui

                                                                      Summer Sessions Volume 3

                                                                        Causa Sui's three volumes of Summer Sessions are back in print! This time on the band's own label, on individual LP's for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso’s signature style. Originally the Summer Sessions were intended as a side project for the band – a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums.

                                                                        But these three albums came to define the band, and have become become modern classics of psychedelia and progressive rock since their were initially released ten years ago. In a scene often characterized by loyalty to a specific period, there’s something refreshing about Causa Sui’s eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example – the 24 minute ”Visions of Summer” taking up the entire A-side: here new and old sounds dissolve in a mindbending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancocks Mwandishi group, as much as it sparks associations to Kyuss or Hendrix.

                                                                        Other tracks, such as the frenetic Rip Tide (vol. 2), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for savory, atmospheric pieces such as the sun-drenched ”Venice by the Sea” (vol. 3) or the Morricone-esque ”Cinecitta” (vol. 2). Praise for Summer Sessions: Causa Sui, psychedelic/desert-space rock band from Denmark, effortlessly takes the prime trimmings of almost every element rock has to offer and propagates a sensation of their own...It’s almost impossible to not appreciate the groovy jazz-rock bass lines of Jess Kahr, the endless expressive jazz styles of drummer Jakob Skøtt, and most importantly the extravagant lead guitar and keyboard work of Jonas Munk...These enduring works of art must be beheld by the likes of rock enthusiasts and/or anyone wishing to seek what psychedelic-rock has to offer.

                                                                        For a modern psychedelic/jazz-fusion/jam rock album, Summer Sessions is as essential as it gets. Sputnik Music. Formed in the late summer of 2004, this Danish four-piece unashamedly reference such esteemed cosmic talents as Blue Cheer, Amon Düül II and Ash Ra Tempel. Yes, it's another improv quest for the heart of sonic enlightenment, but they do it with a conviction, dexterity and drive that few modern bands possess. -Mojo.This is space music, that flows as a lysergic trip with poetic flights that remind us of the cosmic couriers, and also derives from the most free-jazz contaminated by rock music.

                                                                        Isle Of Jura dig deep for their latest release, rewinding the clock forty years for a reissue of Harry Mosco's 1979 album, "Peace & Harmony", an undiscovered gem which touches upon disco, funk, boogie, soul and dub. Working closely with Harry's son since the musician's passing in 2012, the label have made every effort to give this release the respect it deserves.
                                                                        Harry Mosco is best known as the founder of legendary 1970s Nigerian Afro-Funk band The Funkees. Originating as an Army band after the Nigerian Civil War they lead the wave of upbeat music produced by young artists in Nigeria in response to the darkness of the recently concluded civil conflict. Following a notable hit single ‘Akula Owu Onyeara’ the band split in 1977 and Harry pursued a solo career.
                                                                        ‘Peace & Harmony’ was Harry’s third LP continuing the rich vein of form found in previous albums ‘Country Boy’ and ‘Funkees’ (For You Specially). He was a visionary who wrote, arranged and produced each song on the LP assisted by Mark Lusari on engineering duties (P.I.L, Jah Wobble & Prince I), whose Reggae and Dub influence can be felt on title track ‘Peace & Harmony’ and ‘Peaceful Dub’. The LP contains two certified floorfillers of Studio 54 era Disco Funk in the shape of ‘Sexy Dancer’ & ‘Step On’ and two slow jams, the soulful ballad ‘She’s Gone’ and horn lead album closer ‘Do It Together’. Mr Funkees was printed on the cover to help record buyers make the connection between Mosco and his former band

                                                                        STAFF COMMENTS

                                                                        Patrick says: The insanity of reissue-mania shows no signs of slowing here as Isle Of Jura hit us with an essential reissue of Harry Mosco’s ultra rare third LP “Peace & Harmony”. Shifting between Afro disco, soul, funk and reggae, the LP delivers an endless string of heavy grooves for the DJ and collector.

                                                                        Booth And The Bad Angel

                                                                        Booth And The Bad Angel

                                                                          Booth and the Bad Angel, released in 1996 was the result of a collaboration between Tim Booth (Lead Singer, James) and American film composer, Angelo Badalamenti (Twin Peaks).

                                                                          BOOTH AND THE BAD ANGEL is available for the First Time on Vinyl! Pressed on 1x180G Heavyweight Red Translucent 1LP Includes the lead hit single ‘I Believe’. The album also features Bernard Butler of Suede on Guitar, Bass and Piano duties.

                                                                          Margino (real name Kim Kallie) is a South African artist. She sang with the reggae group Kariba and jazz rock outfit Turbo in the early 80's, and later did backing vocals for Future and others. She first shot to fame as a solo star with a version of ''Holiday'', which was released at the same time as Madonna's version. Recorded at RPM Recording Studios (Johannesburg, South Africa) in 1985, "Happy People" is a flawless album with dancefloor hits such as ''Happy People'', ''I'm Getting Out'' and ''One Hot Night'' and downtempo tunes such as ''You Turn Me On'', ''You Need A Woman'' and ''You''. For this reissue, Jamwax remaster the sound from the original tape and remake the artwork with its Andy Warhol ''Marilyn Monroe'' pop art style - pleasure for the eyes as well as the ears.

                                                                          STAFF COMMENTS

                                                                          Patrick says: Unsurprisingly for a woman who shot to fame with a cover of "Holiday" (and whose recording name is fairly close to Madge!), this South African LP does boogie with the same pop shimmer as Madonna's Jellybean era, but also diverges into some neat AOR disco territories. Accidentally Balearic perhaps?

                                                                          Still Corners

                                                                          Strange Pleasures - Reissue

                                                                            The second album from Still Corners, Strange Pleasures expanded and re-defined the band's sound with twelve stunning classic dream-pop songs including hit "The Trip" - a six minute odyssey about travel and the open road. Complete with Tessa Murray's lush vocals and Greg Hughes' simmering clean-toned guitar, MOJO magazine called Strange Pleasures a "lush intoxicating album" and Paste magazine a "an album of great beauty". 

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Indies exclusive gold vinyl, limited to 1000 copies.

                                                                            Backstreet Brit Funk Vol.1 is being reissued for the first time since its original release in 2010 plus this will be the first ever release on vinyl for this highly regarded collection of rare and very sought-after underground British disco, boogie and soul tracks avoiding the obvious hits that have been on a million CDs already. Many of these tracks never went beyond a very small local release but have since become very collectable - buying this lot would set you back somewhere in the four figures.

                                                                            Both Vol.1 (2010) and Vol.2 (2018) of the Brit Funk albums tell the story of the underground scene from the late 70’s through to the mid-80’s in the UK when punk and disco were giving way to a new blend of jazz, soul and funk, heavily influenced by the American big hitters of the day but re-worked by the UK pioneers for the British dance floors.

                                                                            Both volumes contain a unique selection of high quality music, which will have a shelf life lasting well beyond the currents trends and fads. All tracks have been re-mastered to a very high standard and now sound better than ever before. Joey Negro re-edited some of the tracks for the original album, updating them with a fresh new approach.


                                                                            Herbie’s classic debut album was originally recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 28th May 1962.
                                                                            Featuring a truly impressive quintet of Freddie Hubbard (trumpet), Dexter Gordon (tenor), Butch Warren (bass) and Billy Higgins (drums), "Takin' Off" is rooted firmly in hard bop but also showcasing the exquisite ballad ‘Alone And I’.
                                                                            Features the all-time classic Herbie standard ‘Watermelon Man’, a top 100 pop hit for Herbie and #10 hit for Mongo Santamaria. The famous cover art was designed and photographed by Reid Miles.

                                                                            Robert Glasper

                                                                            Canvas

                                                                            The pianist’s acclaimed, ambitious Blue Note debut, originally recorded at Brooklyn’s Systems Two studios during May 2005.
                                                                            Featuring Vicente Archer (bass) and Damon Reid (drums), plus special guest appearances from Mark Turner (tenor sax) on two tracks and Bilal (vocals) on ‘Chant’, “Canvas” features nine original Glasper compositions plus a famous cover version of Herbie Hancock’s ‘Riot’ (which originally appeared on Miles Davis’s Nefertiti album). Rooted in acoustic jazz but with fascinating glimpses of Glasper’s Blue Note future with its jittery, hip-hop-influenced grooves and rolling chord sequences, this remarkable debut put Glasper right in the spotlight.


                                                                            James Brown

                                                                            Slaughters Big Rip-Off (Original Soundtrack)

                                                                            James Brown’s original soundtrack album for the 1973 blaxploitation film classic Slaughter’s "Big Rip-Off" gets the 180-gram reissue treatment here, with faithfully replicated artwork including Slaughter’s Big Rip-Off’s gatefold.

                                                                            Released in August 1973, "Slaughter’s Big Rip-Off" is the sequel to 1972’s "Slaughter". Set in Los Angeles, the Gordon Douglas-directed mob drama stars Jim Brown, Ed McMahon, Don Stroud, Brock Peters, Gloria Hendry, and Dick Anthony. James Brown’s original soundtrack includes score pieces, plus “Brother Rapp,” Brown’s previously released single which peaked at No.2 onBillboard’s R&B chart and at No. 32 on the Pop chart, as well as “Sexy, Sexy, Sexy,” Brown’s sped-up rework of his 1966 hit, “Money Won’t Change You,” with different lyrics. That track was released as a single from the Slaughter’s Big Rip-Off soundtrack, peaking at No. 6 on Billboard’s R&B chart and at No. 50 on the Pop chart. The soundtrack’s “Happy For The Poor” is a Latin-styled version of the 1971 J.B.’s single, “Gimme Some More.”

                                                                            James Brown

                                                                            Say It Live And Loud (Expanded Edition)

                                                                            On August 26, 1968, two weeks after releasing his civil rights anthem, “Say It Loud – I’m Black And I’m Proud,” James Brown recorded his concert at Dallas, Texas’ Memorial Auditorium. First released on CD in 1998, Brown’s Say It Live and Loud: Live in Dallas 08.26.68 album makes its vinyl debut in an expanded 2LP 50thAnniversary Edition.

                                                                            "Say It Live and Loud..." captures James Brown and his band laying it down onstage in the heat of a tumultuous summer, just months after the assassinations of Martin Luther King Jr. and Robert Kennedy, and on the same night the turbulent Democratic National Convention opened in Chicago. The album features the first-ever live recordings of “Say It Loud – I’m Black And I’m Proud,” which Brown performed twice.

                                                                            The new 2LP vinyl edition add two previously unreleased recordings, “That’s Life” and “The Popcorn,” as well as an updated essay by James Brown’s former tour manager, Alan Leeds. An essay by Public Enemy’s Chuck D, written for the album’s 1998 CD package, is also included. 

                                                                            We Release Jazz presents its fifth release, the first ever live performance and recording by Marc Moulin’s sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo’s "Live 1971" is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip.

                                                                            June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo’s sumptuous "Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It’s the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of "Showbiz Suite"), 1973, and their final self-titled album.

                                                                            Born in 1942 in Ixelles, the multifaceted Marc Moulin had one of the most fascinating careers in the history of Belgian music, from his jazz roots and Placebo to founding electronic disco pop band Telex ("Moskow Diskow", "Rock Around The Clock"…), producing a vast array of French and Belgian hits (notably for Philip Catherine and Lio), pioneering downtempo and electro jazz with three albums on Blue Note, and exploring other avenues of expression such a radio hosting and comedy. He sadly left us in 2008. His incredible legacy shall live on.


                                                                            FORMAT INFORMATION

                                                                            Deluxe LP Info: 180g vinyl, mastered at half speed, 350gsm sleeve with UV coating, obi, sticker.

                                                                            Originally recorded in 1981, this album is best known for its tropical boogie bomb "Let's Talk About It". Having drawn attention from diggers for quite some time, it's finally available again on vinyl. Besides this killer boogie tune a selection of five other tracks from the album that have remained unknown to most people complete this French boogie / reggae / zouk re-issue.

                                                                            Limited copies!




                                                                            STAFF COMMENTS

                                                                            Matt says: Listen, I'm not gonna beat around the bush here. There's a reason it's the title track, and the number you're gonna go to time and time again. "Love Forever" might be one fer't smoochers, but "Let's Talk About It" keeps the dancers happy!

                                                                            Stereolab

                                                                            Transient Random-Noise Bursts With Announcements (Expanded Edition)

                                                                            Stereolab's 7 album reissue campaign kicks off with 1993's 'Transient Random Noise-Bursts With Announcements' and 1994's 'Mars Audiac Quintet', reissued via Warp Records and Duophonic UHF Disks, as expanded and re-mastered editions on vinyl and compact disc.

                                                                            Each album has been re-mastered from the original 1/2" tapes by Bo Kondren at Calyx Mastering and overseen by Tim Gane. Bonus material includes alternate takes, 4 track demos and unreleased mixes.

                                                                            STAFF COMMENTS

                                                                            Martin says: While this is possibly Stereolab's breakthrough release, it is also one of the most sonically diverse and challenging, switching between extended krautrock jams, edgy and distorted instrumentals, hard driving noise and dreamy pop. Features the utterly enchanting "Pack Yr Romantic Mind" and "Jenny Ondioline".

                                                                            FORMAT INFORMATION

                                                                            3xLP Info: Black triple vinyl edition.
                                                                            Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet.

                                                                            Stereolab's 7 album reissue campaign kicks off with 1993's 'Transient Random Noise-Bursts With Announcements' and 1994's 'Mars Audiac Quintet', reissued via Warp Records and Duophonic UHF Disks, as expanded and re-mastered editions on vinyl and compact disc.

                                                                            Each album has been re-mastered from the original 1/2" tapes by Bo Kondren at Calyx Mastering and overseen by Tim Gane. Bonus material includes alternate takes, 4 track demos and unreleased mixes.

                                                                            STAFF COMMENTS

                                                                            Martin says: The more accessible end of their output perfected their assault on space age pop, blending complex and layered lounge experimentation with their trademark kraut influences to gorgeous effect.

                                                                            FORMAT INFORMATION

                                                                            3xLP Info: Black triple vinyl edition.
                                                                            Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet.

                                                                            Ten years into his role as poster boy for pop soul and peak-hour R&B, Syl Johnson did an unlikely about-face and cut his most inspiring and powerful album. The title track, coupled with the politically charged “I’m Talking About Freedom” and ghetto conscious “Concrete Reservation” sealed the album’s political bonafides. “Right On,” “Together Forever,” “Come Together,” and “Black Balloons” are positively uplifting, forming their own pot of gold at the end of a grayscale rainbow. Fifty years later, Is It Because I’m Black is still as relevant as the day of its release. No liner notes. No extra tracks. Just the greatest Black concept album of all time.

                                                                            “After Martin Luther King got killed, I wanted to write a song.” — Syl Johnson

                                                                            Sonic Youth

                                                                            The Eternal

                                                                              Long out of stock, now re-pressed and re-issued.

                                                                              Produced by John Agnello and the band, ‘The Eternal’ not only marks Sonic Youth’s return to the independent label sphere (titles on their own SYR label excepted) after a long association with Geffen but, more importantly, it ranks as one of their more inspired efforts in a 28 year career.

                                                                              Recorded through November and December of 2008 at the band’s Echo Canyon West studio in Hoboken, NJ, ‘The Eternal’ features many firsts for a Sonic Youth album, including a number of shared vocals between Kim, Thurston and Lee and the studio debut of former Pavement / Dustdevils bassist Mark Ibold, a member of Sonic Youth’s touring band for the past few years.

                                                                              Chris Carter

                                                                              Archival Recordings: 1973 - 1977

                                                                                ‘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’.

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Limited edition coloured vinyl.

                                                                                Coloured LP includes MP3 Download Code.

                                                                                Chris Carter

                                                                                Mondo Beat

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

                                                                                  Chris Carter

                                                                                  Disobedient

                                                                                    ‘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.

                                                                                    FORMAT INFORMATION

                                                                                    2xColoured LP Info: Limited edition coloured vinyl.

                                                                                    2xColoured LP includes MP3 Download Code.

                                                                                    Chris Carter

                                                                                    Small Moon

                                                                                      ‘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.

                                                                                      FORMAT INFORMATION

                                                                                      2xColoured LP Info: Limited edition coloured vinyl.

                                                                                      2xColoured LP includes MP3 Download Code.

                                                                                      Crass

                                                                                      Feeding Of The Five Thousand

                                                                                        One Little Indian are proud to announce that they will be distributing entire Crass Catalogue on behalf of Crass Records.

                                                                                        Album has been remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. “As it was in the beginning”.

                                                                                        The Feeding of the 5000 is the first album by the anarcho-punk band Crass. The album was recorded on 29 October 1978, by John Loder at Southern Studios and was released the same year.

                                                                                        Crass

                                                                                        Best Before 1984

                                                                                          One Little Indian are proud to announce that they will be distributing entire Crass Catalogue on behalf of Crass Records.

                                                                                          Album remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. “As it was in the beginning”.

                                                                                          Best Before 1984 is a compilation of Crass' singles and other tracks, released in 1986, including lyrics and a booklet ("...In Which Crass Voluntarily 'Blow Their Own'") which details the history of the band in their own words.

                                                                                          Ian Brown

                                                                                          Unfinished Monkey Business

                                                                                            Ian Brown was left high and dry when the Roses split in April '96 and rumours spread that he'd left the music industry for good. Truth is: he almost had! Ian had considered gardening or even selling Roses bootlegs, he felt so disenchanted with  what he'd described as the filthiest business in the world. Apparently it was the will of the people, fans he'd bump into on the street, that constantly encouraged him to get back to it. So it was that 18 months later, around Christmas of 97, his first single as a solo artist was riding our airwaves. It did not disappoint!

                                                                                            The new tunes were superb, but the sound was a refreshing if not puzzling surprise:warm, fuzzy, ocassionally distorted, analogue even lo-fi sounds; clanking drum machines and bashed on acoustic guitars. This was the kind of groovy curio you'd be more likely to find on (Beastie Boys' cool as fuck) Grand Royale than on Ian's new major label. Apparently they begged him for a "name" producer or remixer, but ever his own man, Ian refused.

                                                                                            Mani from The Roses played over a classic Reni shuffle on Can't See Me, which along with My Star (the previously mentioned debut single) and the glorious  Corpses In Their Mouths , smashed into the Uk Top 20, in the days when these things mattered! Elsewhere, the wah-wah laden What Happened To Ya (pure Roses, apparently about the Roses) and epic Ice Cold Cube (one of his greatest ever songs: heavy, dark and mega-melodic) nicely completed the Massive Tune Quota whilst the bluesy and bonkers Lions and squelchy and sleezy Deep Pile Dreams offered texture and variety to an already varied palette. Sunshine sounds like Syd, smashing a song out on an acoustic guitar, one to one in a bedroom. The title track recalls Lee Perry in its cute'n' wonky catchiness.

                                                                                            All in all: a triumph, then. Not shouting from the rooftops, like in his "first band on the moon" pomp, but a small and very satisfying step in what would turn out to be a very succeesful and much loved solo career.

                                                                                            STAFF COMMENTS

                                                                                            Andy says: Hilariously (and aptly) christened King Monkey by the drummer of Dodgy, of all people, this was the first installment of Ian Brown solo music. Independent and original, it's still one of his best records, after all these years.

                                                                                            Quiet Village

                                                                                            Silent Move

                                                                                              After three sought-after singles for the Whatever We Want label - plus remixes for the likes of Gorillaz, Fran Ois K, Mudd, Toby Tobias, James Yorkston, Grandada Bob, Black Devil and Cosmo Vitelli - Quiet Village step out of the shadows to present their much-anticipated debut album, 'Silent Movie'. Comprised of master crate-digger Joel Martin and rising dance-music star Matt Edwards (a man of many monikers including Radio Slave & Rekid), and borrowing their name from Martin Denny's exotica masterpiece, Quiet Village make the old sound new (and vice versa). Influenced by Italian film soundtracks, library music, disco edits, acid rock and vintage soul, they mix the unlikeliest elements - bluesy guitar, chamber strings, air-raid sirens, shuffling breakbeats, even flutes and seagull cries - into an hour-long, beautiful reverie. Often cinematic in feel - their sound is unique and will wash over you in a refreshing embrace. This reissue is pressed on orange vinyl exclusively for Record Store Day.

                                                                                              STAFF COMMENTS

                                                                                              Sil says: Joel Martin and Radio Slave produced this beautiful piece of music which is actually a collage of great samples. I say what is wrong with that when the result is as amazing as this. You do not have it? Get it now. Freshly repressed just for you!

                                                                                              '‘Motherlode’ is a classic James Brown compilation album, primarily focusing on his funk recordings of the late 1960s and early 1970s, & including live performances and remixes as well as studio recordings. This is the first vinyl edition of the 2003 expanded version of ‘Motherlode’, a 2-LP on 180g in a gatefold jacket, featuring a number of tracks never before available on LP. Highlights include a live “Say It Loud – I’m Black and I’m Proud”, “I Got Ants in My Pants (and I Want to Dance)”, the chart hit “She’s the One”, and more.

                                                                                              Black Caesar is James Brown’s original soundtrack album for the 1973 blaxploitation film classic by the same name - reissued on 180-gram vinyl LPs by Polydor/UMC, with faithfully replicated artwork. Released in February 1973, Black Caesar is a gangster drama set in Harlem, written and directed by Larry Cohen and starring Fred Williamson, Gloria Hendry, D’Urville Martin, and Julius Harris. Pieces of Brown’s soundtrack, which also features the J.B.’s and Lyn Collins, have since been notably sampled in tracks by top rap artists, including “The Boss,” sampled by Ice-T in “You Played Yourself,” by Trick Daddy in “Take It To Da House,” and by Nas in “Get Down,” among others. Black Caesar’s soundtrack also features the Bodie Chandler and Barry De Vorzon-written single arranged by J.B.’s band director Fred Wesley, “Down And Out In New York City,” which peaked at No. 13 on Billboard’s R&B chart and at No. 50 on the Pop chart. 

                                                                                              Dinosaur L is an alias donned by Arthur Russell, a man whose contribution to dance music from the late seventies and through the eighties was formidable but only quietly acknowledged. His innovative and left field dance records were way ahead of what people were used to hearing at the time. He was a cellist who studied classical and Indian music. As well as his great strides in dance music he was also involved in the New York downtown avant-garde music scene and produced some albums in a more avant-garde / experimental vein as well as trying his own unique approach to pop. He scored several hits on the underground New York dance scene at clubs like The Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, “Go Bang!” and “Is It All Over My Face?” were worldwide club hits and are still played today as classics. His records have influenced the scene from his first dance record in 1979 to the present day and his work has been much sampled. Sadly Arthur died in 1992, but his music lives on and his influence is still felt on the dance music scene, his tunes still sound great and are still moving many dancers around the world, so his spirit lives on. Sleeping Bag Records and Traffic Entertainment Group is proud to present Dinosaur L’s “24-24 Music“ on double LP.

                                                                                              Yes

                                                                                              1st Album (50th Anniversary)

                                                                                                THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                                Replica of the UK gatefold artwork, featuring the first classic Yes album logo, on 180gram colour vinyl.

                                                                                                Sol Seppy

                                                                                                The Bells Of 1 2 (RSD19 EDITION)

                                                                                                  Sol Seppy and “The Bells Of 1 2” is the debut outing from the heart and mind of Sophie Michalitsianos. Originally released on CD only in 2006 this is the LP-vinyl edition exclusively for RSD 2019.

                                                                                                  Popol Vuh

                                                                                                  Essential Collection Vol. 1

                                                                                                    Popol Vuh are considered one of the most influential German “70s progressive rock” avant-garde acts of the Seventies and are also known as a a pioneering Band in Ambient and Progressive Rock Music. Their records "Affenstunde" (1971) and "In the Garden of Pharao" (1972), played with with the Moog Synthesizer, are claimed to be fundamentally influencing works in Electronica. In 1975, Fricke and Popol Vuh began a lengthy creative partnership with the most acclaimed German filmmaker Werner Herzog, which yielded to epic soundtracks for feature films including “Aguirre- Wrath of God”, “Fitzcarraldo”, “Nosferatu”, “Heart of Glass”, and “Cobra Verde”. As a consequence, Popol Vuhs Music got three times nominated for the Oscars. The name and the book POPOL VUH comes from the mythology of the Inca cultures and is the memory of the history of becoming humanity. Florian Fricke himself was reluctant to put his music in order. "Music is for me a form of law". He died on December 29, 2001 in Munich.

                                                                                                    6 LP vinyl box set "The Essential Album Collection Vol. 1" contains the classic albums of the pioneers of electronic music / All albums remastered by the former Popol Vuh member Guido Hieronymus / Audiophile 180g vinyl pressing.

                                                                                                    Original tracklists plus four bonus tracks / High-quality slipcase with spot varnish / Original artworks (gatefold). "Nosferatu" poster and two band posters / 6-page insert with detailed liner notes, photos and discography.


                                                                                                    FORMAT INFORMATION

                                                                                                    FREE SHIPPING This item has FREE UK shipping!

                                                                                                    Boards Of Canada

                                                                                                    Hi Scores

                                                                                                    Skam Records drop a welcome re-release of Boards of Canada killer 'Hi Scores'. This follows the reissue of their other seminal records by Warp in 2013.

                                                                                                    The new edition has been re-recorded and re-mastered from the original DAT tapes and has been re-cut onto heavyweight collector’s edition vinyl.

                                                                                                    The CD is placed in a digi-pak sleeve with some extra art and the vinyl includes a double-sided 12” poster.

                                                                                                    The original image on the back of the sleeve is in colour. There is a spot varnish finish on the images and text alongside the usual Skam Braille sticker to give the whole package new depth and a refreshing look and feel.

                                                                                                    Originally released in 1996, this six track EP signalled the arrival of a major force on the electronica scene. Everything you love about the BOC sound is here; crunching breaks, busy electronic infills, crystalline tones, synth lines reminiscent of the theme tunes and incidental music from 1970s Programmes for Schools and Colleges. Included are the wonderful title track 'Hi Scores', haunting 'Turquoise Hexagon Sun', electro-funker 'Nlogax', dancefloor slammer 'June 9th', sleazy, queasy 'Seeya Later' and melancholic hip hop cut 'Everything You Do Is A Balloon'.

                                                                                                    'Hi Scores' hasn't been available since 2005, so take advantage of this limited remastered repress and grab yourself a copy of BOC history!


                                                                                                    FORMAT INFORMATION

                                                                                                    12" Info: Repress!!

                                                                                                    The Rolling Stones

                                                                                                    Through The Past, Darkly (Big Hits Vol.2)

                                                                                                      Reissue of the long out of print UK edition of the Rolling Stones’ second ‘best of’ LP, reissued for RSD exclusive and the 50th anniversary. Originally released in 1969, it included four top-10 singles and two number ones! Includes original 12-track album on heavyweight orange-coloured vinyl. Features unique octagonal artwork in a stunning gatefold sleeve!_Stereo edition cut by Sean Magee at Abbey Road Studios, London. Includes Jumpin’ Jack Flash, Street Fighting Man, Honky Tonk Women, She’s A Rainbow (recently used in the Dior TV advert) & many other classic hits.

                                                                                                      The Comet Is Coming

                                                                                                      Channel The Spirits


                                                                                                        “Great fire will fall from the sky, the cause will appear both stupefying and marvellous. Very soon after, the earth will tremble. ” The arrival of The Comet as prophesised by Nostradamus. And the earth did tremble.

                                                                                                        Our saviours Danalogue The Conqueror , Betamax Killer (both Soccer96 ) and King Shabaka (Sons Of Kemet, The Ancestors ) bestowed upon us their debut album Channel The Spirits on April 1st 2016 CE. From simpler times, this was a prophetic document. A celeb ration. The beginning of the end.

                                                                                                        For those recent converts, here is Channel The Spirits (Special Edition) . Here is the universe in a microcosm; the life-force distilled down to its raw essence : sex and dancing. Here is a package that includes the debut Prophecy EP from 2015CE. Here are three previously unheard tracks: the fabled Ancient Tapes.



                                                                                                        FORMAT INFORMATION

                                                                                                        Ltd LP Info: Black vinyl repress.

                                                                                                        Haroumi Hosono, Takahiko Ishikawa & Masataka Matsutoya

                                                                                                        The Aegean Sea

                                                                                                        1979’s The Aegean Sea is somewhat of a companion piece to the previous year’s Pacific. A beautiful piece of Japanese smooth fusion-jazz with elements of traditional Greek music and Balearic grooves, it’s one of the cleanest and most focused works in the Hosono archive. Long sought after by collectors this record is nearly impossible to find in original pressings outside of Japan and this is a welcome reissue of one of the greatest titles in Hosono’s seemingly infinite catalog. Essential Japanese jazz fusion.

                                                                                                        Ultra-rare jazz-funk/fusion album by Japanese drummer, Akira Ishikawa, featuring percussion-heavy versions of ‘Let’s Start’, ‘Bongo Rock’ and ‘Pick Up The Pieces’. ‘Back To Rhythm’ was the final recording in Ishikawa’s Africaninfluenced period. He cut this record with his band ‘Count Buffalos’, featuring Kiyoshi Sugimoto, Takeru Muraoka, Larry Sunaga and arranger Hiromasa Suzuki. It includes excellent cover versions of The Beatles, Simon & Garfunkel, BT Express, Stevie Wonder, Average White Band, Incredible Bongo Band and Fela Kuti. Originally released in Japan in 1975 by Columbia, this is now extremely difficult to find in its original format, and very pricey indeed!

                                                                                                        The Underground Youth

                                                                                                        Mademoiselle

                                                                                                          Manchester’s The Underground Youth have built an impressive back catalogue of seven full-length albums showcasing a hazy cocktail of neo-psych, post-punk, shoegaze and chillwave, of which every copy of each album has been long sold out. Now for the first time ever their highly sought-after album Mademoiselle is being given a physical release by Fuzz Club, alongside reissues of their sold out 2013 and 2015 albums The Perfect Enemy For God and Haunted. The story of Mademoiselle is a testament to the power of great music being able to reach an audience, regardless of the fact the artist might be unsigned, underground and almost unheard of. Originally released in 2010 and only available online, Mademoiselle has piled up millions of views on YouTube, and saw The Underground Youth acquire a cult following at a ferocious pace.

                                                                                                          The album has continued to endear audiences with its bluesy psychedelic-leaning, based on beautifully crafted lyricism and a sculpted sound. Layers of reverb-drenched, folk-indebted guitars and forlorn vocals bleed over hypnotising, monolithic drums to create a record that is 46 minutes of lethargic, lo-fi psych mastery. To celebrate the release of the album, The Underground Youth will be headlining Fuzz Club’s new monthly London event Under The Arches on 5th March, followed by shows at Manchester’s Cosmosis Festival, Lisbon Psych Fest and the group’s fifth European tour. Since releasing Mademoiselle, The Underground Youth has experimented and evolved into deeper complexity exploring electronica, industrialism and post-punk, but always with an incredible astuteness for beautiful songwriting

                                                                                                          FORMAT INFORMATION

                                                                                                          Coloured LP Info: Available on 180g "Milky Clear" coloured vinyl

                                                                                                          Elbow And The BBC Concert Orchestra

                                                                                                          The Seldom Seen Kid Live At Abbey Road - Half Speed Master

                                                                                                            On January 17th, 2009, elbow played a very special show to an invited audience at the world-famous Abbey Road Studios. Alongside the BBC Concert Orchestra, the band created an orchestral version of ‘The Seldom Seen Kid’, the album that had won them the Mercury Music Prize of 2008, made them household names and has now sold over 1 million copies in the UK.

                                                                                                            The show marked the start of a landmark year for the band. A week later they were named Best British Band at the BRITS, whilst ‘One Day Like This’ and ‘Grounds For Divorce’ from the album went on to win Ivor Novello Awards for ‘Best Contemporary Song and ‘Best Song Musically and Lyrically’ respectively.When the show was added to the BBC red button service and iPlayer it broke the record for on demand viewing, racking up over 1 million views.

                                                                                                            With the previous vinyl version of the album available only as part of the sold-out box set in 2012, elbow will celebrate the tenth anniversary of the performance with the release of a special edition as part of the ‘Mastered at Abbey Road’ series on April 19th.

                                                                                                            This version of the recording has been remastered from the digital source and cut to vinyl at half speed to ensure the best possible audio quality. It joins a list of classic albums in this series, including The Rolling Stones ‘Exile On Main Street’ and Marvin Gaye’s ‘What’s Going On?’. Thinking back to the show, elbow’s Guy Garvey has fond memories of a recording he now considers “the definitive version of ‘The Seldom Seen Kid’”.

                                                                                                            ‘It was humbling to work with such an amazing group of musicians and arranger Nick Ingman and, even now, I have to pinch myself when I think we are part of the amazing musical history of Abbey Road. We knew we had a ten-minute window to re-record anything that went wrong because of the way that orchestras are paid but, with an audience in the room, we were determined to get it right first time. The show felt a bit like unicycling on a high wire to start with, but the result is something that I am eternally proud of.’

                                                                                                            Conflict

                                                                                                            Standard Issue 82-87

                                                                                                              Originally released in 1989, "Standard Issue 82-87" presents British anarcho punks Conflict at their most fierce and confrontational with a complete overview of the bands classic early stages. Their extremely pissed off yet melodic trademark sound is here in all its angry splendor: three full 7"s are included, plus tracks from another 7", 3 LPs and a re-recording of their eponymous anthem. 13 blasts total of raging, original and strongly political UK hardcore, the ideal soundtrack to a world falling again into a pit of nationalism and fascist stupidity. Now more than ever, Conflicts powerful protest noise needs to be listened, and loud! 

                                                                                                              Christy Essien was one of the leading female recording artists of her time in Nigeria. She was born in Akwa Ibom State in 1960 and enjoyed an accomplished career as a musician and an actress. Having conquered the music and TV worlds Christy moved on to feature in some of the early Hollywood films such as "Flesh and Blood" and "Scars of Womanhood", both of which addressed issues of child abuse and female circumcision. With a desire to make life better for Nigerian artists. She is also credited as having initiated the first meeting that brought about the formation of the Performing Musicians Association of Nigeria in 1981.

                                                                                                              Dubbed Nigeria's "First Lady Of Song", Christy produced a respectable 9 studio albums across a number of labels. Her fifth album "Give Me A Chance" was released in 1980 by Afrodisia, and is being officially reissued again by the prolific Nigerian label.

                                                                                                              "Give Me A Chance" showcases an impressive move on from her last album with a nice amount of variety. Her classic funky disco sound is most evident in what is her most notable song on the album "Rumours". This much sought after disco number is joined by a couple more disco grooves such as "Nobody Can Stop You" and "Onwu". "Ife" meaning love inflicts a little bit of reggae into the mix while the remaining tracks ("Saboteurs", "Don't Let Me Down", "Ikan Idomo" and title track "Give Me A Chance") take more of a traditional afrobeat - meets ballad approach.

                                                                                                              Christy died after a brief illness in 2011. Close to the time of her death, she was involved in numerous successful businesses, organization and running the non-governmental organisation Essential Child Care Foundation involved in child welfare. Christy's achievements and awards are numerous. Too numerous to mention. Perhaps her greatest achievement however is her contribution to building a peaceful and tolerant Nigeria - which, alongside moral uprightness, remain constant themes of her songs.

                                                                                                              Bo Diddley

                                                                                                              The Rough Guide To Bo Diddley

                                                                                                                Bo Diddley’s driving and irresistible beats, which he likened to the sound of a freight train, inspired countless bands from the Rolling Stones to the Doors. With classic hits such as “Diddy Wah Diddy” and “Who Do You Love?”, Bo Diddley ranks alongside Elvis Presley and Chuck Berry as one of the truly great pioneers of rock ‘n’ roll.

                                                                                                                Compiled by renowned music journalist Nigel Williamson this Rough Guide includes his most legendary songs such as “Who Do You Love?”, “Road Runner”, “Pretty Thing” and “Say Man”. Bo Diddley was inducted into the Rock and Roll Hall of Fame in 1987 and he was the first black artist to appear on The Ed Sullivan Show. He was ranked by Rolling Stone Magazine as number 20 in its list of “100 Greatest Artists”.

                                                                                                                Anne Briggs

                                                                                                                Anne Briggs

                                                                                                                  Anne Briggs’ eponymous 1971 debut album, largely unavailable for 48 years, is widely regarded as a pillar of any folk collection. Re-issued here as part of the Topic Treasures series – the label’s classic and notable albums expanded in deluxe format with rare images, new liner notes (by folk aficionado/ journalist, Ken Hunt) – ‘Anne Briggs’ heralds a huge resurgence of interest in this most reclusive of folk doyennes.

                                                                                                                  This debut album contains some of Briggs’ most notable songs, including ‘Blackwater Slide,’ which she famously taught to Bert Jansch, (who recorded it on his ‘Jack Orion’ album) and ‘Go Your Way,’ co-written with Jansch. As with the 1971 original, the sleeve here contains song notes by the highly-regarded English folk singer and collector of folk songs, A.L. Lloyd.

                                                                                                                  Anne Briggs began singing in local folk clubs in her teens. In 1962, she became part of the Centre 42 - a leftist group of artists, writers, actors and musicians whose aim was to make arts and culture accessible to the masses. Ewan MacColl first heard Briggs’ remarkable voice and persuaded her to join the group and tour. There Briggs met MacColl’s comrade, A.L. ‘Bert’ Lloyd who became her mentor, producing her debut EP, ‘The Hazards Of Love,’ and recording Briggs for Topic landmark albums, ‘The Iron Muse’ and ‘The Bird In The Bush.’

                                                                                                                  Briggs went on to record a follow-up album, ‘The Time Has Come,’ for CBS which, at the time, sold poorly and was rapidly deleted. Two years later, she recorded again but blocked the subsequent album’s release, disheartened as she was by her singing. She retired from the limelight only to resurface in the mid 90’s to perform only momentarily with Bert Jansch for a TV documentary.

                                                                                                                  Hailed as the ‘High Priestess of Soul’, Nina Simone’s unique style seamlessly fused jazz and R&B with her classical piano roots to accompany her profoundly beautiful voice.

                                                                                                                  From classics such as ‘I Loves You Porgy’ and ‘My Baby Just Cares For Me’ to dynamic live recordings from her creative heyday, this collection charts her rise to stardom and shows why she remains a hugely inspirational figure to this day. ‘An overwhelming artist, piano player, and singer,’ - Bob Dylan

                                                                                                                  Various Artists

                                                                                                                  Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973

                                                                                                                    There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.

                                                                                                                    Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present Even a Tree Can Shed Tears, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.

                                                                                                                    In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene.

                                                                                                                    Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.

                                                                                                                    Even a Tree Can Shed Tears also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.

                                                                                                                    Nearly 50 years on, this “New Music” is born anew.


                                                                                                                    This is the first ever reissue of Roy Ayers' 1983 album 'Silver Vibrations'. Originally released in the UK only on Uno Melodic Records, 'Silver Vibrations' shares some of its musical DNA with 'Lots Of Love', Ayers' US album from the same year. However, 'Silver Vibrations' contains four unique cuts all of its own, plus extended takes of three songs, including the definitive version of iconic song 'Chicago'. The rarity of the original pressing has led to eye-watering second-hand prices for this truly brilliant LP. 'Silver Vibrations' was perhaps the last album to retain the sound of Ayers' organic 'classic' period of the latter '70s and manages to stand up well under its current re-evaluation. "Chicago", the unedited version of which is exclusive to this L.P., received considerable airplay in its time and has barely faded from earshot ever since; its woozy, mysterious vibe and cosmic ruminations from Roy in the second half have certainly endured. The strutting, funky "Good, Good Music" echoes Ayers at his pre-'80s, up-tempo disco peak, sporting a grittier edge and an old-school party atmosphere. Title track "Silver Vibrations" was only ever released in the U.K., both on this album and as a single, backed with "Fast Money". Both "Lots Of Love" and "Keep On Movin'" hark back to previous times and are a pleasant listen without being at all taxing. "Smiling With Our Eyes" is mid-tempo, lilting and jazzy, with a vocal vaguely reminiscent of Stevie Wonder in places. The wistful "D.C. City", a close companion of Ubiquity's original recording of "The Third Eye" is, in many ways, quintessentially Roy Ayers. 

                                                                                                                    STAFF COMMENTS

                                                                                                                    David says: Overdue reissue of this Roy classic. Worth buying purely for 'Chicago'. One of his finest moments it's been sampled and re-edited more times than his lawyers can count.

                                                                                                                    The Top Of The Poppers

                                                                                                                    Sing And Play The Hits Of David Bowie

                                                                                                                    In 2001, a group of David Bowie insiders put together a private CD of the cover versions of the Bowie songs that had appeared on Pickwick Records’ notorious ‘Top Of The Pops’ budget album series between 1972 and 1980. They called the CD ’Top Of The Fops’ and put a picture of a lookalike lifted from the 1970s teen mag Mirabelle on the cover. Bowie, we’re reliably informed by one of those insiders, loved the album.

                                                                                                                    ‘The Top Of The Poppers Sing And Play The Hits Of David Bowie’ gathers together the nine Pickwick cover versions on vinyl for the very first time. It’s a fascinating document of a confused era, where the high water mark of British pop and the countervailing trash aesthetic of the 1970s collided. And as is only fitting for those heady days, our album is released as a limited edition on groovy purple vinyl.

                                                                                                                    The ‘Top Of The Pops’ business model saw Pickwick churn out album after album of cover versions of the big hits of the day recorded by a ever-changing group of session musicians known only as The Top Of The Poppers. It didn’t seem to matter that the original records had already sold hundreds of thousands of copies. The ‘Top Of The Pops’ compilations were cheap to buy and were so popular that they were excluded from the official charts because they’d just clog the place up week after week, like bin bags during the Winter of Discontent. Listening to them as an over-eager pop consumer of the 1970s was to enter a disconcerting parallel world of the ersatz.

                                                                                                                    It’s perhaps no wonder that Bowie himself enjoyed these cover versions so much. After all, here was a man who had built a career on pretending to be someone else, manoeuvring his various invented personas through a succession of albums and telling anyone who bothered to listen that it wasn’t actually him the audience was responding to. It was Ziggy, or Aladdin Sane, or The Thin White Duke.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    Coloured LP Info: Purple coloured vinyl.

                                                                                                                    Vashti Bunyan

                                                                                                                    Just Another Diamond Day

                                                                                                                      Vashti Bunyan’s legendary debut album from 1970 finally gets a UK vinyl repressing. Produced by Joe Boyd for Witchseason Productions and originally released on Philips in 1970, the album features contributions from Fairport Convention’s Simon Nicol and Dave Swarbrick and The Incredible String Band’s Robin Williamson.

                                                                                                                      The songs mostly concern the events that took place when Vashti and her lover travelled to the Hebrides in a horse and cart to join up with Donovan’s artistic community but by the time they got there that community had all left. 


                                                                                                                      FORMAT INFORMATION

                                                                                                                      Coloured LP Info: Repress of 1000 copies on clear vinyl.

                                                                                                                      In 2007 Smith & Mudd's first album, "Blue River", came out as a CD release. It's now been fully remastered by Simon Francis and finally gets a vinyl release, on a hand numbered limited edition gatefold LP no less.
                                                                                                                      "Blue River is a spine-tingling and evocative mixture of the organic and the electronic, the past and the future. It's an album you will want to hear again and again and as you listen more you will begin to notice the subtlety of the production, the clarity of the guitars, the warmth of the bass guitars, even the vivid colours the music paints in your mind while you listen. Blue River is a beautiful collaboration between Paul 'Mudd' Murphy and Ben Smith and features some incredible guitar work from Bob Klose, a founding member of Pink Floyd.

                                                                                                                      What we said in 2007...
                                                                                                                      What a way to end a brilliant year, Paul Murphy AKA Mudd has been banging 'em out left right and centre, (releases on Rong music too), not to mention a fair bit of DJing too. Fortunately for you the quality is totally consistent and this CD will prove it to you. Claremont 56 have had four releases this year, three of them very limited 12"s which are all included here. The CD by Smith & Mudd is a beatiful suite of downbeat and (dare I say it) Balearic style tracks, often inflected with plenty of live guitar, bass, keys and occasional vocals. Perfect soundtrack for early mornings or very late nights and the perfect end to a very good year at the Mudd camp.

                                                                                                                      STAFF COMMENTS

                                                                                                                      Patrick says: At long last Mudd does the honourable thing and delivers a much needed vinyl release of this early Claremont classic. Blissful, melodic and entirely Balearic, this one set the blueprint for all the wonders which followed.

                                                                                                                      The Oh Sees

                                                                                                                      The Cool Death Of Island Raiders (Reissue)

                                                                                                                        Announcing a reissue of The Oh Sees - The Cool Death of Island Raiders
                                                                                                                        We here at Castle Face are not afraid to get our shins dirty mucking around in the stacks and we’re well aware of an out-of-press gap of Oh Sees releases right before 2006 when we started the label with Sucks Blood. We’re rectifying that and first among these is The Cool Death of Island Raiders, a particularly dusty gem that we think merits another look.

                                                                                                                        Kicking off the record with what should have been the hit of the summer that year but for the hard C in the title, "The Gilded Cunt" seems to clearly preface Oh Sees’ later psych skewed pop sensibilities. At the time it was an obvious jam and I recall being floored by its shuffling beauty. Chirping birds, gently lapping tempos and the nascent harmonization of Bridgid Dawson and Dwyer detail what I consider to be a definitive highlight of their early quiet period of the band. The tree hangs heavy with Patrick Mullins’ handiwork, manning the musical saw, drums, and an assortment of home made electronics. It seemed a bit radical to be so quiet about it but the tunes are total earworms among the assorted drones, cut up bits of tape noise, and mellow front porch vibes, and the whole thing hangs together in a lovely hand-made way, helped in no small part by Dave Sitek’s production (he would later work on Master’s Bedroom as well). “

                                                                                                                        We flew Brigid out a fresh woman and literally sent her home on a plane with a trash bag of her clothes” says John. Evidently the whole record was accidentally erased at some point right around when the photo on the back of the jacket was taken, which makes it all the more remarkable that the result sounds so casually and confidently careworn. 

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Limited to just 300 copies on translucent electric blue vinyl.

                                                                                                                        After a slightly dubious reissue a couple of years back, Numero treat Rupa Biswas' viral sensation "Disco Jazz" with their usual precision, care and respect, giving each of us the opportunity to own this masterpiece in lush HQ.
                                                                                                                        Engineered at Calgary's Living Room in 1982, "Disco Jazz" was the only release Rupa put out, working with a crack team of Canadian disco muscle and Indian studio talent to create the perfect fusion dish. East meets West, guitar meets sarod, soul meets funk and psych meets disco as Rupa and her crew groove their way through four far out moments of dance floor brilliance. Opener "Moja Bhari Moja" locks us into a frankly irresistible bassline, before the wild guitar riffs, spectral synth lines and trippy sitar create a kaleidoscopic visionquest for our collective third eye. Rupa's echo drenched vocals arrive right on time to seal the deal and steal the show, securing the much coveted 'cosmic disco killer' title all records should aspire to. "East West Shuffle" does exactly what it says on the tin, fusing transcontinental tonalities into a smooth jazz funk simmer before "Aaj Shanibar" closes out the A-side with the kind of cinematic sunset disco all the Balearic heads go wild for. If it weren't for the expert tabla and psychedelic sitar, you'd be forgiven for thinking this was one of those flamenco disco bombs you'd hear in a peak time Mison set. Stretching itself suavely over the whole of the B-side, "Ayee Morshume" is the kind of cosmic disco journey only the most experienced trippers should attempt - a heads down, hands aloft groove-voyage through endless solos and enchanting vocals. Chances of finding an original copy are way beyond slim, and on the rare occasion they turn up on the second hand market you're looking at the top end of three figures. It's a special record, and you're never gonna get a better chance to bag a copy - don't sleep!

                                                                                                                        STAFF COMMENTS

                                                                                                                        Patrick says: Numero rock our world with a much needed reissue of THE Indian disco holy grail, Rupa's magnificent "Disco Jazz". An East meets West affair, the LP combines Rupa's echoing vocals with slick disco grooves, spacey synths and all kinds of strung out psychedelia resulting in a cosmic bomb for the most enlightened of listeners. It's a must have!

                                                                                                                        'You’re The Man" is the first-ever planned “lost” Tamla/Motown album from Marvin Gaye. Fifteen of the album’s 17 tracks are on vinyl for the first time and three tracks are newly mixed by Salaam Remi.
                                                                                                                        The album also includes the rare long LP version of Marvin Gaye’s cancelled Christmas single from ’72, as well as an unreleased vault mix of its instrumental B-side, and new essay by Marvin’s biographer, David Ritz. The release concides with the 60th anniversary of Motown as a label and also Marvin Gaye’s 80th Birthday (April 2).
                                                                                                                        While the tracks have been issued on various collections and deluxe editions, this is the first time they have been placed in their proper context. In addition to context, "You’re The Man" was the album that was proposed to follow-up the monumental "What’s Going On", and it contains all of Marvin’s solo and non-soundtrack recordings from 1972 (his next two albums in quick succession: "Trouble Man" and "Let’s Get It On").

                                                                                                                        Carl Stone

                                                                                                                        Electronic Music From The Seventies - Repress

                                                                                                                        This 3LP set contains a selection of seven early works by American composer Carl Stone, all previously unpublished except for "Shing Kee," which appeared on the 1992 New Albion CD release, "Mom's". Notorious, formerly elusive recordings like "Sukothai," "Shibucho," and "Dong Il Jang" exemplify how Stone masterfully guided his art through the transition period when New Music exited the loft scene of the 1970s for a stab at commercial presence in the 1980s, satisfying both impulses by fusing his compositional ambition with systems of live performance that were simultaneously pop savvy, commercial suicide, and technologically and aesthetically forward thinking. His live performance practice, documented here in a carefully restored archival recording of "Kuk Il Kwan" at The Kitchen in 1981, has merged seamlessly with today's computer-driven methods. The earliest works of this collection, "LIM" and "Chao Praya," realized on the Buchla 200, date to the early 1970s while Stone was a student of James Tenney and Morton Subotnick at CalArts, a rare glimpse of Stone working with purely electronic source material.

                                                                                                                        Cocteau Twins

                                                                                                                        Four Calendar Café

                                                                                                                          UMC are proud to announce two vinyl reissues from Scottish rock band, Cocteau Twins. The original members were singer Elizabeth Fraser, guitarist Robin Guthrie, and bassist Will Heggie, who was replaced by multi-instrumentalist Simon Raymonde in 1983. The group has earned much critical praise for its innovative, ethereal sound and the distinctive soprano vocals of Fraser.

                                                                                                                          Four-Calendar Café is the seventh album by Scottish band Cocteau Twins. It was originally released on 18 October 1993 on Fontana. The album distinguished itself from the rest of the Twins’ catalogue in two major areas: The sound was much more pop-oriented and less ambient than previous works, and Liz Fraser’s lyrics were much more intelligible than usual.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          LP Info: 180 gram heavyweight vinyl reissues complete with download codes.

                                                                                                                          Cocteau Twins

                                                                                                                          Milk & Kisses

                                                                                                                            UMC are proud to announce two vinyl reissues from Scottish rock band, Cocteau Twins. The original members were singer Elizabeth Fraser, guitarist Robin Guthrie, and bassist Will Heggie, who was replaced by multi-instrumentalist Simon Raymonde in 1983. The group has earned much critical praise for its innovative, ethereal sound and the distinctive soprano vocals of Fraser.

                                                                                                                            Milk & Kisses is the eighth and final studio album by Cocteau Twins, issued by Fontana Records in March 1996. The song “”Rilkean Heart”” was a homage to Jeff Buckley, who was a lifelong lover of the work of poet Rainer Maria Rilke. 

                                                                                                                            FORMAT INFORMATION

                                                                                                                            LP Info: 180 gram heavyweight vinyl reissues complete with download codes.

                                                                                                                            Rain Tree Crow

                                                                                                                            Rain Tree Crow

                                                                                                                              Following the deluxe vinyl release of David Sylvian’s solo albums, Brilliant Trees, Alchemy – An Index of Possibilities, Gone To Earth and Secrets of the Beehive this February, 29th March will see the release of the cult classic, 1991 album, Rain Tree Crow. Featuring David Sylvian, Steve Jansen, Richard Barbieri and Mick Karn, Rain Tree Crow also features contributions from Bill Nelson, Phil Palmer and Michael Brook. The majority of the material on the album grew out of group improvisations. There were no pre-rehearsals; the improvisation took place in the recording studio and much of the finished work contains original elements of those initial performances. 

                                                                                                                              FORMAT INFORMATION

                                                                                                                              LP Info: Rain Tree Crow is pressed on 180gram vinyl and contains a download card.

                                                                                                                              The 1983 cult-classic 'Mariah - Utakata No Hibi' sees its re-release for the first time. The long sought after final record on the legendary Better Days label, Utakata No Hibi is the culmination of composer and bandleader Yasuaki Shimizu's early-80s work, often compared to his contemporaries Ryuichi Sakamoto and Haruomi Hosono, as well as experimental new wavers Flying Lizards/David Cunningham, all of whom Shimizu has worked with. Recognized in Japan for the hit, 'Shinzo No Tobira,' the entire record is a masterful studio production of Japanese folk and pop idioms filtered through a chamber disco, new wave, synth production, sounding more relevant today than upon its release over 30 years ago. The packaging features additional artwork from Ira Okudaira, who created the original stunning jacket drawings. It retains the original double 12" 45 rpm play format, and includes a full English translation of the Japanese and Armenian lyrics on the printed inner sleeves.
                                                                                                                              RIYL: Blood Orange, YMO, Arthur Russell, Julee Cruise

                                                                                                                              STAFF COMMENTS

                                                                                                                              Patrick says: Back again in limited amounts, Palto Flats excellent reissue of the sublime "Utakata Ni Hibi" from Mariah. One of the finest examples of Japanese new wave, this LP breezes through traditional Japanese instrumentation, minimalism, synth pop and angular excursions all with a beauty few others attained.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              2xLtd LP Info: Ultra limited vinyl reissue.

                                                                                                                              Palto Flats are back in the land of the rising sun for their seventh LP release, delivering a beautiful reissue of "Kakashi", the 1982 album from visionary saxophonist Yasuaki Shimizu, the man behind Mariah's "Utakata Ho Hibi". Through its 8 suite-like tracks, "Kakashi" transports the listener into Yasuaki's colourful sound-world, a fusion of outre jazz, new wave, ambient, and dub practices, often all at the same time. Opener "Suiren" grooves through new wave rhythms and wonky funk, the skronking sax and avant groove calling to mind an Arthur Russell outing or Love of Life Orchestra jam, while the naive chorus could have come from an early Talking Heads LP. Without pausing for breath, the track segues smoothly into the title track "Kakashi", a dreamy fourth world dubspace born of swelling brass, rippling mallets and a rolling bassline. The A-side comes to a close via the three movements of "Kono To Ni Yomeri", which offer serialist brass abstractions, warm woodland ambience and a reedy nocturne respectively. Over onto the B-side and the weird electronics, fractal brass and steady groove of "Yune Dewa" see Shimizu shimmy into Laswell territories, expanding our consciousness nicely before the stunning "Umi No Ue Kara" sprawls across most of the B-side. Boasting a languid groove, restrained bass and the ever present trickle of mallets, the track flows gracefully from start to finish taking in subtle guitar chords, gorgeous sax and heart swelling chord progressions. Last but not least, the mournful "Utsukushiki Tennen" tugs at the heartstrings with snaking Latin jazz sax, dubby bass and chanted vocals. 
                                                                                                                              "Kakashi" is another high water mark in the 80s Japanese underground which has gathered cult status in recent years, and considered to be a highlight of Yasuaki's solo career. We're lucky to have this one back.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Ltd LP Info: Ultra limited vinyl reissue.

                                                                                                                              WRWTFWW Recordshit us with another fresh press of the impossible-to-find cult album "Lady Maid" by Japanese outfit Normal Brain with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

                                                                                                                              Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzuru’s fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance…), "Lady Maid" is a testament to the creativity of the early 80s’ Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

                                                                                                                              Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, and…a Texas Instruments Speak & Spell! It’s elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The A-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous! 

                                                                                                                              STAFF COMMENTS

                                                                                                                              Patrick says: The WRWTFWW express keeps powering on, this time releasing a Japanese wave / ambient LP so rare it's practically mythical. On the A-side Yukio Fujimoto drops demented synth pop, minimal wave and general weirdshit across five pieces, while the B-side brings one long ambient excursion with eerie detuned bells - reminds me of watching Knightmare and eating crumpets.

                                                                                                                              Strap in for travels beyond the galaxy, to tranced-out cosmic bliss! Sick Thirst presents "Vol 2", the second compilation of hard-to-find Wooden Shjips tracks. "Vol 2" digs deep to collect the band's Sub Pop and Mexican Summer singles, two self-released European tour singles, and a track from Yeti magazine, for nearly 44 minutes of fuzzed-out psych jams. Not just for completists, "Vol 2" contains the essential live standards "Loose Lips", "Death's Not Your Friend (live)", and "I Hear the Vibrations (the E-Z Version)", plus savage covers of Neil Young's "Vampire Blues" and Serge Gainsbourg's "Contact".

                                                                                                                              Wooden Shjips is a trance-rock quartet from San Francisco, consisting of Omar Ahsanuddin (drums), Dusty Jermier (bass), Nash Whalen (organ), and Ripley Johnson (guitar and vocals). Their sound, as I'm sure you all know now, has hints of krautrock, the trance-inducing organ haze of Suicide, Velvets-style dance-drone, classic desert-fried garage psych and the mysterious, obscure Japanese lysergic-rock band Les Rallizes Denudes, all mixed into one explosive whole.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Coloured LP Info: Limited white vinyl edition.

                                                                                                                              Long overdue reissue of this Molly Nilsson early release (her fourth), now repackaged and reissued via Night School / DSA.
                                                                                                                              “I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time”

                                                                                                                              By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama. While the methodology on History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.

                                                                                                                              The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society leaves behind.

                                                                                                                              On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.

                                                                                                                              Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that “the world will find me when the time is ripe.”

                                                                                                                              New Order

                                                                                                                              Temptation - Remastered Edition

                                                                                                                                Featuring the full versions of both tracks this 12” was first release in May 1982 and were the first self-produced released recordings. With ‘Temptation’ being a cast iron New Order classic, this is an essential part of any New Order collection. This 12” features remastered audio on heavyweight vinyl.

                                                                                                                                Duster

                                                                                                                                Capsule Losing Contact

                                                                                                                                  San Jose’s sonic cure-all for the Y2K hangover that never materialized, Duster emerged from a cloud of lonely bong rips to take indie rock to the moon, and beyond. Scotch-taped guitars toggle between a chorus of brittle winter trees and a blanket of distorted fuzz. The low rumble of a cardboard box being kicked in a dead mall keeps pace in the background, as muffled, sung-spoken vocals ponder the great mysteries of modern mundanity. Three years of home recording accidents and blown-out 2AM studio experiments are spread across four LPs or three CDs, gathering the short-lived trio’s Stratosphere and Contemporary Movement albums, 1975 EP, singles, demos, and other miscellaneous debris into one escape pod, now free to drift in the endless void of space.

                                                                                                                                  Mastered from a mix of crusty cassettes, decaying DATs, and warbly analog tape, Capsule Losing Contact is housed in a moon dusted slipcase with all four albums secured in heavy weight tip-on jackets. An accompanying lyric book guides the listener through Duster’s lo-fi worldview, adorned with the last gasps of an expired golden age as captured on Polaroid and disposable Kodak cameras.


                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  4xLP Info: 4LP + lyric book.

                                                                                                                                  3xCD Info: 3CD + lyric book.

                                                                                                                                  Iron & Wine

                                                                                                                                  Our Endless Numbered Days - Deluxe Reissue

                                                                                                                                    Sam Beam, aka Iron & Wine, released "Our Endless Numbered Days", his second in March of 2004. It followed his hushed, literate, intimate, melodic, 2002 debut album, "The Creek Drank the Cradle", a quiet treasure which, with its unaffected candor and depth, found fans all over. "Our Endless Numbered Days" was recorded both at Sam’s Miami home and in Chicago’s Engine Studios with Brian Deck (Red Red Meat, Modest Mouse, Ugly Casanova, etc.) On it, Sam is aided and abetted by his then touring and recording conspirators: his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki, and Jonathon Bradley. Listening to "Our Endless Numbered Days" makes plain Sam’s deft touch with words and melody; one that allows him to turn out stories about love, loss, faith, or the lack of it that are at once personal and universal, set to music that is sweetly haunting and timeless.

                                                                                                                                    This reissue features the original album, plus eight previously unreleased demo versions and a 12-page booklet with an essay about the album by Amanda Petrusich.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Coloured LP Info: Loser Edition dark green opaque vinyl.

                                                                                                                                    John Lennon & Yoko Ono

                                                                                                                                    Wedding Album

                                                                                                                                      Originally released in 1969, John Lennon and Yoko Ono’s ‘Wedding Album’ was the couple’s third experimental album length record and one of the most remarkable of the duo’s testaments to an intense romantic and artistic partnership that would last fourteen years, until Lennon’s tragic passing in 1980.

                                                                                                                                      On March 20, 1969, John and Yoko were married in a civil service in Gibraltar. To celebrate the event, in lieu of a conventional honeymoon, the newlyweds spent a week in bed at the Hilton Hotel in Amsterdam, inviting members of the press into their room for interviews and photo sessions and using their fame and the publicity generated by their ‘Bed-in’ to call attention to their campaign for world peace.

                                                                                                                                      With ‘Wedding Album’, John and Yoko created an enduring snapshot of a vibrant pop-cultural moment, with the hostilities of the Vietnam War as its bracing backdrop. It captures the humour, earnestness, and spontaneity that marked the early years of the ‘Ballad of John and Yoko’ era.

                                                                                                                                      ‘Wedding Album’’s innovative, original packaging, created by graphic designer John Kosh, included a box filled with souvenirs of John and Yoko’s nuptials: photographs, a copy of the couple’s marriage certificate, both Lennon’s and Ono’s drawings, a picture of a slice of wedding cake and more. Now, with a faithful recreation of ‘Wedding Album’ on special edition white vinyl LP, as well as compact disc, Secretly Canadian are making one of the most unusual and emblematic recordings of the Sixties available again - fifty years after John and Yoko were married - to mark the Golden Wedding anniversary of two of the 20th Century’s most emblematic cultural figures.

                                                                                                                                      The Fall

                                                                                                                                      Bend Sinister / The 'Domesday' Pay-Off Triad-Plus!

                                                                                                                                        Beggars Arkive reissue The Fall’s ninth studio album, Bend Sinister, originally released in 1986. This edition is titled Bend Sinister/The 'Domesday' Pay-Off Triad-Plus!

                                                                                                                                        It was the last of three albums in a row produced by John Leckie and was named after a dystopian novel by Vladimir Nabokov.

                                                                                                                                        After the universal acclaim for the previous year’s This Nation’s Saving Grace, Bend Sinister often stands in its predecessor’s shadow. It is a dark, brooding album made at the height of the group’s Beggars Banquet years and many people include this at the top of the list of favourite Fall albums.

                                                                                                                                        From Bend Sinister, “Mr. Pharmacist” is a lurching instalment in pop music’s ongoing conversation with drug dealers, illicit and otherwise. Actually a cover of 1960s garage-rockers the Other Half, it’s also a demonstration of how the Fall’s relatively unchanging style could bolster other people’s songs. – PITCHFORK

                                                                                                                                        “Part musical hypnotist, part ranting madman, Smith was a singular figure in post-punk. His Mancunian accent, dry witticisms and plays on words were one of the Fall’s most constant characteristics. Their songs were odysseys into his ever-verbose psyche, marked by repetitive rhythms and melodies.” – ROLLING STONE

                                                                                                                                        “At various points in the band’s four-decade career, the Fall might sound like punk, hard rock, psychedelia, funk, blues-rock, jazz-rock, electropop or sheer noise. “If it’s me and your granny on bongos, it’s the Fall,” Mr. Smith once declared. The BBC disc jockey John Peel, an early and steadfast supporter, said of the Fall that ‘they are always different, they are always the same.’” - THE NEW YORK TIMES

                                                                                                                                        "Mark E Smith’s group of psychedelic post-punks rank as one of the most visionary, singular British bands of all time.” -THE GUARDIAN

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        2xLP Info: Double LP, gatefold sleeve with inner bags. Includes replica program for the Riverside production of ‘Hey Luciani!’.

                                                                                                                                        2xCD Info: Double CD contains 6 unreleased songs, casebound, and includes 24-page booklet with notes by Daryl Easlea.

                                                                                                                                        New Order

                                                                                                                                        Everything's Gone Green - Remastered Edition

                                                                                                                                          Originally released on Factory Benelux in December 1981, this 12” featured Everythings Gone Green, which had previously been on the reverse of the band’s second 7” single ‘Procession’ in September 1981,and ‘Cries And Whispers’ and ‘Mesh’ whose titles were flipped on the cover causing confusion amongst fans and compilers ever since. This 12” features remastered audio and is pressed on heavyweight vinyl.

                                                                                                                                          David Byrne

                                                                                                                                          Grown Backwards (Deluxe Vinyl Edition)

                                                                                                                                            David Byrne's Nonesuch Records debut album, Grown Backwards, first released in 2004, makes its vinyl debut almost fifteen years later. The vinyl edition comprises the original album plus six previously unreleased tracks, including a duet with Caetano Veloso on their song ‘Dreamworld’. The double LP was mastered for vinyl by Greg Calbi at Sterling Sound and pressed on 140g vinyl at Record Industry in the Netherlands and comes in a metallic sleeve.

                                                                                                                                            ‘It fits alongside the best of his career and adds another solid release to a solo catalog which will hopefully become more cherished in time,’ said Pitchfork in its review in 2004.

                                                                                                                                            ‘In 20 years, as we straighten our faces with botulism, braces, and stem cells, the album will stand up’. Mojo gave Grown Backwards four stars, finding that ‘some of Byrne's most deliciously quirky lyrics ensure an event-packed listen.’ The Guardian called the album ‘one of Byrne's most rewarding experiments yet. These are wonderful exercises in songcraft.’ The Daily Telegraph said: ‘This must surely be Byrne's most satisfying album. An unexpected delight.’ Uncut named it among the Albums of the Year, and the Sunday Times declared: ‘Really rather wonderful.’

                                                                                                                                            FORMAT INFORMATION

                                                                                                                                            2xDeluxe LP Info: Heavyweight double 140 gram high-performance vinyl.

                                                                                                                                            Almunia (Leonardo Ceccanti and Gianluca Salvadori) unleashed their
                                                                                                                                            debut LP in 2011 with a sweet heady mix of overdubbed disco, guitars
                                                                                                                                            and psyched out grooves. With gatefold hand numbered copies selling
                                                                                                                                            on Discogs for around £170, you now get the chance to own it as a
                                                                                                                                            double LP without breaking the bank. Kicking off with ‘Psychedelic’
                                                                                                                                            the pace is set, before ‘New Moon’ pins you down for a sweet Pink
                                                                                                                                            Flloydian ride. ‘Dos Estrellas’ hits home to deliver the promise of this
                                                                                                                                            outfit, a blissed out subtle-as-you-like intro, coming on like a 12” indie
                                                                                                                                            dub mix from the late 80’s, dropping half way through for full on sunset
                                                                                                                                            smiles.
                                                                                                                                            The essence of Peter Green is distilled through ‘Electro Blues’ and
                                                                                                                                            underpinned with a rubbery dustbowl bassline, vocals wash over the
                                                                                                                                            breakdown in what could be the soundtrack to a weird peyote inspired
                                                                                                                                            movie scene that hasn’t been made yet. ‘Kissing Time’ sweetens
                                                                                                                                            things up with a nifty melody and vocal whilst ‘Moving Up Slowly”
                                                                                                                                            really does as it says and notches up the bass, FX, beats and voices
                                                                                                                                            for a hefty slab of midnight boogie.
                                                                                                                                            ‘Travel’ then turns up the sweatiness, with a sluggish, pounding beat,
                                                                                                                                            solid throb of bass and analogue lines from a John Carpenter chase,
                                                                                                                                            dark and heady, with vocals added by Benjamin James Smith from
                                                                                                                                            Smith & Mudd. ‘Until She Comes’ brings you round nicely at the other
                                                                                                                                            end of the LP with a sweet lolloping bass, choral touches, nifty beats
                                                                                                                                            and a delicate hand on the guitar.
                                                                                                                                            Comes as a double LP limited to 300

                                                                                                                                            Nyami Nyami Records present a lost piece of Zimbabwean musical history: the only album from local legends the New Tutenkhamen, combining Jazz, Soul, Folk and Township rhythms. There are only 2 known copies of the original LP – this reissues make the music available again for the first time in over 40 years.

                                                                                                                                            The New Tutenkhamen included many stars of Zimbabwean township music: Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano’s long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher “Chex” Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen’s most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax. I Wish You Were Mine was recorded at Teal Records and was produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic “Skokiaan”, and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the heavyweight producing talents of Matema and the writing chops of Josamu, the New Tutenkhamen band created an album showcasing various musical styles popular at the time.

                                                                                                                                            From the afro-jazz jam session aesthetics of “Tutenkhamen Theme”, “Big Brother Malcom” and “Forever Together”, to the almost Van Morrison-sounding “Sunday Morning”; from the upbeat rock ballad “True Love”, to the funk-infused dance song “Togetherness”; from the bouncy jazz exhortations to work hard in “Ane Nungo”, to the brassy, raunchy foot-stomper “Me & Dolly”. The title track “I Wish You Were Mine” is a ska-infused ballad that wouldn’t be out of place in post-war Birmingham, while the star of the show is “Joburg Bound”, itself a fast-paced rock piece with Motown undertones and funky guitar lines.


                                                                                                                                            The Streets is pleased to announce the reissue of his 2006 album which will be its first re-pressing since 2006 on 2 heavy weight vinyl disks. This is The Streets third album following his early critical reception and features hit tracks such as “War of the Sexes” and “Never Went To Church”. The artist continues to explore his own narrative and experiences through tracks such as Fake Streets Hats", whilst his lyricism and poetic timing is acclaimed. 

                                                                                                                                            Over two decades after its initial release, KRS One’s debut solo album "Return of the Boom Bap" finally gets the reissue it deserves. Pressed for the first time on gold vinyl, this double LP not only includes a bonus 7” of Kenny Parker remixes, but also features the first-ever colour sleeve on a U.S. pressing. Stripping away the intricate production of the final BDP album, "Sex and Violence", "Return of the Boom Bap" saw the already iconoclastic rapper return to the bare bones, gritty territory of his landmark masterpiece "Criminal Minded".

                                                                                                                                            KRS-One’s delivery, burned with a reinvigorated fury, spits out his rhymes with pummeling cadences and world-wise intelligence. Although the record isn't as focused on social activism and political protest as the latter Boogie Down albums, KRS-One never made his lyrics simplistic, nor did he turn his back on what could now be called prescient social commentary. The combination of raw beats and emotion-driven rhymes made "Return of the Boom Bap" a genuine comeback for KRS-One, one of the founding figures of modern hip-hop. 

                                                                                                                                            FORMAT INFORMATION

                                                                                                                                            2xColoured LP Info: Double gold vinyl plus 7".

                                                                                                                                            Bernard Hermann

                                                                                                                                            Taxi Driver

                                                                                                                                              You talkin’ to ME?’; undeniably one of the most famous quotes from movie history and from one of its most memorable characters. Travis Bickle, the frustrated Vietnam veteran in Taxi Driver; the lonely nut obsessed with sex and violence who takes a job as a cabbie to battle his insomnia. Robert De Niro’s legendary performance ensured that this Scorcese classic ended up on many a ‘best movie of all time’ lists.

                                                                                                                                              Bernard Hermann’s score is comprised primarily of a brass section mixing with a saxophone theme. The music swings back and forth, to amplify Travis’ deteriorating mental state. Layered atop the two key components are harps, woodwinds, and even noises of the city, like a nearby drum kit or the music of a theater. It was also Bernard Hermann’s last ever soundtrack. He died just a few hours after completing the score. Like no other he composed a dark and threatening atmosphere that drags you into Bickle’s twisted mind.

                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              Coloured LP Info: Limited yellow coloured LP, only 600 copies in UK

                                                                                                                                              Revolting Cocks

                                                                                                                                              Linger Ficken' Good..And Other Barnyard Oddities

                                                                                                                                                Revolting Cocks are an American-Belgian alternative industrial rock band that began as a side project for Richard 23 of Front 242, Luc van Acker and Al Jourgensen of Ministry and was active between the years 1985 to 1993, then on and off between 2004 to present in various incarnations. RevCo was founded by Richard and Luc with Al as producer. According to Luc, the band took on their name after trying out “insulting French expressions” on a waiter in a Chicago bar, ordering something they said meant “revolting cock” which led the waiter to say “you are revolting cocks!”

                                                                                                                                                Their debut release was “No Devotion” on Wax Trax! Records in 1985. The single was followed by the album, Big Sexy Land in 1986 which featured a mixture of industrial, hard rock and EBM with sampling and synthesized beats. Richard quit in 1986 and the group’s remaining two members were augmented by Chris Connelly (formerly of Finitribe, later of Ministry), Paul Barker and Bill Rieflin (both formerly of the Blackouts and at the time in Ministry), with various others appearing as contributors or guests. The following live album, You Goddamn Son of A Bitch (1988), marked the band’s live debut, featuring aggressive versions of the tracks from Big Sexy Land along with new material. This continued on Beers, Steers and Queers (1990), layering sample over sample and pushing the distortion.

                                                                                                                                                Linger Ficken’ Good and Other Barnyard Oddities was released by Sire Records in 1993, with most of the music returning to the less layered material and having a comedic edge. Included on this album is a cover of Rod Stewart’s “Da Ya Think I’m Sexy?“ which was released as a single. A tour was planned to support the release but was cancelled and the band quietly came to an end. 


                                                                                                                                                Brainiac

                                                                                                                                                Electro-shock For President

                                                                                                                                                  “Brainiac blow every fuse in the seduction system with songs that hiss and spit and thrash about like live wires in an electrical storm” Melody Maker, 1996 // Brainiac began in 1992 as the basement experiments of Dayton, OH natives Tim Taylor (vocals, synth), and Juan Monasterio (bass), who first met playing cello in fifth grade. Upon completing the lineup with Michelle Bodine (guitar) and Tyler Trent (drums), they released two full-lengths and toured vigorously, establishing themselves as the latest peg in Ohio's diverse musical timeline.

                                                                                                                                                  In 1994, Michelle left the band and was replaced by John Schmersal. After recording a 7" with Steve Albini for Sup Pop, the band recorded a handful of songs with Kim Deal (of The Pixies), which became their Touch and Go debut single Internationale. 1996 saw the release of their Touch and Go debut, Hissing Prigs in Static Couture, and saw the band use less Moog and more random electronic gadgets and noisemakers. Jim O'Rourke produced 1997's Electroshock for President EP, in which Brainiac continued their transition into a more electronic rock band. They began to receive serious intere st from major labels. On May 23, 1997, however, only weeks after the EP's release and the band's return from a European tour supporting Beck, Tim lost his life in a car accident in his hometown of Dayton, Ohio. He was 28. A feature length documentary exploring Brainiac’s music, legacy, and loss, entitled Transmissions After Zero and directed by Eric Mahoney, is expected to be released in early 2019. 

                                                                                                                                                  Soul Asylum

                                                                                                                                                  Clam Dip & Other Delights

                                                                                                                                                    • Soul Asylum’s classic EP expanded to LP length.
                                                                                                                                                    • Original EP produced By Tom Herbers.
                                                                                                                                                    • First time on vinyl since original U.K. & U.S. pressings.
                                                                                                                                                    • Reissue co-produced by Twin/Tone co-founder Peter Jesperson and Grammy®-winning producer Cheryl Pawelski.

                                                                                                                                                    Originally produced by Tom Herbers (Jayhawks, Gear Daddies, Low), this reissue is co-produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner and Omnivore Recordings co-founder, Cheryl Pawelski. Clam Dip & Other Delights is now newly expanded to album length and features the original tracks from the U.K. and U.S. releases, and some previously unissued demos cut around the same time. Additionally, this fresh expanded vinyl pressing of Soul Asylum's Clam Dip & Other Delights is the first since it’s original 1988 U.K. and 1989


                                                                                                                                                    Soul Asylum

                                                                                                                                                    Say What You Will...Everything Can Happen

                                                                                                                                                      • Soul Asylum’s debut album.
                                                                                                                                                      • Produced by Bob Mould (Hüsker Dü).
                                                                                                                                                      • First time on vinyl since original pressing
                                                                                                                                                      • Reissue co-produced by Twin/Tone co-founder Peter Jesperson and Grammy®-winning producer Cheryl Pawelski. Soul Asylum first hit the Minneapolis music scene in early 1981.

                                                                                                                                                      Originally produced by Bob Mould, this reissue is co-produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner and Omnivore Recordings, Cheryl Pawelski. This fresh vinyl pressing of Soul Asylum’s debut, Say What You Will . . . Everything Can Happen is the first since it’s original 1984 Twin/Tone release and has been restored and mastered by Grammy®-award winning engineer, Michael Graves at Osiris Studio and cut by Chris Muth at Taloowa.


                                                                                                                                                      Soul Asylum

                                                                                                                                                      Twin/Tone Extras

                                                                                                                                                        • New compilation featuring tracks from early Soul Asylum (then known as Loud Fast Rules) and select bonus tracks from the Soul Asylum CD reissues.
                                                                                                                                                        • Includes alternate takes, demos, cassette-only compilation tracks and more.
                                                                                                                                                        • Reissue co-produced by Twin/Tone co-founder Peter Jesperson and Grammy®-winning producer Cheryl Pawelski. Soul Asylum first hit the Minneapolis music scene in early 1981.

                                                                                                                                                        This special compilation picks up select bonus tracks featured on the CD reissues of Soul Asylum’s Twin/Tone releases and is co-produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner and Omnivore Recordings co-founder, Cheryl Pawelski. This previously unissued, unique compilation reaches back for some of the earliest Soul Asylum recordings as Loud Fast Rules while also offering alternate versions of some well know songs. Twin/Tone Extras has been restored and mastered by Grammy®-award winning engineer, Michael Graves at Osiris Studio and cut by Chris Muth at Taloowa.


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

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

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

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

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

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


                                                                                                                                                        STAFF COMMENTS

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

                                                                                                                                                        In the mid-80’s, an original form of music was discovered on the midi-capable little planet of Austin, Texas. At the age of 32, Charles Ditto released his first solo album applying cutting edge computers and synthesizers of the era (Roland DX7, Roland MKS-20, Roland MKS-80, Sequential Circuits Profit 2000 along with a Macintosh SE) to create a unique and detailed world that was inspired by Cluster, Eno & The Residents. "In Human Terms" bridges the gap between contemporary classical and minimal pop. Rhythmic but melodically abstract. Microtonal and organic.
                                                                                                                                                        Often described as experimental electronics, tone poems or Cyber-delic-psychotropic-avante-garde, "In Human Terms" remains very emotional, deep and different. Ditto’s music imparts a new listening experience that is still somewhat indescribable today, but remains approachable and relatable. “What makes Ditto’s music so strikingly different is his overt use of emotion, very descriptive melodies and deep atmosphere” Audio Magazine - August 1988 // “If Erik Satie had midi gear” Keyboard Magazine - April 1988 // “Brian Eno meets Seastones, but with more melody” Relix Magazine - August, 1988 // “Ditto’s choice of Synthesizer tones are at once both organic and unique” Electronic Musician - June 1988

                                                                                                                                                        Art Ensemble Of Chicago

                                                                                                                                                        Tutankhamun

                                                                                                                                                        Tutankhamun, the 1969 album by avant-garde jazz pioneers Art Ensemble of Chicago, features performances by Lester Bowie, Joseph Jarman, Roscoe Mitchell and Malachi Favors Maghostut. As the AllMusic review states, "This landmark album is one of the most influential free jazz recordings in the '60s avant-garde canon.” Previously out of print for over three decades, Tutankhamun has been remastered for vinyl at Infrasonic Mastering and pressed on audiophile-grade vinyl at Pallas in Germany. As a bonus, the reissue features “Tthinitthedalen" Part 1 and 2, closing out sides A and B, respectively.

                                                                                                                                                        Pre-dotcom electro-funk from the long-running S.F. collective New World Music, gathering the best of their opium-hazed Macola-issued singles on one tidy 12”. Winding keys loosely hug an over-worked 808, as a slapping, watery bass gallops alongside, the looming bummer of the mid-’80s drug war hanging heavy over the whole affair. "Intellectual Thinking" finds New World Music jamming towards a techno future that never arrived.

                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                        Patrick says: Wild and jazzy San Fran electro-funk rescued from obscurity by those fine folks at Numero. Check the A-side for an extended boogie instrumental awash with killer solos, hit the flip for a pair of dancefloor friendly sensual synth soul jams.

                                                                                                                                                        Gary Numan

                                                                                                                                                        I Assasin

                                                                                                                                                          Originally released in 1982, ‘I, Assassin’ is Gary Numan’s sixth studio album and fourth under his own name.

                                                                                                                                                          Combining fretless bass with heavy rock drumming, Numan further refined his dark, sparse, funky-electro style, mixing it with impenetrable, slurred vocals.

                                                                                                                                                          Numan recorded and wrote most of the music between January and March 1982, following his infamous round the world trip in a light aircraft and a near-death crash onto a British road while co-piloting a spiralling Cessna. Three of the album’s songs made it into the UK Top 20. According to Numan, who was still only 24-years-old at the time, “the round-the-world flight, the plane crash, these were big things that helped me shape a new opinion of myself. Those experiences gave me a self-confidence, a genuine strength that I hadn’t had before.” Twenty years later, the singer enthused, “I still think it’s one of the best albums I’ve made.”

                                                                                                                                                          I, Assassin’s heavily percussive approach led to several tracks becoming unexpected intruders on American dancefloors, notably the 12” single of ‘Music For Chameleons’ and a specially remixed US version of ‘White Boys And Heroes’.

                                                                                                                                                          ‘I, Assassin’ stands out as a record fiercely propelled by powerful rhythms in songs laced with an earthy cynicism.

                                                                                                                                                          “‘I, Assassin’ also utilizes the warped elasticity of fretless bass lines underneath his customary monotone vocalising and abstract lyricism. Highlighted by the upbeat synthetic funk of ‘We Take Mystery To Bed’ & ‘White Boys’, ‘I, Assassin’ is an in-depth examination of genuine dance music roots.” - URB Magazine.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Coloured LP Info: Restored from the original analogue tapes, presented on HD audio. Pressed on dark green vinyl.

                                                                                                                                                          The Accra-born pianist and frontman only released a few albums in small quantities, yet two of them are among the most sought-after records from 70’s Africa. This was the first.

                                                                                                                                                          So what do we know? After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound. Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father’s piano during school holidays.
                                                                                                                                                          The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wah-wah guitar spin us out before those imperious horns bring us back in.
                                                                                                                                                          And what better way to close this set than with ‘More’, swept up in a call and response between Rob and his backing singers as a ‘Blow Your Head’ synth flares and the brass blasts. Good times guaranteed. As the man himself says, “Funky music is in my blood. What you hear is the coming out of my mind.” No one sounds like Rob, because there is no one like Rob.

                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Patrick says: Mr Bongo come through with an official reissue of one of the finest Afro-funk records ever - Rob's 1977 self titled winner. Arguable the hottest Ghanaian record of all time!

                                                                                                                                                          Time Capsule is a new reissue label that unites the record collectors and DJs of Brilliant Corners and Beauty & The Beat communities in London. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.

                                                                                                                                                          For the first release, Brilliant Corners regular and Meda Fury signing Ryota OPP curates the reissue of Il Guardiano Del Faro's 1978 album "Oasis". 

                                                                                                                                                          Born in 1940, Milanese musician Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesisers in the early 70s. 

                                                                                                                                                          Viewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesiser and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to hide his identity. Il Guardiano Del Faro (translated as 'the guardian of the lighthouse') is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s. 

                                                                                                                                                          He produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but "Oasis" stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites "Disco Divina" and "Oasis" touches of space disco and even teases  proto-house elements like the great Sun Palace. 

                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Patrick says: New firm Time Capsule kick things off with a welcome reissue of 1978 library-style synth gem "Oasis" from Italian maestro Federico Monti Arduini, an essential listen for the cosmic and Balearic fans alike. Kay Suzuki enlists the co-curatorial skill of Ryota OPP to give this diamond the TLC it deserves, presenting "Oasis" in a gatefold sleeve with a gorgeous obi and precise remaster.

                                                                                                                                                          The holy grail of Kraut Exotica, recorded in 1978 for the tiny german label Sound Starton. Only 200 LPs were ever pressed. Library albums flooded the market back then and this world jazz gem simply got forgotten in the warehouse. A true one of a kind recording: traditional Indonesian folk songs reinterpretated by some of the best European jazz fusion players incl. Milan Pilar (Catch Up, Niagara) and conducted by the Jewish German drummer legend Freddie Brocksieper. Overlooked for way too long, this dreamy, drifting gem now gets the love and attention it deserves courtesy of Exotica obsessives Sound Voyage and their Free Soul Inc label.

                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Patrick says: I can't claim any sort of knowledge of this record before about two weeks ago, but it's been on the player ever since. The Münchner Studioorchester deliver lush library grooves and verdant funk inspired by an unseen Indonesia, arriving at a new and otherworldly destination. Essential if you dug on Jan Schulte's "Tropical Drums Of Deutschland" compilation.

                                                                                                                                                          Roy Garrett born Roy Sambar in Colonia, New Jersey arrived in New York City hungry to explore the sex and porn scenes he’d seen advertised in the Village Voice’s classified section. He danced in Times Square theaters The Gaiety, Ramrod, and Big Top before moving into adult film. From 1979 through 1983 Garret starred in ten films, five of them for Joe Gage, including his lead role in 'Heatstroke'. Throughout this period of self-discovery, he wrote the suite of poems that became "Hot Rod to Hell". In 1982 he recorded 48 of the poems with a haunting, atmospheric score by Man Parrish, who also did several soundtracks for Gage. The project was produced for the stage and for cassette by Manhattan illustrator Robert W. Richards. Richards calls "Hot Rod...", 'a searing voyage through the labyrinths of modern male sexuality; it’s geography ranging from porn theaters to back room bars to the intimacy of shared beds. Only a man born at exactly the moment in gay history that Garrett was could have lived through and conceived this work.' Roy Garrett tells his stories of sex, violence, truth, and illusion; a visceral and personal a record as any of that moment in gay history pre-AIDS. Joe Gage, describes "Hot Rod..." as, '…sweet danger. This is a perceptive look at the underside of love. It is funny, scary, surprisingly moving and best of all, extremely acute in observing the specifics of the human condition.' All poems have been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The records come housed in a jacket designed by Gwenael Rattke and includes an 44-page full color magazine with all 48 "Hot Rod..." poems plus 44 previously unpublished poems from Garrett’s archive. All proceeds from "Hot Rod..." will be donated to Housing Works, a New York City based non-profit fighting the twin crises of AIDS and homelessness.

                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Matt says: Phooooaar MATRON!! This was due in last week, for a trouser-bulging addition to any homo-erotic night in with your lover. Unfortunately it's a bit late, but that shouldn't subdue your inner libido once this slice of x-rated electro-funk hits the needle. Always pack a change of gruds!

                                                                                                                                                          Michael Rother

                                                                                                                                                          Solo

                                                                                                                                                            The ‘Solo’ boxset includes the first four solo albums from Krautrock legend Michael Rother (Kraftwerk, NEU!, Harmonia): ‘Flammende Herzen’, ‘Sterntaler’, ‘Katzenmusik’ and ‘Fernwärme’. It also features a selection of soundtrack work, as well as previously unreleased remixes and live recordings, featuring reworks for Paul Weller and Boxed In.

                                                                                                                                                            The boxset also contains a lush 36-page booklet, original stickers from the 70s and a digital download code.

                                                                                                                                                            ‘Flammende Herzen’, ‘Sterntaler’, ‘Katzenmusik’ and ‘Fernwärme’ are also being made available as separate digital albums.

                                                                                                                                                            “This is a special guy. Rare among fine musicians is one who never bit the industry weenie. This guy never did. He’s done nothing but superior work just the way he hears it. An understanding of space within the music, nothing there that doesn’t need to be and an attention to every note. It’s an exceptional talent and one that’s heavily influenced all sorts of people for a long long time. He hit all the right notes in the post-war evolution of German music.” - Iggy Pop

                                                                                                                                                            Scott Walker

                                                                                                                                                            No Regrets - The Best Of Scott Walker And The Walker Brothers

                                                                                                                                                              First time on vinyl since 1992 for this stunning ‘Best of’ from singer-songwriter Scott Walker. It’s now a 2LP set on 180gram vinyl. Features all the hits including “Make It Easy On Yourself” (#1 in August 1965), “My Ship Is Coming In” (#3 in December 1965), “The Sun Ain’t Gonna Shine” (#1 in March 1966), “Joanna” (#7 in May 1968) and “No Regrets” (#7 in January 1976).

                                                                                                                                                              David Sylvian

                                                                                                                                                              Brilliant Trees

                                                                                                                                                                David Sylvian’s debut solo album from 1984 is now available for the first time on 180gram vinyl. Featuring the singles “Red Guitar”, “The Ink in The Well” and “Pulling Punches”, the album is now housed in a gatefold sleeve with a printed inner bag and comes with a download card. David is joined on his debut album by a stellar cast including Holger Czukay, Jon Hassell, Kenny Wheeler, Mark Isham, Phil Palmer, Ryuichi Sakamoto, and Danny Thompson.

                                                                                                                                                                David Sylvian

                                                                                                                                                                Gone To Earth

                                                                                                                                                                  David Sylvian’s second solo album proper, a 2LP set from 1986, is now available for the first time on 180gram vinyl. Featuring the singles “Silver Moon” and “Taking The Veil”, the 2LP set is housed in a gatefold sleeve with brand new artwork, including rare photographs by Yuka Fujii, design by Chris Bigg, and printed inner bags plus a download card. David is joined on his second solo album by Robert Fripp, Bill Nelson, Kenny Wheeler, John Taylor, Phil Palmer, B.J. Cole, Mel Collins, Steve Jansen, and Steve Nye.

                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                  2xDeluxe LP includes MP3 Download Code.

                                                                                                                                                                  David Sylvian

                                                                                                                                                                  Secrets Of The Beehive

                                                                                                                                                                    David Sylvian’s third solo album from 1987 is now available for the first time on 180gram vinyl. Including the singles “Orpheus” and “Let The Happiness In”, the album features new artwork based on Nigel Grierson’s original photographs, redesigned by Chris Bigg, housed in a gatefold sleeve with a printed inner bag and download card. David is joined on his 3rd solo album by Ryuichi Sakamoto, Mark Isham, Steve Jansen, Danny Thompson, and David Torn.

                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                    Deluxe LP includes MP3 Download Code.

                                                                                                                                                                    David Sylvian

                                                                                                                                                                    Alchemy: An Index Of Possibilities

                                                                                                                                                                      David Sylvian’s intermediary album, made up of two entirely separate projects from 1985, is now available for the first time on 180gram vinyl. Featuring brand new artwork, the album includes rare photographs by Yuka Fujii, design by Chris Bigg, and a download card. David is joined on ‘Alchemy’ by Holger Czukay, Robert Fripp, Jon Hassell, Steve Jansen, Ryuichi Sakamoto, and Kenny Wheeler.

                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                      Deluxe LP includes MP3 Download Code.

                                                                                                                                                                      David Bowie

                                                                                                                                                                      Let’s Dance (2019 Remastered Edition)

                                                                                                                                                                        Let's Dance is the 15th studio album by David Bowie. Originally released on 14 April 1983, this vinyl edition is newly remastered.

                                                                                                                                                                        Anthony Naples returns with his second full length album, "Take Me With You", arriving first as a ‘Mixed Version’ cassette inspired and commissioned by the Good Morning Tapes series, followed by this vinyl edition that's just arrived here in the shop.

                                                                                                                                                                        Originally conceived as a mixtape dedicated to friends and the time spent with them in the morning hours, after the party is over (or beginning) - it quickly morphed into a soft focused meditation on all things warm and intangible.

                                                                                                                                                                        "Take Me With You" fires off in all styles - the opening triptych of the extra-cosmic “Alto”, post-rave pianos of “Goodness” and slow-dance-inducing “Drifter” bring the attention inward - taking cues from a host of personal favorites including: “Space” LP by Space, The Theater Of Eternal Music, Panda Bear’s “Person Pitch” , Atlas Sound’s “Let The Blind Lead…”, Arthur Russell’s “World Of Echo”, Suzanne Ciani’s “Buchla Concerts: 1975”, The Microphones “The Glow Pt. II” & “Mount Eerie”, A mixtape of Krautrock from DJ Ivan Berko and most definitely Holger Czukay, “Take Me With You” is a fresh turn for Naples as he ascends into a blend of his most personal work to date - touching on trip-hop, psychedelic pop, ambient house, and much more along the way.

                                                                                                                                                                        Make no mistake - “Take Me With You”’s message is undoubtedly about escapism, given away by its happy-abductee cover art done by the legend Biscuit - but first and foremost it reflects on that lingering feeling one gets when walking away from the ones they love.


                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                        Matt says: Awarded a 'Best of 2018' accolade by Resident Advisor when released on tape. Now available on vinyl: a digitally enhanced, 'abductee fantasy drama' from no other than Anthony Naples - you know what to do!

                                                                                                                                                                        Kumasi was a group comprised of Ray Phiri, Jabu Sibumbe, Isaac Mtshali and Lloyd Lelosa. Sometime between their formation as The Cannibals (*needing reissues*) and the almighty group Stimela, Kumasi released one album and a couple of singles. The artists had contracts under Gallo and couldn't reveal that they were linked to the music in any way, leading Kumasi to have only a brief mysterious run in the early 80s.
                                                                                                                                                                        But the secret's out! This release presents a collection of five songs from their incredibly rare full length LP, and adds to that their version of the South African classic, ‘Picnic’. Pressed as a 2x12” compilation, sounding incredible! Kumasi brings a unique blend of disco funk with that special South African tinge.
                                                                                                                                                                        Ray Phiri died in 2017 - this album goes out in his dedication.




                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                        Patrick says: All the bloggers and deep diggers rejoice - Smiling C are here with a reissue of Kumasi's dubby, Afro-disco masterpiece "I Know You Feel It". Jazzy chord progressions, infectious grooves, sleazy synths and rock action abound on this frisky biscuit, take a bite and shake a leg.

                                                                                                                                                                        You've heard of Baldelli & Loda right? Well, while Fabrizio Fattori might not have scored the same international acclaim for his work behind the turntable, the Italian did kill it in the studio, and this seven track set brings together the Afro-cosmic magic from his 1985 releases on London Records. Perfect for zero gravity dancing, eyeball licking and your next vision quest.
                                                                                                                                                                        Sweatband carefully placed on the brow, that swift bathroom speedball pulling you this way and that, we begin. "Running On The Nile" condenses everything you love about the Cosmic / Balearic scene into five flawless minutes of loose limbed passion. Tribal shouts and tumbling drums, chizzed up basslines, faux brass, mallets and a seriously euphoric chorus! The pace drops a little for the scat-heavy fusion frenzy "Leg Pulling", a mutant cousin of "Stop Bajon", before "Black Babe" locks into slo-mo fist pumps and sax-led swooning across two versions. (N.B. the last time I went tops off in a club was when I heard Baldelli drop this in Milan - Patch)
                                                                                                                                                                        Slow-jam unlocked, Fabrizio keeps the magic coming, cooking up the totally tribal Stargate tackle "Bara-Hum-Ba", a break-fuelled exotic stomper with ace pianos and chanted vox. In dub form "Leg Pulling" is imbued with new, ultra-Balearic powers while the cinematic, dramatic and dreamy cosmic thrust of "Babihe" sounds like the first time you came up. Bliss!

                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                        Patrick says: Best Records continue to smash it out the park, following a recent string of essential Italo and boogie reissues with a heavy LP combining Fab Fattori's two in-demand cosmic EPs with a little bit of unreleased material. Perfect for tops off dancing in a mirror tiled room.

                                                                                                                                                                        Josef K

                                                                                                                                                                        Sorry For Laughing

                                                                                                                                                                          The legendary first album by cult Scottish guitar group Josef K, recorded for Postcard Records but destined to become the great ‘lost album’ of the post-punk era.

                                                                                                                                                                          Recorded at Castle Sound Studios (Edinburgh) in November 1980, Sorry For Laughing should have been issued as Postcard 81-1, but was shelved after the band and label boss Alan Horne decided the 12-song set sounded too polished. Perhaps two dozen white-label copies in unmade sleeves exist, and have sold for as much as £1,000 amongst collectors. Josef K issued their second stab at a debut album, The Only Fun In Town, in July 1981 – only to split after completing a promotional tour.

                                                                                                                                                                          This remastered vinyl-only edition of Sorry For Laughing replicates the original Robert Sharp artwork (a solarised portrait of the band atop Calton Hill, printed in silver pantone), with detailed sleeve notes on the inner bag, and the added bonus of a 12 track CD, The TV Art Demos, featuring all tracks from the band’s very first recording sessions in 1979.

                                                                                                                                                                          ‘They were The Sound of Young Scotland, together with Orange Juice, whose guitars were also radiant and brittle, whose rhythms were also scrubbed and blunt, whose vocals were also proud and serious, but who sounded like another group entirely’ (Paul Morley); ‘In retrospect, their aborted attempt at a debut album feels much superior to what was finally released. The early versions of the songs sound superbly coiled and keen, the sublime poise of Endless Soul their truly timeless blaze of glory’ (Simon Reynolds)

                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                          Coloured LP Info: Limited edition clear vinyl.

                                                                                                                                                                          Crepuscule presents a brand new remastered edition of The Only Fun In Town, the influential debut album (Well first to be released anyway) by iconic Scottish guitar group Josef K, originally released on Postcard Records in July 1981.

                                                                                                                                                                          Speedily recorded in a small studio in Brussels, 'The Only Fun In Town' was a defiantly abrasive, serrated long-player in the mould of the second Velvets album, Josef K having already shelved a more conventional recording. Sharp-edged pop singles abound – 'It’s Kinda Funny', 'Sorry For Laughing', 'Revelation' – along with rattling Haig / Ross twin guitar classics such as 'Fun ‘n’ Frenzy', 'Heart of Song', 'Forever Drone' and 'The Angle'.

                                                                                                                                                                          'The Only Fun In Town' topped the independent charts on release and remains a canonical post-punk album. This new 2014 remaster comes housed in a handsome trifold digipack with 12 page booklet, and by way of a bonus also features all 12 tracks from 'Sorry For Laughing', the shelved debut album recorded at Castle Sound (Edinburgh) in November 1980, and apparently abandoned because it was thought to sound too polished.

                                                                                                                                                                          “Josef K were The Sound of Young Scotland, together with Orange Juice, whose guitars were also radiant and brittle, whose rhythms were also scrubbed and blunt, whose vocals were also proud and serious, but who sounded like another group entirely” (Paul Morley)

                                                                                                                                                                          “Josef K was about the heroic Outsider suavely surfing across the fraught surface of their albino funk fracas. Haig sounds high on anxiety, finding an odd, giddy euphoria in doubt.” (Simon Reynolds)

                                                                                                                                                                          A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, ‘Paint A Lady’ now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

                                                                                                                                                                          Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like ‘acid folk’ and ‘soft rock’, it’s difficult to imagine a time when the legendary Susan Christie album didn’t exist. When Finders Keepers Records first shared the unheard 60s songs like ‘Paint A Lady’, ‘For The Love Of A Soldier’ and ‘Echoes In Your Mind’ with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan’s new found fanbase instantly felt like they had known these songs all of their lives. Which is why it’s hard to believe that the music on this lost 60s acetate was only pressed 12 years ago.

                                                                                                                                                                          As the label’s lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label), ‘Paint A Lady’ has slowly become one of Finders Keepers’ most requested re-releases and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential album.

                                                                                                                                                                          The oft overused term ‘mythical’ applies to this album on many levels. Perhaps it’s the woozy nostalgia found within the pop craft of ‘Paint A Lady’ that has led to false rumours that original 1960s copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track and the acid-drenched sound effects on ‘Yesterday Where’s My Mind’ were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result, Susan Christie and her producer and husband of 40 years, John Hill, have happily taken the repeated phrase ‘unbelievable’ as a compliment to their songwriting skills and foresight.

                                                                                                                                                                          In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom- built for the nostalgia market: ‘No One Can Hear You Cry’ might lament the unrequited yearning for a record deal which never quite followed Susan’s won one-hit wonder novelty hit ‘I Love Onions’; similarly, ‘When Love Comes’ might allude to the subsequent 35 year wait for the right label to eventually come along.

                                                                                                                                                                          ‘Echoes In Your Mind’ and the aforementioned ‘Yesterday...’ could easily allude to the haunting melodies that sat in the can on John Hill’s studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track ‘Paint A Lady’ itself, complete with its future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender, at which point you eventually step back and see the bigger picture.

                                                                                                                                                                          These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60s America simply wasn’t ready for. It is just over 12 years since champion record rustler Keith D’Arcy (who you’ll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of ‘Paint A Lady’ and it’s almost a longer 50 years since Susan and John added their final touches to these recordings that tragically went into hibernation for over four decades.

                                                                                                                                                                          Whether this album has been on your wish-list for what seems like a lifetime, or you are taking your first plunge into this deep puddle, when the needle drops on the first track you’ll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

                                                                                                                                                                          The Durutti Column

                                                                                                                                                                          The Guitar And Other Machines - Remastered Edition

                                                                                                                                                                            Factory Benelux presents an expanded 3x disc deluxe edition of The Guitar and Other Machines, the sixth studio album by Manchester ensemble The Durutti Column, originally released by Factory Records in 1987.

                                                                                                                                                                            The origin of The Guitar and Other Machines was the Christmas present given by Factory founder Tony Wilson to Durutti mainman Vini Reilly in 1985. “He gave me another kick and bought me a load of electronic instruments,” revealed Reilly at the time. “I never dreamt of getting into this electronic thing, and I struggled and fought and stayed up til half seven in the morning and really worked on it. I know that Tony’s got this vision and I persevered. And I found a way of using a sequencer that isn’t like New Order – it’s my way, and it’s my music.”

                                                                                                                                                                            Produced by Stephen Street (The Smiths; Morrissey), the album also features percussionist Bruce Mitchell and viola player John Metcalfe.

                                                                                                                                                                            "Plus or Minus Two" compiles four songs from Kansas City wave pioneers Short-Term Memory’s first cassette album, "Every Head Needs Cleaning", with two previously unreleased tracks recorded in the 90s.
                                                                                                                                                                            This EP focuses on the group’s prescient dance-floor DIN-sync workouts which share sensibilities with contemporaneous early Detroit experiments by Juan Atkin’s Cybotron, Ron Hardy’s visionary Kikrokos tape edit, Shoc Corridor’s extended 808 exercises, and 90s Techno Pop by Haruomi Hosono. Rounding off the EP is the existential electronic soul ballad "Words".
                                                                                                                                                                            Kansas City, 1983: a band formed, wires connected and synapses fired. Three friends, tired of guitar/bass/drums rock started jamming with newly acquired synths and Roland TR 808. They called themselves Short-Term Memory. Thanks to the vanguard technology of the time, these electronic instruments spoke to each other, and Jim Skeel, John Paul & Robert Duckworth could program their instruments, riding the DIN-sync wave. Weekly jams became more ambitious, and in 1983 they released their first album "Every Head Needs Cleaning" on their own Silly Poodle Music label. Over the 80s members drifted in and out of the group, and they released two cassettes, an LP and a 7” EP. By the 90s Jim Skeel was at the helm, the only original member, and joined by Tim Higgins he continued to record in MIDI mode for a few years before pulling the plug, leaving recordings and memories that resisted the great fadeout of time, and today sound vibrant and more visionary than ever.


                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                            Patrick says: Around a dozen releases in and Seance Centre are yet to put a foot wrong. Whether it be deep disco-not-disco, experimental, ambient or new age, the reissue label's aim is always true. Here they hit us with four proto-techno, synth wave jams and two unreleased cuts from Kansas City's Short-Term Memory. As well as pre-Detroit hardware heaters like "Twitch & Jerk", "Hysteria" and "The Veldt", check the esoteric flavours of "City In Mind" and lost wave ballad "The Words" for more sombre scenarios. Killer artwork from Alan Briand as standard...

                                                                                                                                                                            Metronomy

                                                                                                                                                                            Nights Out - 10th Anniversary Edition

                                                                                                                                                                              As Metronomy work on their forthcoming sixth album, they take a moment to reflect on the 10th anniversary of their breakthrough album ‘Nights Out’. Metronomy’s Joseph Mount has delved into the archives for ‘Nights Out: 10th Anniversary Edition’ which will be released on Because Music.

                                                                                                                                                                              It features the original critically acclaimed album alongside a second LP which expands upon Mount’s vision with a set of unreleased demos, rarities and b-sides - many of which make their first appearance on vinyl. Two of the highlights come with alternative versions which have become staples of the Metronomy live set: a bedtime dub version of ‘Holiday’ which takes it into a darker, glitchier direction, and a French-language version of ‘Heartbreaker’.

                                                                                                                                                                              Mount’s Francophile leanings are also explored in Breakbot’s remix of ‘A Thing For Me’, which contrasts French touch vibes with Mount’s distinctly English-accented vocals. Previously issued on an exclusive Rough Trade bonus disc, ‘Over’ is an instrumental of cinematic scale, while the disc closes with four previously unreleased demos including the leftfield minimalism of ‘Das Booty’.

                                                                                                                                                                              Although Metronomy’s 2006’s debut album ‘Pip Paine (Pay The £5000 You Owe)’ was discovered by those in the know, it was ‘Nights Out’ that captured the imagination of a much wider audience. Mount achieved the seemingly impossible: he highlighted both the joyous atmosphere of a big night out and a taste of the resultant comedown in a set that playfully veered towards being a concept album.

                                                                                                                                                                              About Nights Out Joseph Mount says: “Oscar reminded me the other day how I said to him on completing Radio Ladio ‘I think I’ve just written my first number 1’. I hadn’t. We also reminisced about the day we borrowed the Honda Insight for the album artwork: I found the owner on an enthusiast chat room, we gave his daughter two Kate Nash tickets and a meet and greet with Kate in exchange for a few shots with the vehicle… simpler times. Shout out to Myspace.”


                                                                                                                                                                              The Tenderlonious led jazz quartet Ruby Rushton and their 22a imprint have been at the forefront of the UK jazz scene since the release of their debut album ‘Two For Joy’ in 2015. The band transport you back to the 70s Headhunters era, whilst still adopting the spiritual concepts of John Coltrane and Yusef Lateef. Audiences can expect to be treated to high energy compositions, fusing flavours of afro beat, hip hop, and Latin jazz.

                                                                                                                                                                              Both Trudi’s Songbook Volume One and Two were met with mass acclaim in the summer and autumn of 2017. They received regular airtime and support from DJ’s, tastemakers and radio stations across the world, including Gilles Peterson, Benji B, Bradley Zero, Jazz FM, BBC Radio 6 Music, Worldwide FM, NTS and many more. The huge support for the albums led to Trudi’s Songbook: Voloume Two being nominated for Jazz album of the year at the 2018 Gilles Peterson Worldwide Awards.

                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                              Millie says: Volume one & two paired together from Ruby Rushton's Trudi's Songbook bursts into a whirl of amazing jazz beats, with the layers of instruments overflowing with rhythm throughout. This is the perfect album so easy to sit back and relax to.

                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              2xLP Info: Deluxe gatefold double vinyl, limited to 500 copies.

                                                                                                                                                                              Laraaji & Lyghte

                                                                                                                                                                              Celestial Realms

                                                                                                                                                                                Morning Trip is a new imprint under Telephone Explosion dedicated to releasing ambient, experimental and generally optimistic sounds.
                                                                                                                                                                                Originally released on cassette in 1986, "Celestial Realms" is a collaborative album from New Age figurehead and Brian Eno-collaborator Laraaji, and fellow cosmic traveller Jonathan Goldman (aka Lyghte). Laraaji conjures his typically vivid soundworld of shimmering electric zither, while Goldman inhabits that world with pulsing guitar and droning synthesizer.
                                                                                                                                                                                "Celestial Realms" provides a 46 minute blissful ambient voyage featuring zither, bells, synthesizer, and guitar.

                                                                                                                                                                                “Finally, the best sustained trance music of the year can be found on Celestial Realms, a new co-creation of Laraaji and Lyghte, who use zither, bells, synthesizers, and guitar for their extraterrestrial adventures. Lyghte loves those very low, sustained, flowing tones, and Laraaji sails above one’s head with tinkling bells and zither glissandos. Definitely not for grounding or as background to washing dishes!” - Ramana Das (Music Editor, Yoga Journal 1986)


                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                Patrick says: Back in print for the first time since 1986, this collaboration between Laraaji & Lyghte could quite happily soundtrack a serene period of global rebirth after the imminent apocalypse cleanses the lizard people. Out of the bunkers and into the light...

                                                                                                                                                                                The Ruts

                                                                                                                                                                                The Crack

                                                                                                                                                                                  40th anniversary reissue to tie in with the band’s ‘40 Years of The Crack’ tour – 2019.

                                                                                                                                                                                  The band’s debut album, released in 1979, The Crack contains the UK hit singles: Babylon’s Burning and Something That I Said.

                                                                                                                                                                                  Very much fitting the era’s protest atmosphere – the white-reggae of Jah War, which was written in the aftermath of the Southall unrest and the over-use of force by the Metropolitan Police’s Special Patrol Group in the ‘70s, was also released as a single. Hard-hitting song S.U.S also deals with similar issues – a withering comment on the notorious stop and search laws.

                                                                                                                                                                                  The album is both anthemic, with simmering roots reggae and dub, but seared by classic rock guitar leads, totally redefining the genre and combining to create an ominous atmosphere of paranoia and dread reflective of the times in which it was made.

                                                                                                                                                                                  Re-mastered by Tim Turan at Turan Audio.
                                                                                                                                                                                  Cut to vinyl at Abbey Road Studios.

                                                                                                                                                                                  Soul Asylum

                                                                                                                                                                                  While You Were Out

                                                                                                                                                                                    • The band’s last raucous indie releases before signing to major Label.
                                                                                                                                                                                    • Remastered and featuring 7 bonus cuts, including 4 never-before released.
                                                                                                                                                                                    • Liner notes by Jon Wurster (Superchunk).
                                                                                                                                                                                    • While You Were Out was produced by much revered Minneapolis Musician Chris Osgood, leader of the groundbreaking 1976 punk band The Suicide Commandos.
                                                                                                                                                                                    • Contains the full U.K.-only EP track list of Clam Dip & Other Delights EP, first time available in the U.S.

                                                                                                                                                                                    While You Were Out was the band’s 3rd album and its 3rd release of 1986, following 2nd album Made To Be Broken and the cassette-only rarities compilation, Time’s Incinerator. It is considered by many to be their finest album. Clam Dip & Other Delights was their parting release for Twin/Tone before signing to major label, A&M Records. As the liner notes say, “The band got to record a bunch of things that likely would never have made it to an album, raw and all over the map stylistically, but sounding vital even 30 years removed.” Produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner, Cheryl Pawelski, these expanded reissues of Soul Asylum’s 3rd and EP collect rare outtakes and demos from this era, including seven bonus tracks as well as four completely unreleased songs. The packaging provides an array of never before seen photos, artwork, flyers and liner notes written by Jon Wurster of Superchunk fame.


                                                                                                                                                                                    Empire Of The Sun

                                                                                                                                                                                    Walking On A Dream - 10th Anniversary Vinyl Edition

                                                                                                                                                                                      Multi-platinum selling Australian alt-electro pioneers Empire Of The Sun (Luke Steele & Nick Littlemore) celebrate the tenth anniversary of their multiple-ARIA-award winning debut album ‘Walking On A Dream’ with the release of a limited edition vinyl product on Captiol Records/EMI Music Australia, the first vinyl release of the album in over three years.

                                                                                                                                                                                      A gatefold, 180 gram heavyweight vinyl of Walking On A Dream on transparent blood orange vinyl.

                                                                                                                                                                                      The original artwork from the initial 2009 vinyl release.

                                                                                                                                                                                      A unique code to download the previously unreleased track ‘Chrysalis’.

                                                                                                                                                                                      What we said in 2009: "Walking On A Dream" is the debut album offering from Empire Of The Sun – a psychedelic project led by Luke Steele from Perth's The Sleepy Jackson and Pnau's Nick Littlemore. Their sound has been likened to a Balearic Fleetwood Mac, prompting one writer to note that if Lindsay Buckingham joined forces with Daft Punk they might produce music as polished and perfect - for the bedroom, for the dancefloor - as this. This is going to be this year's MGMT, you can take our word for it!!!"

                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      Coloured LP Info: Transparent blood orange vinyl.

                                                                                                                                                                                      After excellent work from Berlin's Cocktail D'amore, whose reissue of "Musica Para El Fin De Los Cantos" caused a stir in 2017, London's Utopia Records launch their reissue division with the very first vinyl release of Iury Lech's debut "Otra Rumorosa Superficie". This cassette only release from 1989 is a minimal masterpiece practically unheard until now. Arguably a more complete album than '...De Los Cantos', (though possibly never hitting the heights "Barreras") originally composed for two short films 'Final Sin Pausas' and 'Bocetos Para Un Sueno' as a full score, the arrangement is a beautiful listening experience spanning through ambient, meditational and cinematic minimalism of real depth, romanticism and sincerity.

                                                                                                                                                                                      Iury Lech is a Ukrainian born multidisciplinary artist, whose main focus now is as the curator of 'Madatac' a festival based in Madrid focused on new media art, video art and audio visual technologies which has featured the work of Brian Eno amongst many others.
                                                                                                                                                                                      During the late 1970s and 80s he rose as a pioneer within a moment focused on electronically generated audio and visual media. Drawing on the ground gained by Minimalist pioneers like Steve Reich, Terry Riley, and Philip Glass - built from repetitive rhythm and sheets of rippling resonance, drone, and ambience, Lech's work of the period is so striking and beautiful, that it seems shockingly unjust that it was overlooked until now.


                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                      Patrick says: Utopia take a step into the reissue market with a first time on vinyl for Iury Lech's ace debut album "Otra Ruorosa Superficie". Released on cassette in the golden age of Spanish ambient / new age, this remastered vinyl version is essential for fans of Reich, Eno or Katsoulis.

                                                                                                                                                                                      Recorded in 1972 at the legendary Landsdowne Studios in London, "Dream Sequence" is an extraordinary piece of recorded music. Led by Indian born guitarist Amancio D’Silva, Cosmic Eye was a highly innovative studio experiment in which ‘Jazz Meets World’. Following in the footsteps of other pioneering Landsdowne jazz recordings such as Joe Harriott & John Mayer’s Indo Jazz sessions, Cosmic Eye is modal, but is also under-pinned with traditional Indian instrumentation and structure, resulting in a hypnotic, psychedelic jazz excursion.

                                                                                                                                                                                      Constructed into two conceptual pieces (Dream Sequences), two side-long jazz ragas showcasing D’Silva’s soulful guitar playing reminiscent of his earlier 60s sessions, Hum Dono and Integrations, as well as his session work for the Bollywood film industry under the musical directors Laxmikant-Pyarelal. Featuring a host of UK and Indian musicians, Cosmic Eye is a Singular recording from a fervently rich period of British modern jazz. Finally this phenomenal jazz recording sees a legitimate reissue.


                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      LP Info: 180g Vinyl with replica artwork.

                                                                                                                                                                                      WRWTFWW Records keep the heaters coming with an official reissue of super rare and fabled prog-rock/library/synth album "L’Univers De La Mer" by French composer Dominique Guiot. The full length release is sourced from original masters, available on vinyl LP for the first time since 1978 and housed in a 350g sleeve with a spellbinding artwork by surrealist sci-fi artist Jacques Wyrs.
                                                                                                                                                                                      Written, composed and played by Dominique Guiot with his Mellotron, Minimoog, clavinet, organ, and guitar, "L’Univers de la Mer" draws its inspiration from deep sea exploration, oceanic creatures, and underwater kingdoms. The 12-track album navigates organically through diverse mutations of the prog-rock and synth kind, from scenic meditation pieces ("Wind Surf Ballad"), to medieval electronica ("Une Ballade Pour Une Goélette"), spacey smooth jazz ("Les Deux Poissons"), funked out fantasy folk ("L’Univers De La Mer"), or even incredible Sega Mega-CD vibes ("La Danse Des Méduses") - altogether painting a fascinating world of eerie magic and subaquatic sensuality. It’s escapism at its best with subtle overtones of Schicke Führs Fröhling, Mike Oldfield, and Claude Perraudin.
                                                                                                                                                                                      The sound of the album is brilliantly captured by its surreal cover art, the work of legendary artist Jacques Wyrs, whose memorable record sleeves include Klaus Schulze’s Picture Music, Eloy’s Floating, Ange’s Le Cimetière Des Arlequins, and the 1974 reissue of Larry Coryell’s Spaces. 

                                                                                                                                                                                      Ramones

                                                                                                                                                                                      Road To Ruin (Remastered)

                                                                                                                                                                                        The Ramones are proud to announce their re-issue of their fourth studio album from 1978. The album features the classic song ‘I Wanna Be Sedated’. It was the first Ramones album to feature new drummer Marky Ramone, who replaced Tommy Ramone. The album incorporated musical elements which were less prominent in punk rock, such as guitar solos and ballads.

                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        Coloured LP Info: Limited blue vinyl edition.

                                                                                                                                                                                        Counting their early years in the scuzz-rock band Spinout, whose sole self-titled release came out in 1991 on Delicious Vinyl, guitarist Mark Lightcap, bassist Richie Lee, and drummer Steve Hadley played together for a total of 15 years. They disbanded in July 2001, when Lee committed suicide in the garage next to the house where the trio practiced. Afterwards, Rolling Stone ran a short obituary saying Acetone’s albums were “well received” but “failed to make any waves.” It was the first and only time they were featured in the national music press.

                                                                                                                                                                                        Between 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.

                                                                                                                                                                                        They rehearsed endlessly in an empty bedroom in northeast Los Angeles, recording hours of music onto cassettes that were subsequently stuffed into shoeboxes and left in a shed behind the drummer’s house. Those tapes are being released for the first time in this anthology, which also includes highlights from Acetone’s official releases. Taken together, the songs form a companion soundtrack to Sam Sweet’s book, which maps the character of Los Angeles as a place through the lens of these three unique characters bonded by music.

                                                                                                                                                                                        “I think our music is all about moods and feeling but hopefully it will get as weird as it possibly can,” said Richie Lee in 1997. “We want things to get weird in the way that you could hear an Acetone song and know that no one else in the world could make that kind of music but us.”

                                                                                                                                                                                        * First time band anthology.
                                                                                                                                                                                        * Includes 9 unreleased tracks.
                                                                                                                                                                                        * Audio restored and remastered from original tapes.
                                                                                                                                                                                        * Liner notes by Sam Sweet.

                                                                                                                                                                                        “Acetone are one of my all time favorite bands. Their music is still as electrifying and beautiful now as it was back then.” – Hope Sandoval (Mazzy Star)

                                                                                                                                                                                        “A lovely mix of what would it be like if Dick Dale and Neil Young played with Isaac Hayes and The Velvet Underground. A seminal American band.” – Richard Ashcroft (The Verve).


                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        2xColoured LP Info: Repress on limited blue vinyl. Housed in a deluxe gatefold Stoughton tip-on jacket.

                                                                                                                                                                                        2xDeluxe LP Info: Double black vinyl. Housed in a deluxe gatefold Stoughton tip-on jacket.

                                                                                                                                                                                        The Specials

                                                                                                                                                                                        The Best Of The Specials

                                                                                                                                                                                          The Specials are one of the defining bands of the late 70’s/early 80’s along with Jerry Dammers iconic label Two Tone Records. Originally formed in 1977, as The Coventry Automatics, The Specials combined Jamaican ska and Rocksteady, mixed with the energy of punk they launched a whole Ska Revival. They also helped fellow likeminded bands such as Madness, The Beat, The Selecter to release their first singles. The Specials released ‘Gangsters’ as their first single in the summer of ’79, quickly releasing the classic singles A Message To You Rudy, Do Nothing and Rat Race. They released their debut album ‘Specials’ in 1979, followed by ‘More Specials’ in 1980. During this time, the band has two UK Number One singles, a live version of ‘Too Much Too Young’ from ‘The Special AKA Live EP’ and the unforgettable ‘Ghost Town’ in the summer of 1981. Jerry Dammers continued as The Special AKA following the departure of band members in late 1981, releasing their third album ‘In The Studio’ which included the iconic single ‘Nelson Mandela’. 

                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                          Laura says: Along with Madness, The Selecter and The Beat, The Specials were at the forefront of the ska revival which injected a much needed energy into the bleakness of the late 70s / early 80s. They wrote about growing up in a city with all that entailed at the time. Listening to this compilation some 30-odd years on, and the songs still stand up, both musically and lyrically: much of the subject matter is as relevant now is it was back then.

                                                                                                                                                                                          Behind the chocolate box cover, Love Bites is an album of paradoxes if not clashing opposites: real/imaginary, past/future, love/lust, connection/alienation, commerciality/experimentation. It’s to the group’s credit that they walk the high wire with ease: the attack is less punk, more measured and on occasion psychedelic, as befits the perceptual and philosophical nature of Shelley’s lyrics. The glossy pop star photo on the sleeve is matched by stranger photo realist portraits on the inner, by Robin Utracik of the Worst: Shelley in particular looks dishevelled, having just vomited when the source photo was taken.

                                                                                                                                                                                          Love Bites hit its moment. The reviews were good, and so were sales: it reached number 13 in the album charts, Buzzcocks’ best showing. They immediately went out on their fourth tour, Beating Hearts - supported by Subway Sect - which was marked in this year of Sham 69 by skinhead violence and stage invasions, definitely not what Buzzcocks were about. The fifth single of that year had already been recorded: ‘Promises’ and ‘Lipstick’, the latter of which used the same riff as Magazine’s debut ‘Shot by Both Sides’. Buzzcocks had reached their commercial peak, but Pete Shelley was deeply troubled.

                                                                                                                                                                                          Late 1978 was a harsh place, with competing styles and fads and the relentless pressure of rapid fire novelty that punk had set up. The pace was killing and on top of that the impetus of 1976 punk had faded. Shelley also felt that the original sense of community had gone: “Once we were in the music industry, people had become more diversified, there was nothing really to pull people together again.” More importantly, the constant touring was driving him mad: “It was a bit unnerving. When we did the Love Bites tour I was convinced by Richard not to leave the band. It was all getting too much for me.”



                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                          LP includes MP3 Download Code.

                                                                                                                                                                                          Buzzcocks

                                                                                                                                                                                          Another Music In A Different Kitchen - Reissue

                                                                                                                                                                                          Like many first albums, Another Music In A Different Kitchen collected material written by the group - in particular Pete Shelley and Steve Diggle - that had been amassed during the previous years, going back to 1974 and 1975. According to Tony McGartland in his Buzzcocks: The Complete History, the songs were sequenced in the order that they were written. The play through seems to bear this out: the album begins in fast protest punk and ends in the seven minute, definitely non punk length Krautrock of ‘Moving Away From The Pulsebeat.’

                                                                                                                                                                                          Most of Shelley’s songs on the first side concern the vicissitudes of romance, but the opener Fast Cars name drops US campaigner Ralph Nader in an ecological diatribe: “They're so depressing going 'round and 'round/Ooh, they make me dizzy, oh fast cars they run me down.” ‘No Reply’, ‘You Tear Me Up’, ‘Get On Our Own’ and ‘Love Battery’ are sharp, short (all under two and a half minutes), speedy disquisitions on the tortures of interpersonal communication, love and lust played with a perfect balance between pace, abrasion and melody.

                                                                                                                                                                                          Side closer ‘Sixteen’ is something else. It’s longer and contains an avant-garde breakdown around two minutes in, recorded with each group member isolated and unable to hear each other. “It started off as a false ending,” Shelley told me in 1977: “All sloppy, and then it carries on longer so that people are thinking, “Oh I’ve just clapped but they’re not thinking — what’s up?” and then it comes back in again.” It was, as John Maher added, “A remnant of our chaos days.”

                                                                                                                                                                                          Would Shelley like to be sixteen again? “In some ways yes, in some ways no. The words go: “And I wish I was sixteen again/Then things would be such fun/All the things I'd do would be the same/But they're much more fun/ Than when you're twenty one.” Things like going for a drink — now the novelty’s worn off but the enjoyment’s still there. There’s no difference between doing something when you’re 16 and 22, except there is a difference if you’re doing it for the first time.”

                                                                                                                                                                                          Perhaps the most remarkable thing about the song is its rapid fire, venomous ending:
                                                                                                                                                                                          “And I hate modern music/Disco boogie and pop/They go on and on and on and on and on/HOW I WISH THEY WOULD STOP!” Never has a truer sentence been written about the true impetus behind Punk: not just boredom with progressive rock or dinosaur sixties acts but an intense disgust with mainstream pop music, which in 1976, the year of number one singles by Elton and Kiki, Abba, the Brotherhood of Man, Adge Cutler & the Wurzels, seemed not to have anything to do with teenage life and certainly nothing to do with excitement or the true teenage news.

                                                                                                                                                                                          The five songs on side two reflected the group moving away from simple love tropes into something more complex: as Shelley sang on ‘I Don’t Mind’, “Reality’s a dream.” Unlike the increasing militarism and violent posturing of the Clash, Buzzcocks aimed to explore male sensitivity and frailty (‘This pathetic clown’) - which in pop terms was still new, exactly what punk had set out to be. They began to use love songs as a conduit through which they could talk about other things: the nature of human relationships in a capitalistic society, the nature of reality itself.

                                                                                                                                                                                          Onstage Buzzcocks did not present as macho. Sometimes they’d try a group uniform, like the Mondrian shirts of early 1977, but mostly they just dressed as themselves: Diggle and Maher in various permutations of Mod wear, Paddy Garvey in leather jacket and skinny tie, and Shelley in a bewildering variety of styles. “It’s no good me wearing anything like that (bondage pants),” Shelley told me; “I’m just not the fashionable shape.” “You put those clothes on and you become a different character,” Diggle added: “I don’t feel myself, I feel like somebody else.”

                                                                                                                                                                                          ‘Fiction Romance’ continues the themes of ‘I Don’t Mind’: male frailty, the commodification of emotions, the difference between reality and fantasy. Steve Diggle’s powerful ‘Autonomy’ spells out the true theme behind Punk: self determination. “It’s a discussion between two sides of your personality,” he told me; “It’s about discipline in yourself, like when you say you’d like to do something and you haven’t got control, you’re not autonomous. Like giving up smoking, which I’m trying to do now and it’s very difficult. I haven’t got control of myself.”

                                                                                                                                                                                          Shelley’s pell-mell ‘I Need’ tackles the capitalist perplex head on: “I used to only want but now I need/To get by with what I got but now I need.” After a fine bass led instrumental break, Shelley lays it out again: “I need sex/I need love/I need drink/I need drugs/I need food/I need cash/I need you to love me back.” ‘Moving Away From The Pulsebeat’ continues the breakneck pace: lasting at least three times the standard punk rock single, it features some stinging psychedelic solos and some rapid fire classic break beats from John Maher.

                                                                                                                                                                                          There’s a pause, then the riff of ‘Boredom’ returns: back to the beginning. Another Music in a Different Kitchen is a perfect circle: thirty five and a half minutes of tuneful, exciting and thoughtful music that stretched the boundaries of guitar pop music at the same time as it delivered on the group’s promise. It was a critical and a commercial success, reaching the UK album top twenty in March 1978 and staying there for nearly three months. But Buzzcocks had no time to rest on their laurels.


                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                          LP includes MP3 Download Code.

                                                                                                                                                                                          The Fall

                                                                                                                                                                                          Live At The Witch Trials

                                                                                                                                                                                            The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band's diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks.

                                                                                                                                                                                            "Frightened" has magnetic attraction / repulsion that shifts between Martin Bramah's skeletal guitar, Yvonne Pawlett's plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith's mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. "Rebellious Jukebox" takes yet another turn and showcases the band's more melodic leanings.

                                                                                                                                                                                            One gets the sense that The Fall are in a time-travel hallucination (from 19th century witch trials to a scathing critique of the late-70s punk scene) where the band's snot-nosed scrabble afflicts the shape of pop to come. As Smith dictates, "We are The Fall, northern white crap that talks back."


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            Matt says: Another from the recent slew of much welcome Fall reissues. A personal favourite, which contains the Piccadilly Records anthem "No X From John Quays" which was written about one of our most dearist customers. It's a brittle, spiky and angst-ridden occassion and finds Mark in typically aggressive and confrontational mood. Plenty more to come from this pivotal band.

                                                                                                                                                                                            In 1981, Isabelle Powaga, Pascale Moiroud and Sylvain Fasy decided to leave their sleepy hometown in the south of France for the City Of Lights. Taking their love for the mechanical electronics of Kraftwerk, the Latin sounds and rhythms of Jobim & Gilberto and a few suitcases, they formed the band Antena. Signing with Belgium's Les Disques Du Crepescule (which formed an alliance with Factory, creating Factory Benelux), in 1982 they travelled to London to record their version of "The Boy From Ipanema" with ex-Ultravox electronic pioneer John Foxx for a 7" release, tagged 'electro-samba' by a pre-Pet Shop Boys Neil Tennent in Smash Hits. However it was their own self-produced material of later twelves and mini album release "Camino Del Sol" that made the most impression. Definitely rougher in sound, this was the real electro-samba! This reissue features remastered sound and includes tracks from Antena's single and album releases, plus three bonus unreleased tracks

                                                                                                                                                                                            Joni Mitchell

                                                                                                                                                                                            Blue

                                                                                                                                                                                              The 1971 masterpiece and the record for which she is still best known, this is one of the greatest albums to come out of the whole early-mid 70s singer/songwriter West Coast genre. It's poetic, introspective, acoustic-based and consistently melodic, as was most of the wonderful music coming out of LA at the time, but Joni stood apart and was worshipped by all the other movers and shakers as well as the newly denim-clad young hipsters, on both sides of the Atlantic. This became THE record of the day and it's resonated on through the years. It's not hard to see why: it's absolutely beautiful.

                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                              Coloured LP Info: 6,000 limited edition copies.

                                                                                                                                                                                              Ltd LP Info: Ltd Edition 180 gram heavyweight vinyl in gatefold sleeve. Cut from analogue masters. Original artwork.

                                                                                                                                                                                              The Phantom Band

                                                                                                                                                                                              Checkmate Savage - 10th Anniversary Deluxe Vinyl Edition

                                                                                                                                                                                                Vault back to the dawn of 2009. Signed the previous year to Glasgow independent label Chemikal Underground are The Phantom Band, a six-piece group that melds folk, Krautrock, the blues, art-rock and anything else that comes to hand, lacing their idiosyncratic, intricate tapestries with effortless pop melodies delivered by the mahoganied baritone of singer Rick Anthony.

                                                                                                                                                                                                The group’s debut album, Checkmate Savage, immediately attracts widespread acclaim from critics in the national music press and newspapers.

                                                                                                                                                                                                “A record as auspicious and accomplished as it is unforeseen” – Keith Cameron, Mojo. 4/5 stars

                                                                                                                                                                                                “This kraut-folk groove-fest could have been bashed out by The Beta Band’s little brothers” – Camille Pia, NME. 8/10

                                                                                                                                                                                                “Were they from Brooklyn rather than Glasgow, Checkmate Savage would have been acclaimed as a benchmark album of 2009” – Michael Hann, The Guardian. 4/5 stars

                                                                                                                                                                                                “This debut is fearlessly ambitious and unexpectedly commercial” – Steve Jelbert, The Times. 4/5


                                                                                                                                                                                                Fans of the group’s heady brew swiftly snap up all vinyl copies of the album, the result being stratospheric prices for those searching for it on the secondhand vinyl market.

                                                                                                                                                                                                A decade on, Chemikal Underground is proud to announce the imminent rebirth of an album that remains as spectacularly imaginative as it was the first time round, presented in a package that does 100% justice to the original songs, which were deftly produced by Paul Savage – whose credits include Mogwai, Franz Ferdinand, King Creosote, Deacon Blue and many more – at the label’s affiliated recording studio Chem 19 in Lanarkshire and Franz Ferdinand’s studio in Glasgow.

                                                                                                                                                                                                Deserving of a place in every record collection worth its salt, the stylistically wide-open, moonstruck delights of Checkmate Savage are, for the first time, spread over four sides of heavyweight vinyl housed in a gatefold sleeve, with a download code for MP3 versions of the album’s nine songs. The record will be available exactly 10 years on from the release date of the original album.

                                                                                                                                                                                                This new edition – cut from the original masters – is an essential acquisition for those with an appetite for wildly creative, mischievous and aurally captivating music. A no-brainer, in other words.

                                                                                                                                                                                                The Phantom Band went on to release three more albums on Chemikal Underground – The Wants (2010), Strange Friend (2014) and Fears Trending (2015) – while Anthony, under the name Rick Redbeard, has released two solo records on the label, No Selfish Heart (2013) and Awake Unto (2016). The group has been on hiatus since the theft of their equipment while touring in Europe in October 2015.

                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                Laura says: Given the volume of records released these days, it's easy for things to disappear into your record collection after a few months, never to be unearthed again, but this is still one of my go-to albums, years after it's release.
                                                                                                                                                                                                The synthetic, metallic chill of the motorik rhythms and wooshing synths is balanced perfectly with heavy percussion and Rick's rich vocals adding more organic tones. It's just an amazing, inventive album that while hinting at a multitude of reference point, sounds like nothing else.

                                                                                                                                                                                                Mark Stewart + Mafia

                                                                                                                                                                                                Learning To Cope With Cowardice / The Lost Tapes: Definitive Edition

                                                                                                                                                                                                  ‘Learning To Cope With Cowardice’, the groundbreaking debut solo album by visionary post punk iconoclast Mark Stewart, is to be given a definitive reissue alongside ‘The Lost Tapes’, a newly discovered cache of unreleased material.

                                                                                                                                                                                                  ‘Learning To Cope With Cowardice’ is a vital chapter in the legacy of Mark Stewart & The Maffia, a project that would prove to be a revolutionary benchmark for many, from the innovators of the ‘Bristol Sound’ (The Wild Bunch, Smith & Mighty, Tricky, Massive Attack) through to the likes of Trent Reznor and Nine Inch Nails. Collected together this set realizes an expansive restoration of one of Stewart’s most audacious statements. As it was in the early 1980s so it is now, ‘Learning To Cope With Cowardice’ is a masterwork of mutant design and a rude awakening of extraordinary bite.

                                                                                                                                                                                                  Mark Stewart himself perceives ‘The Lost Tapes’ as a document that now possesses a storied significance: “It was a real adventure discovering this forbidden history, a twisted tale of Muswell hillbillies, French pirates and a Dutch schizophrenic doctor doing psychic archaeology.” Whilst Adrian Sherwood describes these works as characteristic of a distinct primitivism: “[‘The Lost Tapes’ represent] the early childhood of the songs before Mark and me conducted frenzied, scorched earth, slash-and-burn, twenty hour mental, manic editing sessions at Crass’ studios that led to birthing the finished album.”

                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                  Laura says: On his debut solo album, Mark Stewart took the intense, claustrophobic sound of his previous band The Pop Group, and filtered it through the incredible dub infused sonics of Adrian Sherwood's On-U Sound production, creating an album that sounded like nothing else at the time. No in a deluxe reissue format including a bonus disc of Lost Tapes, it still sound amazing.

                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                  2xColoured LP Info: Independent retailers exclusive on clear double vinyl with digital download code.

                                                                                                                                                                                                  In 1985 Ken Man showed up in the studio with this IBM AT computer. It had a 1/2 MB of RAM and some Voyetra software that could sequence music, becoming the duo’s backing band. Fist Of Facts contributors included Mark Cunningham from Mars, Felice Rosser, Genevieve De Monvel Boutet, Carlos Vivanco, Scott Hartley from the Liquids and a whole host of others.  Fist of Facts expand the natural groove that Liquid Liquid established over their quick career, with a strong political message combined with abstract dub soundscapes. 

                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                  Patrick says: Originally released on Helvete Underground in 1988, 'Fugitive Vesco" was (until a few years ago) the only release for this No Wave side project from Liquid Liquid men Sal P and Ken Caldeira. While there are similarities with the disco-not-disco outfit, Fist Of Facts took a more diverse sonic approach, resulting in the accidental Balearic of "First Strike", Industrial dub of "Wa Wa" and snapping warehouse funk of the title track.

                                                                                                                                                                                                  Mondo is proud to present the soundtrack to the Coen Brothers' cult-classic The Big Lebowski, in honor of the film's 20th Anniversary. It features songs by Bob Dylan, Elvis Costello, Nina Simone, The Gipsy Kings, Townes Van Zandt and many more.

                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                  LP Info: 180g black vinyl.

                                                                                                                                                                                                  Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. While other albums - Rikki Ililonga’s Zambia, WITCH’s Lazy Bones!! - are competitors, it’s hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed.“ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu.

                                                                                                                                                                                                  Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue

                                                                                                                                                                                                  Various Artists

                                                                                                                                                                                                  Those Shocking Shaking Days - Indonesia Hard, Psychedelic, Progressive Rock And Funk 1970-1978

                                                                                                                                                                                                  Now-Again deliver the first ever compilation to assess the incredible psychedelic rock, funk and progressive scene of 1970s Jakarta!

                                                                                                                                                                                                  Whilst some collectors fiend for the incredibly rare LPs from the likes of Sharkmove and their later incarnation Giant Step, very little is known about Indonesian rock music - until now. Now-Again Records has teamed up with local musicians and experts to provide a fascinating in-depth look at the flourishing of progressive psychedelic music in early 1970s Indonesia, where fiercely independent musicians criticised the military dictatorship, raised awareness of drug abuse and much more - all to the glorious sound of the fuzz guitar and some of the most ambitious arrangements you’ll ever hear.

                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                  3xLP Info: Limited triple vinyl pressing in six-panel triple gatefold sleeve with 16-page full colour booklet.

                                                                                                                                                                                                  Gram Parsons

                                                                                                                                                                                                  GP (45th Anniversary Edition)

                                                                                                                                                                                                    Gram Parsons debut solo album, originally released in 1973.

                                                                                                                                                                                                    Fresh from stints with the International Submarine Band, the Flying Burrito Bros and the Byrds and after hipping the Stones to country music, the godfather of Cosmic Americana picked up Emmylou Harris and Elvis's backing band and cut his solo debut. With more of an emphasis of ballads than on previous records, "GP" inspired countless teary-eyed troubadours with classics like "She" and the gorgeous "A Song For You".

                                                                                                                                                                                                    Contains the additional 7" vinyl with the tracks:
                                                                                                                                                                                                    a) She
                                                                                                                                                                                                    b) That's all it took.

                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                    Ltd LP Info: 180 gram Black Vinyl +7".

                                                                                                                                                                                                    I Am Kloot

                                                                                                                                                                                                    I Am Kloot

                                                                                                                                                                                                      I am Kloot is the second album of the band by the same name. Their music is haunting, melodic and smooth. This second piece yielded five singles, including the hits “Life in a Day” and “3 Feet Tall”. It’s much more than just a standard rock album as it’s expanse their dark and fractured sound. Songs like “From Your Favourite Sky” and “Proof” are just brilliant and shows how they developed after their first release from two years earlier. It’s all a bit more streamlined than before but that’s the strength of the band. John Bramwell is a fine songwriter who created this beautiful marvel.

                                                                                                                                                                                                      I am Kloot was as one of the most interesting bands of its time. Formed from the ashes of The Mouth they stood up and released some very successful releases

                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                      Coloured LP Info: 180 gram audiophile vinyl.
                                                                                                                                                                                                      Gatefold sleeve including insert.
                                                                                                                                                                                                      Limited edition of 1000 individually numbered copies
                                                                                                                                                                                                      on transparent vinyl.