Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.
Tony's solo album, No Discrimination, marks an important turning point in Tony Allen's musical life. Tony had recently left Fela's band, which was clearly an emotional yet necessary change as Allen sings of love and brotherhood throughout his fourth solo album. No Discrimination, both in composition and sound, is a blueprint for the future of Afrobeat, decades ahead of its time. The songs are a mixture of old and new - fusing the classic Afrobeat compositional style with modern production and ideas. Classic tunes like "No Discrimination" and "Ariya" pushed boundaries for what Afrobeat could be, which a wave of Afrobeat bands would pick up on decades later.
With No Discrimination, Tony begins to move Afrobeat into the future, which he would continue doing for the rest of his career.
Tony Allen was a musical and compositional visionary, and this album finds him beginning to explore that vision outside of Fela's immense gravitational pull. They are the start of a new era in Tony's fruitful career as a solo artist, opening the floodgates for his distinctive Afro-Funk sound and laying the foundation for the next generation of Afrobeat musicians to come.

TRACK LISTING

A1. No Discrimination
A2. Road Safety
B1. Ariya
B2. Love Is A Natural Thing

The flag bearer for dancefloor-orientated electronic music has come up with something rather special for, what I think, is his twelfth proper studio album to date. Reaching, through his ever-forward-glancing soundscapes, to even deeper levels of intimacy, intricity, abstraction & intrigue. Four Tet continues to usher in the Now; way before you even knew it existed.

Utilizing a beguiling and enchanting array of patches, synths, DSP units and the latest computer technology to yield a decidedly humanoid (read: cybernetic) approach to modern commentary and body movement through sound; our trusty technician has once again proven why he's the go-to tastemaker across the dance music global village, whatever particular camp you chose to shake your boots in.

Housed in a fractal-psychedelic sleeve which upon first inspection reveals very little, as the first utterances begin to emanate off the record it's clear Hebden is painting a multidimensional canvas of our current world. Musically and visually it resonates with current moods and emotions, especially as technology continues influence and interact with our daily lives.

After a crystalline and atmospheric opening track, "Baby" rushes through our senses at 5G; a track so quintessentially Four Tet yet unfathomably beautiful you'll curse the producer for not gifting it to us sooner. "Teenage Birdsong", a previously released single relishes in its languid, BOC-esque downbeat electronica while "Romantics" closes off the opening side with a warped but elegant moment of transcendence.

"Love Salad" smothers us delicate rhythmic glitches and morphed pianos, "Insect Near Piha Beach" deploys the mangled electro-acoustic palettes that garnered much of Hebden's early works while "ISTM"'s gentile flurries and ASDR-enveloped stimulation propels us off into dreamlike fantasy worlds unknown to our consciousness.

Side C is a somewhat nocturnal and tranquil affair, with obvious stargazing references contrasted with the whispering fairylike lullabies beamed down from the heavens.

After treating us to such a glorious three sides, Four Tet then leaves jaws floor bound by gifting to us an entire side of locked grooves straight from the stems of the album!!! - Honestly, this is some real treasure folks, ready to mined by Ableton heads, mixed and juggled by 3-deck wizards and used as DJ tools across other tracks; it's an unfathomably classy and fortunate touch that closes off one of the producer's most essential albums to date. 10 / fu**ing 10. Essential.

STAFF COMMENTS

says: All of the whimsy and unmistakable glee that comes from Four Tet's music is here on ‘Sixteen Oceans’. We get the blipping off-kilter synth stabs and dusty nu-rave percussion of ‘Rounds’ or ‘Ringer’, brought together with a smattering of vocal samples (Ellie Goulding on “Baby” is a particular highlight) and the organic, swung congas of the more recent output. “Teenage Birdsong” was an excellent choice for a single, as not only is it the most Four-Tetty cut on the album, but leaves it as a nice surprise for those fans of 2015's 'Morning / Evening' when “Insect Near Piha Beach” emerges as an unsung pick of the crop. As if that wasn't enough, side D of the vinyl pressing has a number of beautiful locked loops, these vignettes beautiful mini-songs in their own right. Never one short of surprises, Hebden once again blows it out of the water.

TRACK LISTING

LP Tracklisting:
A1 School
A2 Baby
A3 Harpsichord
A4 Teenage Birdsong
A5 Romantics
B1 Love Salad
B2 Insect Near Piha Beach
B3 Hi Hello
B4 ISTM
B5 Something In The Sadness
C1 1993 Band Practice
C2 Green
C3 Bubbles At Overlook 25th March 2019
C4 4T Recordings,
C5 This Is For You
C6 Mama Teaches Sanskrit

CD Stocklisting:
01 School
02 Baby
03 Harpsichord
04 Teenage Birdsong
05 Romantics
06 Love Salad
07 Insect Near Piha Beach
08 Hi Hello
09 ISTM
10 Something In The Sadness
11 1993 Band Practice
12 Green
13 Bubbles At Overlook 25th March 2019
14 4T Recordings
15 This Is For You
16 Mama Teaches Sanskrit

Keyboardist Carn's 1971 debut record for Black Jazz introduced his stylistic wrinkle of adding lyrics to jazz classics like John Coltrane's "Acknowlegement (A Love Supreme)," Horace Silver's "Peace," and Wayne Shorter's title track, all sung by the gorgeous, thrilling voice of his wife Jean Carn. A crack outfit of drummer Michael Carvin, saxophonist/flautist George Harper, trombonist Al Hall Jr., trumpeter Bob Frazier, and bassist Henry Franklin (himself leader of two treasured Black Jazz releases) backs the couple.

TRACK LISTING

1. Welcome
2. Little B’s Poem
3. Moon Child
4. Infant Eyes
5. Passion Dance
6. Acknowledgement (A Love Supreme)
7. Peace

“Treacy is the outsider's outsider, committed to a raw honesty, constantly bearing witness to his own suffering, his own weakness and fallibility.” The Quietus // A comprehensive remastered collection of all of the Television Personalities’ ground-breaking single releases from the Peel-approved ‘14th Floor’ through to the effervescent ‘Salvador Dali’s Garden Party’ EP. Includes the super rare Creation flexi, the TVPs as The Gifted Children, and the even rarer Caff 45 where the band tackle Stock, Aitken And Waterman.Purists will also find two shelved 45s for the Dreamworld label plus their take on Syd Barrett’s ‘Apples And Oranges’ from the ‘Beyond The Wildwood’ tribute album. Features the seminal ‘Where’s Bill Grundy Now’ and the self-effacing ‘Part Time Punks’ alongside a host of pop culture-bating gems. A celebration of the songwriting of Dan Treacy

TRACK LISTING

Side One

01 - 14th Floor
02 - Oxford St., W.1
03 - Part Time Punks
04 - Where's Bill Grundy Now?
05 - Happy Families
06 - Posing At The Roundhouse
07 - The Prettiest Girl In The World
08 - If That's What Love Is

Side Two

01 - Smashing Time
02 - King And Country
03 - I Know Where Syd Barrett Lives
04 - Arthur The Gardener
05 - Three Wishes
06 - Geoffrey Ingram
07 - And Don't The Kids Just Love It!

Side Three

01 - A Sense Of Belonging
02 - Paradise Estate
03 - How I Learned To Love The Bomb
04 - Then God Snaps His Fingers
05 - Now You're Just Being Ridiculous

Side Four

01 - She's Only The Grocer's Daughter
02 - A Girl Called Charity
03 - Salvador Dali's Garden Party
04 - The Room At The Top Of The Stairs
05 - This Time There's No Happy Ending
06 - Part One: Fulfilling The Contractual Obligations

‘Despite the constant influx of catchphrase-coordinated marketing campaigns that would lead you to believe that life-affirming records are released daily, it’s forever rare to stumble upon one as consistently mind-blowing and aesthetically far-reaching as Dungen’s Ta Det Lugnt.’ - Pitchfork 9.3.

The most astounding breakthrough album from Sweden’s Dungen; a modern psychedelic classic. It’s immediate and you want to get involved, but there’s also such a laid-back, hippy vibe to the whole thing. Ta Det Lugnt is a beautiful musical trip out into the Swedish forests and back again.

TRACK LISTING

Panda, Gjort Bort Sig
Festival, Du E F R Fin F R Mig
Ta Det Lugnt
Det du T Nker Idag R Du I Morgon
Lejonet & Kulan
Bortgl Md
Gl Md Konst Kommer stundom Nyo Till Heders
Lipsill
Om Du Vore En Vakthund
Tack Ska Ni ha
Sluta F Lja Efter

The Avalanches’ era defining debut album ‘Since I Left You’ has finally come of age. Now 20 years old, ‘Since I Left You’ gets a timely reissue along with an additional record of fifteen remixes from the likes of MF DOOM, Stereolab and Carl Craig. The Avalanches made ‘Since I Left You’ out of hundreds of vinyl samples, the grand finale and biggest climactic triumph of the Sampladelic Decade. Containing classic singles ‘Frontier Psychiatrist’ and ’Since I Left You’, the reissue’s remixes give each track a new lease of life, while still maintaining the sunny disposition of the originals.

Do you remember what you were doing twenty years ago? I do. I was a fifteen year old kid from the burbs, spending my summer playing football and recreating WWF classics in the back yard while dressed like a nerdish Eminem (bleach blonde hair and everything). Then a wacky-ass radio track packed with film snippets and horse noises worked its way into my teenage brain and changed things for good. The Avalanches were insane, inspired and in full effect; following the 'horse song' ("Frontier Psychiatrist") with a soulful and swooning summer jam ("Since I Left You") which has played in my head ever since. Family Allowance firmly in hand I took my privileged ass off to the Market Hall, picked up a CD copy of this album and spent the whole bus journey home feasting my eyes on the liner notes and sleeve artwork. As I hit the play button on my naff home stereo, I was whisked away Dorothy-style and taken on a head spinning journey through 50 years of popular music. Leaving the monochrome mundanity of Bolton behind, I soared through technicolour stage sets of paradise islands, Brooklyn block parties and countryside BBQs, Sci-Fi spectaculars and rewired romances as 3,500 samples were sticky taped together before my very ears. The plunderphonic sound of six men who spent their adolescence rummaging through the bargain bins of Melbourne's record shops, "Since I Left You" applies hip hop's cut'n'paste mentality to the full gamut of weird and wonderful pop, from exotica to erotica, disco and funk to lounge and psych. Unlike anything I'd ever heard before, and better than any imitators I've heard since, The Avalanches are truly in a class of their own. 

TRACK LISTING

4LP
Disc 1
Since I Left You
Stay Another Season
Radio
Two Hearts In 3/4 Time
Avalanche Rock
Flight Tonight
Close To You
Diners Only
A Different Feeling

Disc 2
Electricity
Tonight May Have To Last Me All My Life
Pablo's Cruise
Frontier Psychiatrist
Etoh
Summer Crane
Little Journey
Live At Dominoes
Extra Kings

Disc 3
Since I Left You (Cornelius Remix)
Tonight May Have To Last Me All My Life (Edan Remix)
Frontier Psychiatrist (Mario Caldato Jr's 85% Remix)
Close To You (Sun Araw Remix)
Since I Left You (Stereolab Remix)
Flight Tonight (Canyons Travel Agent Dub)
Radio (Sinkane Remix)

Disc 4
Since I Left You (Prince Paul Remix)
Electricity (Harvey's Nightclub Re-edit)
Summer Crane (Black Dice Remix)
Extra Kings (Deakin Remix)
Tonight May Have To Last Me All My Life (MF DOOM Remix)
Tonight May Have To Last Me All My Life (Dragged By Leon Vynehall)
A Different Feeling (Carl Craig's Paperclip People Remix)
Thank You Caroline (Original Avalanches Demo Tape)

2CD
Disc 1
Since I Left You
Stay Another Season
Radio
Two Hearts In 3/4 Time
Avalanche Rock
Flight Tonight
Close To You
Diners Only
A Different Feeling
Electricity
Tonight May Have To Last Me All My Life
Pablo's Cruise
Frontier Psychiatrist
Etoh
Summer Crane
Little Journey
Live At Dominoes
Extra Kings

Disc 2
Tonight May Have To Last Me All My Life (MF DOOM Remix)
Summer Crane (Black Dice Remix)
Frontier Psychiatrist (Mario Caldato Jr's 85% Remix)
Electricity (Dr. Rockit's Dirty Kiss Remix)
Electricity (Original Avalanches Demo Tape)
Thank You Caroline (Original Avalanches Demo Tape)
Thank You Caroline (Andy Votel Remix)
So Why So Sad (The Avalanches Sean Penn Mix) – Manic Street Preachers
The Shining (The Avalanches Good Word For The Weekend Mix) – Badly Drawn Boy
Pablo's Cruise (Original Avalanches Demo Tape)
I'm A Cuckoo (The Avalanches Remix - DJ Edit) – Belle And Sebastian
Chico (The Avalanches Wernham Hogg Mix) – The Concretes
Fade Together (The Avalanches Remix) – Franz Ferdinand
Since I Left You (Stereolab Remix)
Flight Tonight (Canyons Travel Agent Dub)
Radio (Sinkane Remix)
A Different Feeling (Ernest Saint Laurent Remix)
A Different Feeling (Carl Craig's Paperclip People Remix)
Two Hearts In 3/4 Time (Jackson & His Computer Band Remix)
Tonight May Have To Last Me All My Life (Dragged By Leon Vynehall)
Tonight May Have To Last Me All My Life (Edan Remix)

Factory Benelux presents an expanded double vinyl edition of Sex and Death, the 11th studio album by lauded Manchester ensemble The Durutti Column. Originally released on CD only in 1995, the album has now been newly remastered with several bonus tracks.

The writing and recording of Sex and Death closed an uncertain period for Vini Reilly and the group following the collapse of Factory Records in 1992. Factory founder Tony Wilson remained in post as manager of the band, but Sex and Death would be their last album with producer Stephen Street, famed for his work with Morrissey, The Smiths and Blur.

Writer and master guitarist Vini Reilly remained philosophical. “People say the Durutti Column is this or that. I don’t care, so long as we make good music. There’s screaming feedback on some tracks, heavy metal guitar, Spanish picking. It’s not just this ethereal trip. Don’t listen to the form, never listen to the form. Listen to the content.”

Stand-out tracks include Anthony, dedicated to Wilson. Guest musicians include viola player John Metcalfe, vocalist Ruth-Ann Boyle (later to form hitmakers Olive with Tim Kellett), programmer Martin Jackson (Magazine, Swing Out Sister) and bassist Peter Hook, then on furlough from New Order post-Republic.

All 5 bonus tracks on the vinyl are previously unreleased, having been retrieved from a long-lost DAT demo tape located in Tony Wilson’s personal archive. 

All tracks are newly re-mastered in 2021 by Peter Beckmann at Technology Works. All formats feature liner notes and interview material with Vini.

TRACK LISTING

A1. Anthony
A2. The Rest Of My Life
A3. For Colette
A4. The Next Time
B1. Beautiful Lies
B2. My Irascible Friend
B3. Believe In Me
B4. Fermina
C1. Where I Should Be
C2. Fado
C3. Madre Mio
C4. Blue Period
C5. War Torn
D1. Picking Guitar For The Shrimp
D2. The Celestial Bar
D3. Jumble Drums, Growling Bass And The Whammy Bar
D4. For Cameron De La Isla

The band’s much-loved debut has been meticulously remastered at Abbey Road studios and will be released on double vinyl in a gatefold sleeve with gold foil print. Additionally, the album comes with five previously unreleased tracks recorded during the original sessions, details of which can be found in the track-list below.

Fusing the most fragile and graceful end of the folk music spectrum to the most luminous properties of cinemascope rock, Gracious Tide, Take Me Home used a smorgasbord of instruments (guitars, violin, mandolin, piano, synths, glockenspiels, even a kalimba) to paint a variety of beautiful vistas, from the ambient ‘Ships In The Rain’ to the galloping ‘A Kingdom’, from the six-minute layers of ‘The Places We Call Home’ to the skeletal 73-second finale ‘Not Going Back To The Harbour’. There’s always been a compelling drama to Lanterns On The Lake; the way the opening track ‘Lungs Quicken’ shifts from dreamy restraint to a full-blown crescendo indicated the true power at their fingertips.

Lanterns On The Lake formed in 2008 combining a group of friends who had all played in various bands on the local music scene. Hazel Wilde (vocals, guitar), Paul Gregory (guitars, electronics) and Ol Ketteringham (drums, piano) still comprise the core of the band whilst previous members Adam Sykes (vocals, guitar) and Brendan Sykes (bass) departed prior to the second album.

Hazel commented at the time that. “A lot of lyrics were inspired by me and Paul moving back to the coast [between Tynemouth and North Shields], where I grew up, after we’d been living near the city centre. They’re also memories of growing up here, the feeling of homesickness, and stories of people around us and of the sea. The title Gracious Tide, Take Me Home seemed to sum up all the themes.”

There might be a vein of sadness through this music - ‘Ships In The Rain’ was inspired by a local fisherman who went missing at sea, and ‘A Kingdom’ was inspired by the book letters sent home by WW2 soldiers – but there is just as much hope in ‘Keep on Trying’ and ‘You’re Almost There’, where fear and insecurities are banished by self-belief; “the feeling that you’re going places,” as Hazel says. Mirroring the sentiment of the album title, ‘I Love You, Sleepyhead’ and ‘Places We Call Home’ draw on the comfort and security of home, friendship and memory.

TRACK LISTING

1. Lungs Quicken
2. If I've Been Unkind
3. Keep On Trying
4. Ships In The Rain
5. A Kingdom
6. The Places We Call Home
7. Blanket Of Leaves
8. Tricks
9. You're Almost There
10. I Love You, Sleepyhead
11. Not Going Back To The Harbour
12. The Watchhouse And The Daughter
13. Sapsorrow
14. You Need Better
15. My Shield
16. Not Going Back To The Harbour (High Tide Version)

2021 has been an incredible year so far for Jessie Ware. ‘What’s Your Pleasure?’ re-entered the Top 10 following a brilliant Graham Norton performance of ‘Remember Where You Are’ which has proved itself to be one of Jessie’s most connective singles to date. In addition, Jessie has two BRITs nominations, one for Female Solo artist and one for Album Of The Year – the category with a historic four women up for the award. 

Her newest track, ‘Please’ sees Jessie continue the energy of ‘What’s Your Pleasure’ in the form of a throwback to 70s and 80s dance music, and pulls it together in a wonderfully anachronistic style, all packaged with Ware’s outstanding vocals. The track fits perfectly into ‘What’s Your Pleasure - The Platinum Pleasure Edition’, Ware’s deluxe offering of her sensational 2020 record. This edition still bears the cohesive, complementary songwriting, the killer grooves and flawless production of the original version. The Platinum Pleasure Edition only serves to heighten the rich and powerful soul of last year’s release with tracks like Please, 0208 featuring synthpop visionary Kindness, the Endless Remix of ‘Adore You’ and a whole host more.

Talking about the deluxe and new single Jessie said: ”I had such an amazing response to the ‘What’s Your Pleasure?’ record that I didn’t want the lights to go up and the party to be over just yet! ‘Please’ is full of optimism and ready to be played in a place where we can all be together and flirt, dance, touch and kiss. A wonderful excuse not to stop the party from ending.”

It’s safe to say that the last twelve months have been pretty stellar for Jessie Ware. June 2020 saw Jessie release ‘What’s Your Pleasure?’ and gain not only her fourth UK Top 10 album of her career, but also her highest charting record when it entered straight into the UK Official Album Charts at No.3. As if this wasn’t amazing enough, she went on to release her first cookbook and continued her immensely popular podcast Table Manners and recently hit a massive milestone of 21 million individual listens, oftentimes featuring household names such as Dua Lipa, Kylie Minogue, Yungblud, Robbie Williams, Alanis Morissette., Dawn French and Dolly Parton to name a few.

Last year saw the album continue to receive widespread critical acclaim, with ‘What’s Your Pleasure?’ featuring heavily amongst ‘album of the year’ lists including for music critic Anthony Fantano, also known as The Needle Drop, who gave What’s Your Pleasure?’ the coveted no. 1 spot on his ‘Best Albums of 2020’ list, declaring it to be “a religious experience”. The record garnered praise from The Guardian who say it’s“Ware’s finest record yet"; Rolling Stone laude it as a “fantastic dance-pop record”; Pitchfork say “Jessie reminds us why we listen to dance music in the first place.”, GQ proclaim it as “the perfect album” and NME stated it was“pure escapism.”

TRACK LISTING

1. Spotlight
2. What’s Your Pleasure?
3. Ooh La La
4. Soul Control
5. Save A Kiss
6. Adore You
7. In Your Eyes
8. Step Into My Life
9. Read My Lips
10. Mirage (Don’t Stop)
11 .The Kill
12. Remember Where You Are
13. Please
14. Impossible
15. Eyes Closed
16. Overtime
17. Hot N Heavy
18. Pale Blue Light
19. 0208 (feat. Kindness)
20. Adore You (Endless Remix)

Dr. Feelgood’s best-of - ‘Singles (The U.A. Years)’ - is to be remanufactured and reissued on vinyl for the first time since its original release in 1989.

Released on 11 June, ‘Singles - The U.A. Years’ is a celebration of 26 tracks of Dr. Feelgood at their absolute peak. Having formed in 1971 in Essex, founding members Lee Brilleaux (singer), John B. Sparks (Sparko) on bass guitar, John Martin (The Big Figure) on drums and guitarist Wilko Johnson, whose iconic and renowned choppy style of playing saw the band build huge notoriety in London’s live music scene resulting in a record deal with US Artists in 1974.

TRACK LISTING

Side 1
Roxette
She Does It Right
Back In The Night
Going Back Home
Riot In Cell Block No. 9
Sneakin’ Suspicion

Side 2
She’s A Wind Up
Baby Jane
Down At The Doctors
Milk And Alcohol
As Long As The Price Is Right
Put Him Out Of Your Mind

Side 3
Hong Kong Money
No Mo Do Yakamo
Jumping From Love To Love
Violent Love
Waiting For Saturday Night
Monkey
Trying To Live My Life Without You

Side 4
Crazy About Girls
My Way
Mad Man Blues
Don’t Wait Up
See You Later Alligator
Hunting Shooting Fishing
Milk And Alcohol… (New Recipe) 

Tony Joe White's posthumous album, Smoke from the Chimney, brings to life previously unknown home recordings by the legendary songwriter and musician. A pioneer of the Louisiana swamp rock sound, White's eclectic legacy has persevered through decades of influence, covers and popular culture. Starting with the album's genesis as an unforeseen trove of demos to the hands of producer Dan Auerbach and legendary session musicians, Smoke from the Chimney captures Tony Joe White's signature style in its purest form and serves as a living testimony to one of the most gifted lyricists and storytellers music has ever known.

TRACK LISTING

1. Smoke From The Chimney
2. Boot Money
3. Del Rio You're Making Me Cry
4. Listen To Your Song
5. Over You
6. Scary Stories
7. Bubba Jones
8. Someone Is Crying
9. Billy

Wipers tour 1984 features tracks from the first three Wipers albums.

Recorded live on Tour February - March ’84.

Originally released on cassette by Greg Sage and on vinyl on Enigma Records in 1985.

First Time Reissued On Vinyl Included 3 Wipers songs unavailable anywhere else- Pressed at RTI for Maximum Fidelity Cover artwork features the iconic Wipers logo

TRACK LISTING

1. Pushing The Extreme
2. Messenger
3. Moon Rider
4. Doom Town
5. Think About It
6. Potential Suicide
7. D-7
8. Now Is The Time
9. Tell Me
10. Window Shop For Love
11. Youth Of America 

'Audioweb' is the band's debut album, originally released in 1995 on U2’s label Mother Records, which built upon their reputation as a brilliant live act. Highlights include the top 30 single ‘Bankrobber’ (cover of the Clash track), first single ‘Sleeper’, ‘Yeah?’ and ‘Faker’.

TRACK LISTING

1. Sleeper
2. Yeah?
3. Into My World
4. Faker
5. Who's To Blame
6. Time
7. Jah Love
8. Bankrobber
9. Lover
10. Drip Feed

First formed in the 1990s in Manchester, Audioweb were signed to U2’s Mother Records label. ‘Fireworks City’ is the bands second and final album originally released in 1998, and includes the singles ‘Policeman Skank (The Story Of My Life)’ which reached #21 in the UK charts, and ‘Get Out of Here’. This is the first time this album has been released on vinyl.

TRACK LISTING

1. Policeman Skank (The Story Of My Life)
2. Test The Theory
3. Personal Feeling
4. Try
5. Sentiments For A Reason
6. Soul On Fire
7. Freefall
8. Out Of Many
9. Control
10. Out Of My Mind
11. Get Out Of Here

Timber Timbre is a stunning record that captures the listener’s attention with what is there as much as what is not. The sum of the parts, however, is something grounded in a strange place where genre descriptions like blues, country, and folk intersect becoming secondary to the precision of the moods being conjured.

TRACK LISTING

1. Demon Host
2. Lay Down In The Tall Grass
3. Until The Night Is Over
4. Magic Arrow
5. We'll Find Out
6. I Get Low
7. Trouble Comes Knocking
8. No Bold Villain

With Hot Dreams, Kirk and longtime collaborator Simon Trottier daub vibrant colour across the rest-less evolution of Timber Timbre’s earthy, angular palette. The elements – Kirk’s singular intonation, quavered in slow, low register, over stark orchestration – combine in haunting resonance with rotation of music and time. Normalized is the bedrock essence of folksy and fifties Timber Timbre, now cached in smoothed, viscous tonality: new sonic admissions, ringing sensuality and caprice, neon and haze.

TRACK LISTING

1. Beat The Drum Slowly
2. Hot Dreams
3. Curtains!?
4. Bring Me Simple Men
5. Resurrection Drive Pt. II
6. Grand Canyon
7. This Low Commotion
8. The New Tomorrow
9. Run From Me
10. The Three Sisters

The follow-up to 2009’s self-titled release, multi instrumentalists Taylor Kirk, Mika Posen and Simon Trottier come together again on heartrending compositions that engage, transport and challenge. Creep On Creepin’ On moves forward from the band’s Polaris Music Prize long listed Timber Timbre, towards the realization of its ability to simultaneously invoke and disguise the most essential elements of pop and rock music with chilling authenticity. From guttural groans on lead track “Bad Ritual” to the eerie doo-wop-inspired pleas of “Lonesome Hunter”, the album is textured and commanding, stirring proof of the unwavering powers of obsession and possession. The album also includes appearances by acclaimed pianist Mathieu Charbonneau and saxophonist Colin Stetson, both of whom Kirk credits with elevating the caliber of the album’s arrangements as well as its overall sound. And while settings and collaborators continue to change for the band, the guiding inspiration behind the songs has not. “The idea is to make music we love and therefore embrace the risk of sounding like all the music we’ve ever loved, all at once,” Kirk explains. The result is Timber Timbre’s most brilliant and robust record to date, a collection of 10 tracks that expands to incorporate rich and varied melodies, affecting lyricism and evocative vintage instrumentation. With Creep On Creepin’ On, Timber Timbre has succeeded in reaching a place it was long destined for, where its music is as powerful and extraordinary as it has always been unmistakable.

TRACK LISTING

1. Bad Ritual
2. Obelisk
3. Creep On, Creepin' On
4. Black Water
5. Swamp Magic
6. Woman
7. Too Old To Die Young
8. Lonesome Hunter
9. Do I Have Power
10. Souvenirs

Warp Records reissue Squarepusher’s debut album "Feed Me Weird Things", virtually 25 years to the day from its original release in ‘96. First released on the now inactive Rephlex label, the album has not been available on streaming platforms until now and has been out of print for more than a decade. This complete edition has been remastered from the original DATs and features two extra tracks which were first released on the B-side of the “Squarepusher Plays… EP” and later featured on the original Japanese release of this album. The edition also includes a 16 page booklet with personal photographs, ephemera and candid notes from Tom Jenkinson, throwing light on the early days of his career.

The release follows “Be Up A Hello”, Squarepusher’s 2020 album that was filled with buoyant, dancefloor driven tracks which featured some of the same analogue and digital hardware that was used on “Feed Me Weird Things”. “Be Up A Hello” was also driven by the same hedonistic energy which is perfectly encapsulated in this pioneering album, the first tracks of which he recorded when he was only 19 years old.

Musically, “Feed Me Weird Things” is more expansive than the electronic sub-genres it was hemmed into at the time, as it was the first release where Tom Jenkinson highlighted his virtuosic bass playing. Like much of his output after, it also showcases disarmingly intricate melodic composition like on “Squarepusher Theme” and extraordinarily complex rhythmic sequences i.e. on “Tundra” whilst retaining an impressive cadence.

The album was a key release for Richard D. James (Aphex Twin) and Grant Wilson-Claridge’s Rephlex label and has gone on to be regarded as one of Squarepusher’s best. As well as a close friendship there was perhaps a bit of healthy competition between Squarepusher and Aphex Twin at the time (!Hangable Auto Bulb” was released in ‘95 and is cited as an influence). However, strong jazz influences and accomplished bass playing set Tom apart from his contemporaries. Richard curated the track list for “Feed Me Weird Things” from tapes that Tom had given him and the record includes sleeve notes written by him too, the only time he has done so for another artist.

“The Squarepusher is someone who wonders what the holes of a flute sound like without the flute. Sound like sound never sounded before, Richard Rodgers and Julie Andrews gave us the Sound of music, John Cage and Simon and Garfunkel gave us the Sound of silence and now the Squarepusher gives us the SOUND of SOUND.” - PRichard.D.Jams (taken from the original ‘Feed Me Weird Things’ sleevenotes)

TRACK LISTING

01 Squarepusher Theme
02 Tundra
03 The Swifty
04 Dimotane Co
05 Smedleys Melody
06 Windscale 2
07 North Circular
08 Goodnight Jade
09 Theme From Ernest Borgnine
10 U.F.O.'s Over Leytonstone
11 Kodack
12 Future Gibbon
13 Theme From Goodbye Renaldo
14 Deep Fried Pizza

Gilles Peterson presents a time capsule of musical magic. Taken from a day of live sessions in London’s legendary Maida Vale Studios - studio MV4 to be exact, it was originally intended just for Peterson’s BBC radio show broadcast on 20th October 2018. Struck by what a special moment the sessions captured, Peterson has decided to mark the results with a release proper on his Brownswood imprint. It features a diverse, all-star cast of some of the acts celebrated by Peterson in recent years, in a series of freewheeling and off-the-cuff recordings, several of the tracks backed by the group of Brownswood signee, Joe Armon-Jones. Featuring Dylan Jones, James Mollison, Mutale Chashi, and Marijus Aleksa as well as guest turns from Fatima, Asheber, Nubya Garcia, Hak Baker, and Oscar Jerome, plus a double track special from Bristol based collective, Ishmael Ensemble.

TRACK LISTING

A1. Joe Armon-Jones - Starting Today (feat. Asheber) (Live From Maida Vale)
B1. Oscar Jerome & Joe Armon-Jones Band - Do You Really (Live From Maida Vale)
B2. Fatima & Joe Armon-Jones Band - Only (Live From Maida Vale)
C1. Nubya Garcia & Joe Armon-Jones Band - Hold (Live From Maida Vale)
C2. Hak Baker & Joe Armon-Jones Band - Thirsty Thursday (Live From Maida Vale)
D1. Ishmael Ensemble - The Chapel (Live From Maida Vale)*
D1. Ishmael Ensemble - Tunnels (Live From Maida Vale)*
D2. Joe Armon-Jones - Almost Went Too Far (Live From Maida Vale)

*two Tracks Merged Into One.

In 1991 Coil released the third of their early classic full-length albums "Love's Secret Domain", seemingly casting aside the gloom and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike some of their fellow ex-industrial contemporaries' releases of the time wasn't an attempt at easy accessibility or (the-gods-forbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.

To mark its 30 year anniversary Infinite Fog present an expanded, fully remastered re-release of this fan favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative versions from the period added as a bonus to a luxurious 3LP/2CD set.

Love's Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the intoxicating single "Windowpane", original versions of the later Coil live staple "Teenage Lightning" and the majestically warped classicisms of "Chaostrophy".

Marc Almond guests on the typhonian "Titan Arch" and This Heat's Charles Hayward provides some amazing drum stylings.

This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the early 90s.

TRACK LISTING

CD TRACKLISTING:
CD 1:
1. Disco Hospital
2. Teenage Lightning 1
3. Things Happen
4. The Snow
5. Dark River
6. Where Even The Darkness Is Something To See
7. Teenage Lightning 2
8. Windowpane
9. Further Back And Faster
10. Titan Arch
11. Chaostrophy
12. Lorca Not Orca
13. Love's Secret Domain
60:39

CD 2:
1. Disco Hospital (Unedited)
2. Teenage Lightning(gtr)
3. Snow (demonic Apollo A Version)
4. Dark River (alternative Ruff From Point Studio Mix)
5. Teenage Lightning (various)
6. Further Back And Faster (didgeridoo)
7. Snow (demonic Apollo B Version)
8. Carvers And Gilders (Chaostrophy)
9. The Dark Age Of Love
10. Love's Secret Domain (Early Instrumental)
55:45

VINYL TRACKLISTING:
A:
1. Disco Hospital
2. Teenage Lightning 1
3. Things Happen
4. The Snow
5. Dark River
B:
6. Where Even The Darkness Is Something To See
7. Teenage Lightning 2
8. Windowpane
9. Chaostrophy
C:
10. Further Back And Faster
11. Titan Arch
12. Lorca Not Orca
13. Love's Secret Domain
D:
1. Disco Hospital (Unedited)
2. Teenage Lightning(gtr)
3. Snow (demonic Apollo A Version)
4. Dark River (alternative Ruff From Point Studio Mix)
E:
5. Teenage Lightning (various)
6. Further Back And Faster (didgeridoo)
F:
7. Snow (demonic Apollo B Version)
8. Carvers And Gilders (Chaostrophy)
9. The Dark Age Of Love (Balance)
10. Love's Secret Domain (Early Instrumental)

Made for today's sound system, Lee "Scratch" Perry revisits his classic Black Ark album that defined Jamaican dub music. 41 years after Lee "Scratch" Perry defined dub music with his seminal 1976 Super Ape album, he returns with NYC's Subatomic Sound System to conquer again, definitively reincarnating the magic of his Black Ark studio in Jamaica, heavy on Ethiopian horns & percussion, while reinvigorating it with the 21st century booming bass & beats that capture the energy of their innovative live electronic show.

Lee "Scratch" Perry re-makes his own classic album 40 years later? It sounds crazy but after his hugely successful tour for the 40th anniversary of his seminal 1976 dub album Super Ape produced at his famed Black Ark home studio, Grammy winning Jamaican artist Lee "Scratch" Perry rebuilt the entire album with NYC's Subatomic Sound System proving not only that he was 40 years ahead of his time but that at 81 years old, he continues to innovate and push the envelope of reggae and dub, genres he pioneered in the 60s and 70s. Largely known as the mentor to Bob Marley, shaping his vocal style and philosophy, while producing and co-writing Marley's early classics like "Sun Is Shining", "Kaya" and many more, Perry's influence has transcended reggae

For the past 7 years he has toured with NYC's Subatomic Sound System, his go to band for recreating his Black Ark studio sound live on stage in new exciting ways as a one of a kind hybrid of beat heavy electronics and live musicians including original Black Ark studio percussionist Larry McDonald. Subatomic Sound System has been pushing the envelope of electronic music in combination with reggae since their inception in 1999 mashing up everything from dub to dancehall with hip hip, dubstep, cumbia and the like. Together with Perry they have performed as featured artists at Coachella, Red Bull Music Academy, and the keynote speakers Ableton live their Berlin summit meeting this year, highlighting their innovative use of music software.

Lee "Scratch" Perry says he gave his protege Bob Marley reggae music as ransom so he could be free to make dub. In dub, the producer is the star organizing and remixing the music with drum and bass in the forfeont and tweaking knobs and faders, adding effects like a jazz improvisation. Perry was arguably the first producer to ever appear as an artist on an album cover. In the 1970s, the idea of a producer rather than a singer or musician as a star, seemed crazy, but Perry is known for being crazy and looking across the world of music today where DJ producers are the stars of electronic music, it is clear he is rightly acknowledged as a visionary as well.

There are many stories to be told but this album follows on the mission of the tour which has the goal of reaching out to old fans and new fans as follows...

1) As sound system culture continues to expand globally with reggae and beyond, these are DJ friendly heavy weight versions of Scratch material that makes sense in the 21st century and represents what we have successfully been building with him live the last 7 years, namely that it sounds like the classic Black Ark vibes in the high frequencies but in the low end, it has the weight and punch of electronic music, dubstep and hip hop, that gets people moving. Scratch started his music career as a dancer so he loves to get a party started even at 81.

2) The album shows that Scratch was 40 years ahead of his time with Super Ape at 81 more relevant to youth culture than ever. The original Burning Man, the original producer as artist, the guy who laid the blueprint for reggae and dub that would inspire punk and electronic artists and producers world wide. What guy can Keith Richards call "the Salvador Dali of Music" and Bounty Killer just last week hail him as "the greatest Jamaican artist of all time" and Basquait call him a significant inspiration for his paintings? He transcends not just reggae but even music. And he's still at it!

TRACK LISTING

Side A
Zion's Blood
Dread Lion
War Ina Babylon
Chase The Devil | Feat. Jahdan Blakkamoore & Screechy Dan
Patience Dub

Side B
Super Ape
Curly Dub
Underground Roots | Feat. Ari Up Of The Slits
Three In One | Feat. Screechy Dan
Dub Along | Feat. Screechy Dan

After years of trying to track him down (with many twists and turns along the way), Far Out Recordings finally brings us, with the blessing of the man himself, the long-awaited release of José Mauro’s forgotten masterpiece "A Viagem Das Horas", featuring three previously unreleased and unheard tracks from the original studio sessions. Recorded in 1970 at Odeon studios in Rio de Janeiro: the same time and place as all the music he ever recorded, José Mauro’s A Viagem Das Horas wasn’t released until six years later, when label owner and producer Roberto Quartin licensed the tracks to fellow Brazilian label Tapecar, who curiously released the album with several tracks already released on Obnoxius. Finally, over half a century on, A Viagem Das Horas will be released with three never before heard tracks, “Rua Dois”, “Moenda’’ and “Variação Sobre Um Antigo Tema”, as Mauro and Quartin had originally intended.

TRACK LISTING

A Viagem Das Horas
Escada De Ferro
A Oitava Morada
Varia O Sobre Um Antigo Tema
Morango Encantado
Luz Lil S
Rua Dois
Moenda
O Cavaleiro De Antonina
Romanza
O Ninho

Factory Benelux presents an expanded edition of Another Setting, the third studio album by cult Manchester ensemble The Durutti Column, originally issued in 1983.

Another Setting was recorded at Strawberry Studio in Stockport with production by Chris Nagle, a favourite engineer of Martin Hannett. The 11 track album contains several acknowledged Durutti classics, notably haunting instrumental Prayer (burnished with cor anglais by Maunagh Fleming) and The Beggar, an unusually muscular vocal song and probably the closest Vini Reilly has edged to rock music. Elsewhere, Smile in the Crowd would be covered by Depeche Mode mainman Martin Gore on his 1989 solo project Counterfeit.

Bonus tracks on FBN 30 CD include exemplary live versions of The Beggar and Bordeaux, plus non-album single I Get Along Without You Very Well, a Hoagy Carmichael cover sung by Lindsay Reade, the former wife of Factory foreman Tony Wilson. Also included are two tracks issued on a highly collectible Japan-only 7” single, Love Fading and For Noriko, as well as Piece for Out of Tune Grande Piano from an earlier EP on Factory Benelux, Deux Triangles.

This extended remaster of Another Setting is packaged in a 6 panel digipack on white reverse board, restoring the original cover artwork by Mark Farrow with cover paintings by Jackie Williams.

TRACK LISTING

1. Prayer
2. Response
3. Bordeaux
4. For A Western
5. The Beggar
6. Francesca
7. Smile In The Crowd
8. You’ve Heard It Before
9. Dream Of A Child 
10. Second Family
11. Spent Time
12. I Get Along Without You Very Well
13. Love Fading
14. For Noriko
15. Bordeaux (Live At WOMAD)
16. The Beggar (Live At La Cigale)
17. Piece For Out Of Tune Grande Piano 

Miriam Makeba’s ‘Keep Me In Mind’ was her last album for Reprise and reflected major changes in both her own personal life and politically within the USA. After becoming a national star globally following the success of ‘Pata Pata’ in 1967, she had fallen out publicly with her mentor and ‘Big Brother’, Harry Belafonte. Makeba made the decision to return to Africa following an invitation from President Sékou Touré of Guinea. In Conakry, Makeba met Stokely Carmichael, President of civil rights organisation the SNCC and they would later marry. “With the Vietnam War, the student protests and the riots in the ghettos, everyone is scared,” Makeba said. “Everyone is afraid that there will be a great black uprising.” Makeba’s concerts were widely cancelled and both her and Carmichael were followed relentlessly by the FBI.

Reprise also terminated her contract but brought in producer Lewis Merenstein for her final recording for the label, best known for his work with Van Morrison on ‘Astral Weeks’. Merenstein suggested two Van songs for Makeba to cover, ‘Brand New Day’ from the ‘Moondance’ sessions and ‘I Shall Sing’ and further songs were added to reflect both the political climate and Makeba’s own memories including Stephen Stills’ ‘For What It’s Worth’ and Lennon & McCartney’s wistful ‘In My Life’. New compositions by Makeba and her daughter Bongi included ‘Lumumba’, a personal tribute to Congolese independence leader, Patrice Lumumba. Reflective of the times, the album is infused with a palpable despair but, as in all of her music, a quiet determination still shines through.

This new reissue of ‘Keep Me In Mind’ is presented in its original artwork and features rare photos and new extensive liner notes by Francis Gooding of The Wire. Remastered from the original tapes by The Carvery.

TRACK LISTING

A1. Lumumba 2.46
A2. For What It’s Worth 2.45
A3. Brand New Day 3.17
A4. I Shall Sing 3.06
A5. Kulala 2.37
B1. In My Life 3.08
B2. Down On The Corner 2.32
B3. Ibande 2.17
B4. Measure The Valleys 3.33
B5. Tululu 2.11

It is the third studio album by the British band and was recorded in 10 days in America with producer Steve Albini, which gave the album a rougher, harsher overall sound than the group's earlier albums. It was well received on release and has continued to be featured in critics ‘Best Of’ lists such as The Guardian’s 1000 Albums To Hear Before You Die (“ one of the most excoriating, exhilarating British indie albums of (the 90s)”.

The 2LP package includes the studio album alongside the 3 Songs, Dalliance, and Lovenest EPs plus the John Peel BBC Radio 1 Session from 1991 featuring versions of four songs from the album.

The expanded artwork has been put together by Hitch, the original designer, and the whole project has been overseen by the band’s leader David Gedge.

TRACK LISTING

ORIGINAL ALBUM
SIDE A
1 Dalliance
2 Dare
3 Suck
4 Blonde
5 Rotterdam
SIDE B
1 Lovenest
2 Corduroy
3 Carolyn
4 Heather
5 Octopussy

EPs AND SESSION
SIDE C
1 Make Me Smile (Come Up And See Me)
2 Crawl
3 Corduroy (Single Version)
4 She's My Best Friend
5 Niagara
6 Mothers
SIDE D
1 Dan Dare
2 Fleshworld
3 Dalliance (John Peel BBC Radio 1 Session Version)
4 Heather (John Peel BBC Radio 1 Session Version)
5 Blonde (John Peel BBC Radio 1 Session Version)
6 Niagara (John Peel BBC Radio 1 Session Version)

Reissue on vinyl of the 2006 collection of PJ Harvey sessions with the late BBC Radio 1 DJ John Peel, spanning recordings from the start of her career in 1991 up to 2004.

Reissue is faithful to the original recording and package, with cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer John Parish.

TRACK LISTING

Side One
Oh My Lover – Peel 29.10.91
Victory - Peel 29.10.91
Sheela-Na-Gig - Peel 29.10.91
Water - Peel 29.10.91
Naked Cousin – Peel 2.3.93
Wang Dang Doodle - Peel 2.3.93

Side Two
Losing Ground – Peel 5.9.96
Snake – Peel 5.9.96
That Was My Veil – Peel 5.9.96
This Wicked Tongue – Peel 10.11.00
Beautiful Feeling – Peel 10.11.00
You Come Through – John Peel Tribute 16.12.04

Cut at London’s Metropolis Studios, Craft Recordings’ new reissue of the bands fifth studio album comes housed in a gatefold sleeve and features a bonus 7” single. In 2007, ten years after the release of their debut album Good Feeling, much had changed for Travis’ Fran Healy (vocals, guitar), Andy Dunlop (guitar), Dougie Payne (bass), and Neil Primrose (drums) – and yet, much remained the same. With Healy now a father (The Boy With No Name takes its title from a nickname briefly given to his son),his songwriting on The Boy With No Name turned to the world of relationships, with singles “Closer” (which marked the bands return to the Top 10 on the UK singles chart) and “My Eyes” focusing on his newborn son. Featuring production work from Nigel Godrich (Radiohead, Beck, Paul McCartney) and pioneering artist Brian Eno, the album was praised by the BBC as the band’s “most eclectic album to date,” and the work of a band who “can afford to take risks,” while receiving four stars from Q magazine. 

‘Feels’ is Animal Collective’s sixth studio album, originally released in 2008. The album features all four band members - Avey Tare, Deakin, Geologist and Panda Bear.

TRACK LISTING

Did You See The Words
Grass
Flesh Canoe
The Purple Bottle
Bees
Banshee Beat
Daffy Duck
Loch Raven
Turn Into Something

‘Sung Tongs’ is the band's fifth studio album. Originally released in 2005, the album features Avey Tare and Panda Bear.

TRACK LISTING

Leaf House
Who Could Win A Rabbit
The Softest Voice
Winters Love
Kids On Holiday
Sweet Road
Visiting Friends
College
We Tigers
Mouth Wooed Her
Good Lovin Outside
Whaddit I Done

The second my bloody valentine album, loveless, was released in 1991. Musically, it took an unexpected leap forwards, standing ahead of anything released at the time. Shields and the band moved further towards a music of pure sensation, creating textures and tones that could be felt as much as heard; with loveless the band created an album that overwhelmed the senses. loveless is widely considered a flawless whole and rightly regarded as a masterpiece; a 1990s equivalent to Pet Sounds, In A Silent Way or Innervisions, a record constructed by exploring the edges of what a recording studio is capable of. It is a record best experienced as a whole, in one sitting - a listening experience like no other and unmatchable in its sonic brevity.

TRACK LISTING

1. Only Shallow
2. Loomer
3. Touched
4. To Here Knows When
5. When You Sleep
6. I Only Said
7. Come In Alone
8. Sometimes
9. Blown A Wish
10. What You Want
11. Soon

Finally re-emerging in 2013 after two full decades in relative hiding, their third album m b v is by turns their most experimental record but also their most melodic and immediate; proof real of their unerring desire for re-invention. Continuing to push boundaries of both music and genre, m b v is an album of astonishing music, some of which could lay claim to being of a type never been made before. Otherworldly, intimate and a visceral listen, m b v is a startling and beautiful metamorphosis of what was known of the my bloody valentine sound, pushing the boundaries of genre unlike any other band. The album’s closer, “Wonder 2” is an example of this, seeing Shields meld hypnotic guitar with drum’n’bass to astonishing result.

TRACK LISTING

1. She Found Now
2. Only Tomorrow
3. Who Sees You
4. Is This And Yes
5. If I Am
6. New You
7. In Another Way
8. Nothing Is
9. Wonder 2

As the core member of the 13th Floor Elevators and an undisputed pioneer of psychedelic rock, the ’60s were thrilling times for Erickson. His band riding high in their native Texas and beyond, the howling single ‘You’re Gonna Miss Me’ was his calling card, but Erickson’s ‘60s ended in the stuff of nightmares. Under sharp scrutiny by the authorities due to the band’s well-expounded fondness for psychedelic drugs, Erickson was found with a single joint on his person. Pleading not guilty by reason of insanity to avoid prison, he was sent to the Rusk State Hospital for the criminally insane, where he was ‘treated’ with electroconvulsive therapy and Thorazine treatment. Erickson pulled through his three and a half years at Rusk, and even put together a band while incarcerated. The Missing Links contained Roky plus two murderers and a rapist. Released from the institution in 1974, Roky found his legend had grown while he’d been away – not least because ‘You’re Gonna Miss Me’ was included on 1972’s Nuggets compilation.

He formed a band, the Aliens, and set about honing a hard rock sound that placed the psychedelic garage blues of the Elevators firmly in the last decade. Though it was produced at a time when Roky was struggling to cope with drugs and life on the outside, he hit form on his first post Elevators album-proper, 1981’s The Evil One. Produced over a period of two years by Stu Cook, from Creedence Clearwater Revival, it’s a masterful collection of songs about zombies, demons, vampires and, yes, even the ‘Creature With The Atom Brain’. These tracks, inspired by schlock sci-fi and horror movies and colored by Roky’s distinctive, high-pitched vocal and squealing guitar, are among the maverick performer’s best. At the time, Roky explained the album this way: “It’s gonna go back to the ferocious kind of rock ‘n’ roll of the Kinks, the Who and the Yardbirds. It’s the kind of music that makes you wish you were playing it or listening to it for the first time ‘way back when.’” But the record would not reach the mass audience of those bands, its success hampered by erratic release schedules and disastrously awkward press interviews. A year after its release, Erickson would become convinced that a Martian had inhabited his body. He would soon become obsessed with mail, and take to taping it, unopened, to his bedroom walls. Many of Erickson’s demons were yet to show their faces. But the B-movie demons he exorcised on this record gave us one of hard rock’s strangest, most inventive albums.

TRACK LISTING

1. Two Headed Dog,
2. I Walked With A Zombie,
3. Night Of The Vampire,
4. It's A Cold Night For Alligators,
5. Mine Mine Mind,
6. Sputnik,
7. White Faces,
8. I Think Of Demons,
9. Creature With The Atom Brain,
10. The Wind And More,
11. Don't Shake Me Lucifer,
12. Bloody Hammer,
13. Stand For The Fire Demon,
14. Click Your Fingers,
15. If You Have Ghosts

The textbook American cult band of the '80s, Violent Femmes captured the essence of teen angst with remarkable precision. 40 years on, their legacy remains strong. 'Add It Up (1981-1993)' documents the trailblazing trio's stylistic development as they rose to become one of alt-rock's most commercially-successful acts.

This 23-track compilation includes hits such as "Blister in the Sun," "American Music," and "Gone Daddy Gone," plus live recordings of favourites like "Add It Up," and "Kiss Off," alongside a trove of demos, B-sides, interstitial voice recordings, and rarities. Available on vinyl for the first time since its brief initial pressing in 1993.

TRACK LISTING

LP1:
Intro
Waiting For The Bus
Blister In The Sun
Gone Daddy Gone
Gordon's Message
Gimme The Car
Country Death Song
Black Girls
Jesus Walking On The Water
36-24-36
I Held Her In My Arms

LP2:
I Hate The TV
America Is
Old Mother Reagan
Degradation
Dance, Motherfucker, Dance!
Lies (Live)
American Music
Out The Window
Kiss Off (Live)
Add It Up (Live)
Vancouver (Live)
Johnny (Live)

It is drenched in the essence of the Brazilian 80s boogie and funk sound. A driving force behind this is the writing, arrangement, and musicianship of Lincoln Olivetti, who was instrumental in forging this unique sound within Brazilian production at the time. It is heightened even further by the astonishing team that feature on the record. Brazilian icon and heavyweight Tim Maia, Robson Jorge, Serginho Trombone, Oberdan Magalh es, Claudio Stevenson and Jamil Joanes (of Banda Black Rio fame), Junior Mendes, the list goes on. This crew of musicians synergised perfectly with Sandra’s vocal style, all complementing each other to create a classic. One of our favourites from the album is the opening track ‘Trem Da Central’, an infectious groove that when paired with Sandra’s cool and relaxed swaggering vocal resulted in an essential dancefloor jam! Equally delightful and dancefloor summoners are the catchy boogie funk of ‘Candura’, and the Earth, Wind & Fire sounding ‘Pela Cidade’. Tim Maia features on the fast-paced duet ‘Vale Tudo’, which was written especially for Sandra to sing with Tim, who at the time was one of the biggest stars in Brazilian music. These boogie and funk compositions are balanced by fine slow jams giving the album a satisfyingly well-rounded feel. Sandra had been working in music since the 70s and continues to do so to this day, but this period of the early 80s was a rich and prolific time for her. If you are a fan of Robson Jorge & Lincoln Olivetti’s self-titled album from 1982 or Marcos Valle’s 1983 album featuring the song ‘Estrelar’, then this one is definitely for you. ‘Vale Tudo’ is a must-have record from a talent

STAFF COMMENTS

says: Not that I want to play favourites between my Brazilian boogie crew, but in my most humble opinion, this total groove-a-thon from Sandra Sa wipes the floor with that Marcos Valle reissue. Sunkissed, light and totally joyful, 'Vale Tudo' deserves a place in every good collection.

TRACK LISTING

1. Trem Da Central
2. Candura
3. Pela Cidade
4. Onda Negra
5. Gama O
6. Vale Tudo
7. Guarde Minha Voz
8. Terra Azul / Musa
9. S As Estrelas

After what seems an age being out to press, the reissue of last year’s mighty “Time Masters” album from Israel’s fabulous GROUP MODULAR, finally reaches us here at PY HQ. Having sold out in the blink of an eye following glowing press and features within the likes of ‘Shindig!’ and ‘Electronic Sound’, and plays on 6music- we’ve decided to repress the record primarily to appease the glowing response in the duo’s homeland as well as mainland Europe.

Having kept us waiting a mammoth eight years since their hugely well received debut album, the Israeli duo return with "Time Masters" and is dedicated to -and centered around- some of their favourite local drummers; and despite it being perhaps the most Percussion heavy PY release so far, the new record is another synth-driven excursion into space age sound….

Established in 2010, Group Modular is a meeting point between library, psych & funk enthusiast Markey Funk (Delights) and machine music specialist Mule Driver (Confused Machines). Both key figures on their respectful scenes, the two found common ground in their fascination with early electronic and library music of the 1960's and 70's. Over many years of regular travels between Jerusalem and Tel Aviv, the two produced the highly acclaimed album “The Mystery of Mordy Laye” (2012, Audio Montage Entertainment) and an exclusive International Synthesizer Day single “Black Ray/Acid Wheels” (Delights, 2018) as well as a bunch of hugely well received live shows around their home country.

For this new record, the duo invited six different drummers to provide the rhythmical (and at times – structural) backbone for future compositions. Taken from Rene Laloux' cult animation feature, the album's title “Time Masters” hints that the key figure of each tune is actually the one keeping the beat or, as they call it in classical music, - “the time”. Besides their regular collaborator, Sagi Sachs, on two tracks, Group Modular are joined by Yonadav Halevy (The Apples), Matan Assayag (Hoodna Orchestra/Shalosh), Hezus (3421/Trillion/Left), Ori Lavi and Elia Yakin. While letting every percussionist showcase his distinctive style, Markey Funk and Mule Driver managed to bring these six different personalities closer under the multi-layered umbrella of space age electronics and cinematic psychedelia. Crafted over the course of 3 years and wrapped in artwork by Nick Taylor (Spectral Studio), “Time Masters” is the duo's love letter to the golden age of sci-fi animation.

The repress is sure to sell out super quick, the pressing divided between the UK and Israel and just 150 more copies are available from PY. Second run is on black vinyl as opposed to the orange wax of the first.

STAFF COMMENTS

says: I've genuinely not heard a record on PY i've not adored yet, and there's absolutely no chance this will be the first. Even from looking at it I can tell it's a Spectral Studio sleeve, and listening to the music is as dreamlike and confounding as the art would suggest. Part machine funk, part kosmische stomp and part jazzy flourishes, this is an indescribable but enthralling ride. Another killer outing from the ever reliable Polytechnic Youth.

TRACK LISTING

A1. Time Masters
A2. Hommes De Metal
A3. Black Sphere
A4. The Whale Submarine
A5. The Phantom Mazone
A6. Ke I
A7. The Big Hunt
B1. Ignition
B2. Horology
B3. Shaking The Grid
B4. Chatterbird
B5. Optical Menuet
B6. Ke II
B7. Everything Is A Number

Trees classic albums, beautifully packaged as a four-disc anniversary edition includes 12” book with liner notes from founder member David Costa and comedian Stewart Lee - Features two new discs of alternate mixes, early demos, BBC session tracks and 2018 live recordings in London - Includes lost demos of ‘Polly On The Shore’ and ‘Streets Of Derry’ It’s now over fifty years since Trees’ formation and, although ‘Acid Folk’ has now become a sub-category in the lexicon of record dealers and music critics, and although founder member David Costa feels the original noughties reissue helped consolidate a gathering wave of curiosity, they themselves remain in the shadows. Earth’s new Trees collection brings together both albums adding shiny alternate mixes of key tracks along with a selection of radio sessions and demos, all sounding brighter and cleaner than ever before.

Trees first album, ‘The Garden of Jane Delawney’ (1970) snuggles nicely into contemporary nu-folkies’ idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias’ own songs, which were somehow part of the tradition Trees had adopted. Readings of ‘Lady Margaret’, ‘Glasgerion’ and the old standard ‘She Moved Thro’ The Fair’, and the extended fade of the group’s own ‘Road’, presage the explosive instrumental duelling that would come to characterise the follow up album, ‘On The Shore’.

There’s a definite shift between the records, the second being darker and more ambivalent. Here Trees don’t tell you what to think. You’re left to formulate your own response to this odd, opaque music. The ‘Streets of Derry’ session version leans into the brain vibrating drone-groove they somehow found at the traditional tune’s centre. ‘Polly On The Shore’, another traditional tune, is one of the definitive moments of English folk rock.

This special expansive collector’s edition celebrates the bands 50th anniversary.

“A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret” Edd Gibson, Friendly Fires.

TRACK LISTING

Disc One - The Garden Of Jane Delawney (EARTHLP036)
Side A
Nothing Special
The Great Silkie
The Garden Of Jane Delawney
Lady Margaret

Side B
Glasgerion
She Moved Thro' The Fair
Road
Epitaph
Snail's Lament

Disc Two - On The Shore (EARTHLP035)
Side A
Soldiers Three
Murdoch
Streets Of Derry
Sally Free And Easy

Side B
Fool
Adam's Toon
Geordie
While The Iron Is Hot
Little Sadie
Polly On The Shore

Disc Three - Fore & After (Part 1)
Side A
Soldiers Three (Remix 2007)
Murdoch (Remix 2007)
Streets Of Derry (Remix 2007)
Geordie (Remix 2007)

Side B
Polly On The Shore (Remix 2007)
Fool (Remix 2007)
Polly On The Shore(demo 1970) Previously Unreleased
Streets Of Derry (demo 1970) Previously Unreleased

Disc Four - Fore & After (Part 2)
Side A
She Moved Thro' The Fair (Demo 1969)
Pretty Polly (Demo 1969)
The Great Silkie (BBC 1970) Previously Unreleased
Soldier's Three (BBC 1970) Previously Unreleased
Little Black Cloud (demo 1969 )
Forest Fire ( BBC 1970)

Side B
She Moved Thro' The Fair (Live At Cafe Oto 2018)*
Murdoch (Live At Cafe Oto 2018) *
Black Widow (2007)
Little Black Cloud Suite (2007)

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

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

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

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

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

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

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

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

TRACK LISTING

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

A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos’ brother Paulo S rgio Valle. It showcases a real who’s who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalh es to name but a few.

This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including ‘Estrelar’.

To complete the album there are tracks such as ‘Fogo Do Sol’, which is pure AOR / Balearic vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

To celebrate the release we have pressed up several vinyl versions; both standard master, and half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess! 

TRACK LISTING

1. Estrelar
2. Fogo Do Sol
3. Samba De Verao
4. Para Os Filhos Abraao
5. Naturalmente
6. Tapa No Real
7. Tapetes, Guardanapos, Cetins
8. Dia D
9. Mais
10. Que Amor
11. Viola Enluarada

Originally released in 1979, "Art of the Acoustic Steel String Guitar 6 & 12" was Robbie Basho's 15th record, and his magnum opus of solo guitar. It is the culmination of his life's effort to usher guitar music into a new artistic paradigm, and to "establish the steel string as a concert instrument indigenous to America. This album represents Basho’s most technically fine guitar work. In both composition and performance, the album is enormously complex and yet conveys an effortlessness unique to Basho. As he famously espoused, “My philosophy is quite simple: soul first, technique later.” The richness of Basho's soul emanates from this record as distinctly as each note ringing from his steel strings. Only one song on the record (“Pasha II”) features Basho’s enigmatic voice, but it may be his most extraordinary vocal performance – his voice calling out through a shimmer of strings, singing ancient syllables with timeless emotion. The remaining ten instrumental songs roam through Eastern and Western modalities, dark and light meditations, wild and restrained expression. With "Art of the Acoustic Steel String Guitar 6 & 12", Basho summons rich allusions, hallucinations and delicately numinous passages. As he said, "It's not about going far out, it's about going far in. It's about a deeper feeling." These are deep waters indeed, as substantial and enriching today as they were 35 years ago.

Remastered from the original tapes. Artwork is presented in very much the same fashion as the original release with a few minimal changes made to include new information. Paper stock (heavy reverse-board) and pressing weight (140 gram) have been upgraded. New vinyl masters were cut by the excellent John Golden. A download for high quality Mp3's and FLAC is included.

"All the highlights of Basho’s work are found here: eccentric tunings, modal playing and a keen ear for Eastern music (which he studied and incorporated into his music), and a spirituality that could neither be outshined by the technical flashiness nor the (unavoidable?) exotic undertones." – TINY MIX TAPES.

To mark the 50th anniversary of the release of RAM, the album will be pressed from a master cut at half speed using the original master tapes at Abbey Road.

The only album credited to both Paul and Linda McCartney, RAM reached Number 1 in the UK and stayed in the US Top 10 for five months. Recording after he’d left The Beatles and before the formation of Wings, Paul initially flew with Linda to New York to record the songs they’d written but arrived without a band.

As Paul recalls, “We were thinking of forming a group at that time, Wings. We went to New York, found a really grotty little basement somewhere and auditioned a bunch of people. We got someone to throw a lot of drummers at us, out of which we picked Denny Seiwell who’s one of the best, and his personality fitted. Then we went in, worked with him, Hugh McCracken, Dave Spinozza, a couple of New York session men, and did RAM.”

To avoid arousing too much interest, the auditions were held under the guise of a session for a commercial jingle. As well as Paul’s lead vocals there are harmonies from Linda. “I gave her a hard time, I must say, but we were pleased with the results. Elton John later said somewhere that he thought it was the best harmonies he’d heard in a long while. It was very much the two of us against the world at that point.”

TRACK LISTING

Side A
Too Many People
3 Legs
Ram On
Dear Boy
Uncle Albert / Admiral Halsey
Smile Away

Side B
Heart Of The Country
Monkberry Moon Delight
Eat At Home
Long Haired Lady
Ram On [reprise]
The Back Seat Of My Car

Mother Freedom Band’s Cutting The Chord is a funky modern soul classic. It’s both a criminally under-appreciated album and a hard-to-find record so we’re delighted to be giving this sweet disco-funk groover the reissue treatment it deserves.

Produced by the great Al Goodman from The Moments and originally released in 1977, Cutting The Chord seems to be one of the lesser known releases on the curious, and often great “All Platinum” label. Other than a 7" of a couple of these tracks, the only thing that the band seem to have released is this album, and what an album it is. Unbeatable soul-funk of the highest quality.

The album bursts open with “Love Will Stay In Your Corner”. It’s a soulful dancer that reliably slays any funk set you care to drop it in. It’s followed by the lithe disco funk “Flick Of The Wrist” that’s all bubbling baselines and elegant horns. The groovy, horn-enhanced sweet soul of “Gotta Get It Back” is equal parts heartbreaker/hip-shaker and the acidic organs on “Mr Brother” are an experiment in synth soul.

Perhaps the group’s best known track, “Beautiful Summer’s Day” might well be worth the price of an original copy alone. It’s pure piano-driven paradise soul. A tropical birdsong intro sets the scene of a warm, perfect sunshine day and the lead vocal soars over the lush, clean production. The tempo oscillates between contemplative and stomping. Essential.

The brilliantly-named “(Assistants Rag) When You’re Hot, You’re Hot” opens side two. Another huge highlight, its title refrain repeated over this laid-back, power-funk workout. It still sounds incredibly modern, like something off the last D’Angelo record, and if Public Enemy and Diamond D both sampled it you know it knocks hard.

The horn-heavy, clav-stabbing-stomper “We Like To Boogie” keeps things fast and funky before the airy, heavenly harmony soul of “Come On Home” mellows us all out. Things pick up again with “Touch Me”, and you might recognise its addictive elements sampled in Jay-Z’s Kanye West-produced “A Star Was Born”. The magical, reggae-tinged, gospel-influenced “Sweet Love” closes out this assured, classy set.

We dare to say that Cutting The Chord is a rare example of a funk-soul LP which is killer from start-to-finish. Sure, there are the stand-out bombs, but the whole thing is a complete and varied album of feel-good vibes held together by its fluid horns, tight, tight rhythm section and beautiful vocals.

Mastered for vinyl from the original analogue tapes by Simon Francis, cut by Pete Norman and artwork restored at Be With HQ, this new edition should hopefully stop this album slipping any further into obscurity. It’s just too good to be forgotten.

STAFF COMMENTS

says: Shockingly underrated, Cutting The Chord is filled to capacity with hit after hit of stone cold funk classics. Drenched in soul and groovy goodness, in need of the attention it truly deserves.

TRACK LISTING

A1 : Love Will Stay In Your Corner (2:59)
A2 : Flick Of The Wrist (3:10)
A3 : Gotta Get It Back (3.06)
A4 : Mr. Brother (4:24)
A5 : Beautiful Summer Day (3:21)
B1 : (Assistant’s Rag) When You’re Hot, You’re Hot (4:06)
B2 : We Like To Boogie (4:24)
B3 : Come On Home (5:13)
B4 : Touch Me (3:21)
B5 : Sweet Love (4:18)

Anna Calvi will release a 10-year Anniversary edition of her self-titled debut album via Domino. An astonishingly confident record; ‘Anna Calvi’ showcases the unique strengths of her songwriting, singing and virtuoso guitar-playing, all jumping out of the speaker together. Calvi drew on the ghosts of Nina Simone and Maria Callas for influence to create a stunningly modern sound.

To date, Anna Calvi has released three studio albums (‘Anna Calvi’, ‘One Breath’ and ‘Hunter’), a collaborative EP with David Byrne (‘Strange Weather’) and the most recent ‘Hunted’, a seven-track reworking of ‘Hunter’. Additionally, Calvi wrote and performed the score for Season 5 of BBC One’s Peaky Blinders and wrote the music for the opera The Sandman, directed by Robert Wilson.

Anna is the first solo artist to achieve three consecutive Mercury Prize nominations and has also received a Brit Award nomination. Throughout her career, Calvi has worked with Brian Eno, Marianne Faithfull, Charlotte Gainsbourg, Joe Talbot (IDLES), Dave Okumu (The Invisible), Johnny Flynn, Adrian Utley (Portishead) and Courtney Barnett.

The LP, which includes the likes of ‘Desire’, ‘Blackout’, ‘Rider To The Sea’ and ‘Suzanne And I’, is reissued for the first time, available to independent retailers on deluxe red vinyl. It also features brand new cover artwork and an 8-page booklet containing previously unseen photographs, plus digital download code.

TRACK LISTING

1. Rider To The Sea
2. No More Words
3. Desire
4. Suzanne And I
5. First We Kiss
6. The Devil
7. Blackout
9. I’ll Be Your Man
10. Morning Light
11. Love Won’t Be Leaving

Fugazi were formed from the ashes of legendary DC hardcore bands Minor Threat and Rites Of Spring. They played their first shows in 1987 and released this first mini album the following year. 
They took the energy and abrasiveness of their former bands and honed it into an intense and ulitmately hugely influential sound. 
This album along with it's follow up "Margin Walker" were both permanent fixtures on the shop stereo back then and had we done end of year charts at the time would most certainly have made it into the top 10.

From the albums original release in 2018:

London’s Teleman have already set a precedent for 2018 with the release of Submarine Life via label-home Moshi Moshi. Today, the foursome excitedly unveils details of their third studio album; the alluringly named Family of Aliens, set for release in early September. Armed with a freer, more collaborative approach to both writing and recording, their new 11-track album Family of Aliens, is a fluid collection of glorious pop-songs fluent with new electronic textures and united by the sharp lyricism, buoyant guitars and instantaneous melodies that are synonymous with Teleman.

“We want to keep evolving and keep discovering. This band is one long journey for us, and we never want to stop developing and finding new ways of creating music. I'm always wanting to better what we've done before. To go deeper, to find something more beautiful, more catchy, more challenging, more interesting … just more.”

It’s evident the much-loved quartet have evolved, cultivating and honing their sound as a very-welcome and anticipated proposition for 2018. 

TRACK LISTING

1. Family Of Aliens
2. Cactus
3. Song For A Seagull
4. Between The Rain
5. Always Dreaming
6. Submarine Life
7. Twisted Heart
8. Somebody’s Island
9. Sea Of Wine
10. Fun Destruction
11. Starlight 

The third release in Fu Manchu’s 30th Anniversary vinyl reissue series, Return To Earth 91-93 Deluxe Edition, is the first ever update to this legendary compilation of the band’s earliest singles. These songs are the only ones recorded with the band’s original lead guitarist, Scott Votaw, as well as the only ones recorded as a three piece of the original core line-up of Scott Hill (vocals/guitar), Mark Abshire (bass) and Ruben Romano (drums). Return To Earth 91-93 Deluxe Edition features the 9 songs from the original release including the first version of fan favorite, “Ojo Rojo,” plus 2 newly discovered tracks that have never been heard before: “Ford-Natic” and an early version of “Shine It On,” which was later re-recorded for their debut album. All songs were remixed by Scott Hill along with the band’s current producing partner, Jim Monroe (Adolescents, Channel 3, Ignite) and remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on neon purple vinyl and the newly designed gatefold package includes never before seen photos of the band and flyers from their early shows. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster

TRACK LISTING

1.“Don’t Bother Knockin’ (If This Van’s Rockin’)”
2.“Ford-Natic”
3.“El Don”
4.“Pick-Up Summer”
5.“Ojo Rojo”
6.“Pinbuster”
7.“Senioritis”
8.“Shine It On”
9.“Simco”
10.“Space Sucker”
11.“Vankhana (Rollin’ Rooms)”

John Carpenter, the legendary director and composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ on Sacred Bones Records. 

John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

“Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Singularly titled to inspire dread with such names as “Vortex,” “Dominion,” “Abyss,” and “Purgatory,” but all linked into a unified whole, Lost Themes has a mesmerizing power. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and the raging guitars and chiming percussion of Goblin’s Suspiria. “’Both classical music and rock and roll are part of my musical language, which is riff-driven,” Carpenter explains. “So if you listen carefully, I’m sure you can hear some echoes from my past. But I’m sure that’s true of any composer. You just bring your music along with you.”

TRACK LISTING

1. Vortex
2. Obsidian
3. Fallen
4. Domain
5. Mystery
6. Abyss
7. Wraith
8. Purgatory
9. Night

Seefeel’s second studio album and their debut for Warp. This expanded 3LP edition is the first time it has been available on vinyl since original release and adds an extra LP of bonus material, mastered from original DAT transfers by Stefan Betke aka Pole.

“On Seefeel’s 1993 debut album, Quique, the British quartet navigated a course between shoegaze and ambient dub—but by 1995, the electronic undercurrents of their sound had carried them to a very different place. Maybe it was the influence of Aphex Twin, whose remixes had honed in on the clean-lined rhythmic skeleton lurking beneath the group’s atmospheric swirl: The rolling, distorted drums of Succour’s “Fracture” and “Vex” are straight out of his playbook, and the beatless, bookending tracks “Meol” and “Utreat” both evoke Selected Ambient Works Vol. II at its most ethereal.

While the album’s textures and titles are often reminiscent of Autechre’s Amber, which came out the year before on Warp, Seefeel never entirely cast off their post-rock roots; squint through the fog of songs like “Extract” and “Cut,” and you can just barely pick out the familiar silhouettes of guitar, bass, drums, and microphone against the murk. Still, there’s no mistaking the common cause they make with the era’s knob-twisters and brain-dancers. Despite the echoes of other touchstones of the time (“Gatha” sounds like Massive Attack being dragged deep into an underwater cavern), it’s a singular album that has no equivalent—a sound so elemental, it’s no wonder the Designers Republic chose the cover they did.” – Philip Sherburne (#30 in the Pitchfork list of 50 greatest IDM albums)

“Driving electronic percussion, dubby basslines and obtuse, paranoid guitar melodies abound. Sarah's voice sounds synthetic and almost alien in the barren, lunar atmosphere's that 'Succour' evokes.” – Resident Advisor

TRACK LISTING

A1. Meol
A2. Extract D1. Cut
B1. When Face Was Face
B2. Fracture
B3. Gatha E1. As One
C1. Ruby-Ha
C2. Rupt
C3. Vex F1. Meol 2
D2. Utreat
D3. Tempean
E2. As If
E3. As Well
E4. As Track
E5. As Link
E6. As Such
F2. Rupt (Cut Mix)
F3. Fractions 2
F4. Meol 3
F5. Monastic
F6. Burned

Seefeel’s third studio album was recorded for Richard D James and Grant Wilson-Claridge’s Rephlex label, as as a return favour for two remixes Aphex Twin (a huge fan of the group) did in their Too Pure period. This is the first time it has been available on vinyl since 1996 and adds an extra LP of bonus material, mastered from original DAT transfers by Stefan Betke aka Pole. Comes housed in a new gatefold sleeve by the Designers Republic.

“Mark Clifford and his mates have moved through labels like Astralwerks and Warp before landing at the front door of the Richard James label Rephlex, and along the way they have scattered some wonderful pearls. For (CH-VOX), it's an especially lush match of aesthetics -- sort of a condensed version of the Aphex Twin landmark record, Selected Ambient Works II. Picking up at the tail end of Seefeel's last album, Succour, we once again hear "Utreat," a dark meditation of phrases that makes Darren Seymour's bass sound like an electric piano, or is it Clifford's electric piano that sounds like a bass? Sarah Peacock's dreamy vocals hover almost out of earshot, and possibly her guitar is plugged in somewhere, too.

It's difficult to say with many of their songs what instrument we're hearing, since treatments and effects play such a major role in production. The song "E-HIX2" breathes like a cluster of bleak skyscrapers with an extremely ambient take on feedback, and the title cut, "CH-VOX," is stark, patient, and ominous -- an abandoned submarine frozen in ice. "Hive" (with wonderful vocal loop effects) has Clifford revisiting his somewhat limited palette of percussion -- a piece that teeters between beauty and agitation, and an unfortunate weak spot for the album. The album closes with "Net," which is nothing short of masterpiece -- a journey, a drive through wet streets at midnight, and a finale so captivating you'll want to hear it twice -- somewhat postponing the disappointment that the album is only 33 minutes long.” 

TRACK LISTING

A1. Utreat (Complete)
A2. E-hix²
A3. Ch-vox C1. E-hix 5

B1. Hive
B2. Ashdecon
B3. Net D1. Avatar

C2. E-hix 4
C3. Evio

D2. E-hix 3
D3. Ashime 

"St / Fr / Sp" compiles two non-album EPs that Seefeel recorded for Warp in 1994, "Starethrough" and "Fracture / Tied", alongside a rare Autechre remix of “Spangle” and the unreleased Transition Mix of “Starethrough”. Housed in a gatefold sleeve conceived by The Designers Republic.

'Seefeel's output on Warp delved more into abstraction; often containing a pervading dark and oppressive atmosphere. Although featuring these menacing sensibilities, 1994's "Starethrough EP" retained some of the astral lightheartedness of "Quique"; a track like "Spangle" could be called anything but menacing with it's twinkling coruscations of melody and Sarah's ethereal vocal contribution. The EP to follow, "Fracture / Tied", was almost entirely beat-driven with only rudimentary hints of melody.' - Resident Advisor

TRACK LISTING

A1. Starethrough
A2. Air Eyes

B1. Spangle
B2. Lux1 D1. Spangle (Autechre Remix)

C1. Fracture (EP Version)
C2. Tied

D2. Starethrough (Transition Mix) 

On Halloween 2014, the director and composer John Carpenter introduced the world to the next phase of his career with “Vortex,” the first single from Lost Themes, his first-ever solo record. In the months that followed, Lost Themes rightfully returned Carpenter to the forefront of the discussion of music and film’s crucial intersection. Carpenter’s foundational primacy and lasting influence on genre score work was both rediscovered and reaffirmed. So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience.

2016 will host the first ever John Carpenter tour and in true Carpenter spirit, a sequel to Lost Themes: Lost Themes II. The follow-up brings quite a few noticeable changes to the process, which result in an even more cohesive record. Lost Themes’ cowriters Cody Carpenter (John’s son) and Daniel Davies (John’s godson) both returned. Cody was recently also heard as a composer for Showtime’s Masters of Horror series (Cigarette Burns and Pro-Life), and NBC’s Zoo. Davies was a composer for NBC’s Zoo, as well as the motion picture Condemned.

All three brought in sketches and worked together in the same city, a luxury they weren’t afforded on the first Lost Themes. The result was a more focused effort, one that was completed on a compressed schedule — not unlike Carpenter’s classic, notoriously low-budget early films. The musical world of Lost Themes II is also a wider one than that of its predecessor. More electric and acoustic guitar help flesh out the songs, still driven by Carpenter’s trademark minimal synth.

Keep your eyes peeled for John and his co-writers to hit the road next year performing both lost and newly found themes, in addition to retrospective work from Mr. Carpenter’s multi-generational career. Long live the Horror Master.

STAFF COMMENTS

says: Master of Kosmische synth-workouts and general synth-based sountracking legend John Carpenter returns here with the second instalment of his surprising 'not a soundtrack' offering from last year. More twinkling synths, motorik pulses and cavern-soaked reverbed drums. Though soundtracks have always been Carpenters raison d'etre, this outstanding expansion on his lost themes selections just goes to show that Carpenter is indeed the king of the cosmic.

TRACK LISTING

1. Distant Dream (3:51)
2. White Pulse (4:21)
3. Persia Rising (3:40)
4.Angel’s Asylum (4:17)
5.Hofner Dawn (3:15)
6.Windy Death (3:40)
7.Dark Blues (4:16)
8.Virtual Survivor (3:58)
9.Bela Lugosi (3:23)
10. Last Sunrise (4:29)
11. Utopian Facade (3:48)
12.Real Xeno (4:30) (CD / Download Bonus Track)

Celebrating 10th anniversary of  both Connan Mockasin‘s debut album “Forever Dolphin Love” & career, Phantasy and Because Music release new editions of long time out of stock “Forever Dolphin Love” & “Caramel” (2nd album) Lps in exclusive Splatter 2021 Editions.

New Zealand via Paris / London pop sprite Connan Mockasin follows up the widely acclaimed oddball-psych of 2010’s 'Forever Dolphin Love'. 'Caramel' boasts a unique brand of mutated, lustrous soul that was almost wholly self-recorded over a month in a Tokyo hotel room. The new album explores different regions of Mockasin’s singular galaxy, guided by his truly adventurous songwriting that favors reconfigured pop structures with a skewed funk sensibility. 'Caramel'  offers us not just soul but a liquefied brew of blues, funk, ambient and folk with pronounced Oriental and Gallic timbres, all laced with an uncanny air of bliss... 'Caramel' has hints of Scritti Politti's exquisitely stitched soul, or of Prince - if the Minneapolis legend had spent time in Canterbury, the epicentre of South East England's progressive psych / prog scene during the late 60s and early 70s, where the likes of Syd Barrett and Kevin Ayers began their own musical journeys.

And if that wasn't all enough to get your ears round, then it's a concept album as well, kinds: "The concept is that it's actually an album," says Mockasin. "It starts with the dolphin (from 'Forever Dolphin Love') leaving, and the boss (the man) who is so in with love with the dolphin is sad, and then it kicks into the new album, and he is happier. But there's a car race and a crash."

TRACK LISTING

A1 Nothing Last Forever
A2 Caramel
A3 I’m The Man , That Will Find You
A4 Do I Make You Feel Shy ?
A5 Why Are You Crying ?

B1 It’s Your Body 1
B2 It’s Your Body 2
B3 It’s Your Body 3
B4 It’s Your Body 4
B5 It’s Your Body 5
B6 I Wanna Roll With You 

Celebrating 10th anniversary of both Connan Mockasin‘s debut album “Forever Dolphin Love” & career, Phantasy and Because Music release new editions of long time out of stock “Forever Dolphin Love” & “Caramel” (2nd album) Lps in exclusive Splatter 2021 Editions.

Welcome, folks, to the delightful, slanted and enchanted world of Connan Mockasin. The New Zealand born, current London resident Mockasin makes beautiful, off-kilter music which subverts as it compels, challenges as it mesmerists, startles as it seduces, even drawing fans as diverse as Johnny Marr and Radiohead to Ed Banger chief and ex-Daft Punk manager Pedro Winter into its wide-eyed, childlike exploration into the final frontiers of pop music. It is all too rare, in this current climate of manufactured pop acts, grey over produced 'alternative' guitar music and press-fuelled mania for the next-big-thing, to hear something truly striking and original, but a strong case can most certainly be made for Connan to be a true pop auteur, taking his rightful place in a proud lineage which includes past mavericks such as Joe Meek and Brian Wilson, right through to current cult heroes like Ariel Pink's, Sufjan Stevens and John Maus.

TRACK LISTING

A1 Megumi The Milkway Above
A2 It’s Choade My Dear
A3 Faking Jazz Together
A4 Quadropuss Island
A5 Forever Dolphin Love

B1 Muss
B2 Egon Hosford
B3 Unicorn In Uniform
B4 Grampa Moff
B5 Please Turn Me Into The Snat

This is the new 20th Anniversary edition of one of Soul Jazz Records’ classic Studio One releases, now available as a special one-off blue double vinyl pressing.

‘Studio One Roots’ set the standard for Soul Jazz Records’ long-standing series of Studio One collections and features many of the classic artists from Clement ‘Sir Coxsone’ Dodd’s mighty roster of reggae. This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis and Devon Russell alongside some of the defining crack session men groups of Jamaican reggae history, including The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. As ever the album is filled with a mixture of seminal cuts and superrarities from the vast vaults of 13 Brentford Road.

Stand-out tracks include Alton Ellis’ ‘Blackish White’, a surreal and powerful Afro-centric dream, Count Ossie Nyabinghi and Rastafarian drummers’ genre-defying interpretation of Booker T and The MGs ‘Meditation’, Willie Williams’ awe-inspiring versioning of the Skatalites seminal Rastafari anthem ‘Addis Ababa’ and many, many more.

This album has been fully digitally remastered, analogue cut and packaged complete with original sleevenotes by Lloyd Bradley (author of When Reggae Was King), compiled by Mark Ainley (Hones Jons), high-quality Soul Jazz mastering, fantastic images of Count Ossie and the Mystic Revelation of Rastafari on the cover and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner sleeves.

“The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection” - All Music

TRACK LISTING

The Cyclones With Count Ossie - Meditation
Cornell Campbell With The Brentford Rockers - Natty Don’t Go
Freddie McGregor With The Sound Dimension - Africa Here I Come
Bunnie & Skitter - Lumumbo
Willie Williams With The All Stars - Addis Ababa
L Crosdale With Drum Bago & The Rebel Group - Set Me Free
Leroy Wallace With The New Establishment - Far Beyond
Lennie Hibbert - More Creation
Alton Ellis With The Sound Dimension - Blackish White
Winston Jarrett With The Sound Dimension - Fear Not
Devon ‘Soul’ Russell - Drum Song
The Gaylads - Africa
Black Brothers With The New Establishment - School Children
Linton Cooper With The Brentford Disco Set - You’ll Get Your Pay
Sound Dimension - Congo Rock
Zoot Simms - African Challenge

Cinema Paradiso Recordings is proud to announce the release of the soundtrack to the motion picture 'The Parallax View', on vinyl for the first time ever, this coming April 30th 2021. Based on the book by Loren Singer, ‘The Parallax View’ is directed and produced by Alan J Pakula as the second instalment of his Political Paranoia trilogy - alongside Klute (1971) and All the President's Men (1976). With cinematography by Gordon Willis (The Godfather trilogy, Annie Hall) and starring Warren Beatty, this political thriller from 1974 is perhaps even more relevant today than it was back then.

The legendary score by composer Michael Small is regarded as a benchmark in the sound of paranoia thrillers that dominated cinema in the 1970s, with revered film critic Pauline Kael hailing the film as an essential for all fans of the genre. Now, 47 years later, the soundtrack will finally be available to own on vinyl.

The CPR edition of ‘The Parallax View’ soundtrack includes for the first time the infamous brainwashing scene, an influence on countless films and TV shows over the years. Notably, most recently with the Watchmen series and shows Mr Robot and Homecoming even using the music from the film. Whilst researching to gain approval for this usage we discovered from Jon Boorstin, (Assistant to Pakula on The Parallax View), that the unaccredited disembodied voice from the ‘Parallax Test’ scene belonged to director Pakula himself.

The single LP, deluxe gatefold limited edition in coloured vinyl comes with liner notes that include two essays by Scott Bettencourt and Alexander Kaplan (of Film Score Monthly), which provide a fascinating insight into the making of the film and an analysis of the score.

“The Parallax View embodies a particularly paranoid moment for America, when assassination wounds were still fresh and the President’s bungling burglars were running him out of the White House. Michael Small’s music beautifully captures our hope, our dread, and our nostalgia for truer values. In the Parallax Test sequence, he brilliantly seduces the assassin in all of us. Watching this today, wrapped in Michael's music, what was once wild fantasy feels at least as credible as the pronouncements of our Kool-Aid drinking Congressmen. “

TRACK LISTING

Side A
1. Commission & Main Title
2. The Morgue
3. Sheriff's House
4. Car Chase
5. Testing Center
6. Out To Sea
7. Slide Of Art Austin Sleeps

Side B
1. Parallax Test
2. Art In Cafeteria Suitcase Bomb
3. Gunmen Search
4. Joe's Final Run
5. End Title

Manu Dibango is probably the most famous musician from Cameroon and quite possibly one of the most internationally well-known African musicians ever. He is a most versatile musician, having played and recorded almost every style of music you care to mention - soul, reggae, jazz, spirituals, blues, African, electro.

Dibango displays his virtuosity on vocals, saxophone, percussions, and keyboards in a set that attempts to pick up commercially where Soul Makossa ended. Most recording artists releasing albums in the late '70s included a disco tune, and Dibango is no exception; "Big Blow," a mighty slab of African funk, is his contribution to the style. A favorite is the instrumental "Dakar Street" which is African fusion-jazz at its finest, with its soundtrack-laced xylo jazz smoothness. The afrofunk, groove laden "Aloko Party", and the smooth progressive afro jazz of "Bayam Sell'am" have the same driving force that propelled "Soul Makossa" up the charts.. And the album finishes off with the Afrobeat grooves, punchy organ and layered guitars of the title track “Africadelic”. A true classic.”

TRACK LISTING

1.Big Blow
2.Dakar Streets
3.Aloko Party
4.Bayam Sell'am
5.Baobad Sun 7
6.Afrovision
7.Big Blow Extended Version

Metronomy’s career-changing album The English Riviera is turning ten years old.

To celebrate, the band are re-issuing their much-loved album with six previously unreleased bonus tracks available for fans to stream and buy on 30th April 2021 via Because Music. The reissue will be available on limited edition and numbered heavyweight 180g vinyl with etched fantascope on side D. To mark the announcement, the Joseph Mount-fronted indie pop collective today have shared previously unheard bonus track ‘Picking Up For You’, listen now.

Of the anniversary, Joe says “My first apartment in Paris had an almost comically perfect view of Montmartre and the Sacré-Cœur Basilica. In the shadow of the Sacré Coeur, with Barbès and the hill of Montmartre as a backdrop, I sat idly one day and wrote what would become one of Metronomy’s most popular songs.

I was tinkering around with one of Marion’s keyboards and after a short while came up with the bit that gets stuck in your head; the der-de-der-der bit. I played around with it a little, hit a wall and thought ‘it’s not really Metronomy, is it’. Four months later, we finished recording The Look at the Smokehouse in London. We quite liked it, but that was about it. Then I distinctly remember the journalist Dave Simpson asking me about the song after we performed it for the first time at the Leeds Cockpit in January 2011. That was probably the moment I realised it had something about it.

I still don’t know precisely what that something is, but when we perform The Look live and I hear thousands of people chanting the bit that gets stuck in your head back at me, der-de-der-der, it often brings a tear to my eye. It really is amazing what that seaside song and this whole album has done for Metronomy.”

A love letter to the stretch of coast a stone's throw from where Joe grew up, The English Riviera marked a breakout moment in the band’s history that would lead them to global success and see them constantly developing their sound for a decade to come. The band are currently working on what will be their seventh album, due for release next year.

Metronomy’s biggest album to date, The English Riviera was nominated for the Mercury Prize, is certified Gold in the UK and platinum in France, and upon release was met with wide scale critical acclaim: ranked as NME’s #2 album of the year (“a deep sea of ideas and imagination”), NYLON’s #2, Uncut’s #3, Mixmag’s #4, and #7 by The Guardian (“an assured, beguiling album”) among many other end of year lists. The English Riviera’s standout tracks ‘The Look’ and ‘The Bay’ remain Metronomy’s biggest and best recognised songs to date.

TRACK LISTING

The English Riviera
We Broke Free
Everything Goes My Way
The Look
She Wants
Trouble
The Bay
Loving Arm
Corinne
Some Written
Love Underlined
Aquarius (outtake)
Picking Up For You (outtake)
French Organ (outtake)
Friends (outtake)
The Ballad Of The 17 Year Old (outtake)
Jazz Odyssey (outtake)

Can was founded in 1968 by Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit who formed a group which would utilise and transcend all boundaries of ethnic, electronic experimental and modern classical music.

Damo Suzuki’s last album with Can as Vocalist. Only 4 tracks, but includes the astonishing 20 minute version of Bel Air and the 3 minute pop masterpiece Moonshake. This 1973 epic encapsulates everything great about Can then and now.

Can’s powerful influence has never diminished, and their indelible mark is apparent in the bands who freely acknowledge their importance - from Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West and Radiohead - as well as across other disciplines such as visual art and literature.

"Can are impossible to classify and it’s impossible to ignore their seismic influence on so many diverse musical paths" Richard Hawley.

"Can are the most revolutionary band ever" Stephen Morris (New Order).

TRACK LISTING

A1 Future Days
A2 Spray
A3 Moonshake
B1 Bel Air

Can was founded in 1968 by Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit who formed a group which would utilise and transcend all boundaries of ethnic, electronic experimental and modern classical music.

This classic album of tracks recorded at the beginning of Can’s life, and features original vocalist Malcolm Mooney.

Thief is now a rejuvenated Can classic having been covered by Radiohead and since then discovered by a new generation of fans.

Can’s powerful influence has never diminished, and their indelible mark is apparent in the bands who freely acknowledge their importance - from Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West and Radiohead - as well as across other disciplines such as visual art and literature.

"Can are impossible to classify and its impossible to ignore their seismic influence on so many diverse musical paths" Richard Hawley
"Can are the most revolutionary band ever" Stephen Morris (New Order)

TRACK LISTING

A1 Butterfly
A2 Pnoom
A3 Nineteen Century Man
A4 Thief
B1 Man Named Joe
B2 Uphill
B3 Little Star Of Bethlehem

Reissue on vinyl of the sixth PJ Harvey studio album Uh Huh Her. The album was self-produced and originally released in May 2004. Uh Huh Her features the singles ‘The Letter’, ‘You Came Through’ and ‘Shame’. Reissue is faithful to the original recording and package, with cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

TRACK LISTING

Side One
The Life And Death Of Mr. Badmouth
Shame
Who The Fuck?
The Pocket Knife
The Letter

Side Two
The Slow Drug
No Child Of Mine
Cat On The Wall
You Come Through
It’s You
The End
The Desperate Kingdom Of Love
The Darker Days Of Me & Him

A 4/20 surprise release from stoner rock progenitors SLEEP. This 2x12" single collection features both of Sleep's iconic 12" singles - 2014's The Clarity and 2018's Leagues Beneath - packaged together for maximum monolithic potency.

Each 180g single has music on the A side and a new etching by artist Dave Kloc on the B side, plus all new artwork by Kloc on the gatefold LP jacket.

A must-have for Sleep fans everywhere.

‘Any Other City’ by Life Without Buildings, the only album recorded in their brief existence, will be repressed and available again from 23rd April 2021. Originally released on Tugboat Records (a Rough Trade affiliated label) in February 2001, ‘Any Other City’ has slowly become a widely admired cult album. Life Without Buildings formed in Glasgow in 1999, they existed for 3 years and then split in 2002, having released just one album and 3 double A –side singles, yet they’ve continued to build a strong underground following in the years since, which has culminated in copies of the original album on vinyl changing hands for exorbitant figures and numerous musicians citing it as a major influence and inspiration.

Frontwoman Sue Tomkins’ unique vocal delivery which is somewhere between talking and singing, a kind of narrative, combined with the often spiky, course backing that the rest of the band provide, tends to prove magnetic after a few listens. Life Without Buildings managed to be utterly unique in the sound they made and ultimately that’s what has made this album’s reputation grow over time to be deemed absorbing, timeless and utterly essential listening.

TRACK LISTING

1. PS Exclusive
2. Let’s Get Out
3. Juno
4. The Leanover
5. Young Offenders
6. Philip
7. Envoys
8. 14 Days
9. New Town
10. Sorrow

BBE Music present the latest in the acclaimed J Jazz Masterclass Series: Kohsuke Mine ‘First’, the debut album by one of the leading artists in the new wave of modern jazz that swept Japan in the late 60s and early 70s. ‘First’ epitomises the shifting sound of the Japanese modern jazz scene of the time, characterised by rich textures and tones, kinetic rhythms, punctuated by urgent, angular melody lines. Reissued for the first time since original 1970 release, Mine is joined by master keyboard player Masabumi Kikuchi on electric piano, and two American players - bassist Larry Ridley and drummer Lenny McBrowne - to deliver one of the strongest debuts in the J Jazz canon. ‘First’ announced the arrival of a serious talent, one who was to be a hugely influential figure in the Japanese jazz scene across the decade that followed and beyond. ‘First’ established an artist who built a reputation for standout albums spanning spiritual jazz, post-bop, modal and funk-fusion. All of that started here, on this exemplary album. ‘First’ is issued on CD, digital and vinyl. The vinyl edition is presented as a double album, cut at 45rpm by the Grammy-nominated Carvery, with full original reproduction artwork, including obi strip. Both CD and vinyl comes with a 4500 word sleeve note and interview with Kohsuke Mine by Tony Higgins, plus artist portraits by Shigeru Uchiyama. J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

TRACK LISTING

1. Morning Tide
2. Love Talken
3. Straight No Chaser
4. Mcphee
5. Little Abbi
6. Bar' L' Len

This is the story of two sisters who nurtured a dream for half a century and never let it die. Vicki and Ronni Gossett launched their musical career as teenagers in Whittier, California in 1966. They called themselves the Female Species. Members came and went; their base of operations moved to Las Vegas, back to LA, and over to Nashville. Along the way their sound transformed from garage rock to lounge to country pop, the only constant being an innate mastery of hooks and harmony.

These ladies had it. Along the way, they crossed paths with The Carpenters, Paul Revere & The Raiders, The Judds, and seemingly half of the industry’s power players, rebuffing all untoward advances, focused always on their craft. In the 1980s they became staff songwriters for music publishing companies in the hit-making business. Relentless pushing landed them a once in a lifetime audition before the court of RCA’s top executives — the kind of new talent showcase that almost never happens after 30.

Vicki and Ronni were by then in their 40s. Tale of My Lost Love is the whole story from beginning to end of two sisters who gave everything to their dream, yet never made a single record... until now. Sometimes great music just isn’t enough to break through — until it is. Numero Group is thrilled and proud, at long last, to introduce Female Species.

TRACK LISTING

A1. Bye Bye Bye
A2. Tale Of My Lost Love
A3. You Need Me
A4. Peace Of Mind
A5. Baby Buggy
A6. Stop And Think It Over
A7. I’m Gonna Make It
A8. Explain Why
A9. Tying The Leaves
B1. Coast To Coast
B2. There’s A Rainbow
B3. Sooner Or Later
B4. Here Comes The Night
B5. Till The Moon Don’t Shine
B6. In The Moonlight
B7. Someone Lock Me Up
B8. Chinchilla Hat

Factory Benelux presents a remastered CD edition of Circuses and Bread, the seventh studio album by Manchester ensemble The Durutti Column. Originally released by Factory Benelux and Factory in 1986, the original 9 tracks have now been expanded with 6 bonus pieces. Self-produced by Vini Reilly at Strawberry and Revolution studios, the album saw Durutti playing as a quartet, with Reilly on guitar, vocals and keyboards, Bruce Mitchell in drums and percussion, John Metcalfe (viola) and Tim Kellett (trumpet). ‘The music ends up being very simple,’ Vini told NME. ‘People can dismiss it as being very simplistic, easy listening or whatever.

It’s very honest, it’s very personal. People say it’s ambient, and it’s like Eno. I don’t like that, because the music’s made to be listened to, it’s not wallpaper.’ Of extended piece Blind Elevator Girl – Osaka, Vini adds: ‘The music really writes itself. For example, we’re in Osaka, in Japan, getting in this elevator. It’s very crowded with all these Japanese businessmen talking about distribution deals, and going on and on. On this lift was a beautiful Japanese girl, in an immaculate uniform. Each floor we arrived at, she’s starting talking Japanese, obviously saying what was on each floor. We went higher and higher, and finally we get to the top. And then, sort of walking out of the elevator, I suddenly realised she was blind... It got to me, this girl. It was incredible. So maybe a day later, I was thinking about that, and the whole tune came out. And every single piece of music is like that.’ Bonus tracks include Italian-only EP Greetings Three, scarce compilation track The Aftermath, and a previously unreleased working version of 1987 single Our Lady of the Angels produced by the late Stuart ‘Jammer’ James. Cover art retains the original design by 8vo. The remastered set is housed in 6 panel card digipack, with liner notes and rare band images. A double vintl version of FBN 154 will be issued in March 2021.

TRACK LISTING

1. For Pauline
2. Tomorrow
3. Dance II
4. For Hilary
5. Street Fight
6. Royal Infirmary
7. Black Horses
8. Dance I
9. Blind Elevator Girl - Osaka
10. All That Love And Maths Can Do
11. Florence Sunset
12. San Giovanni Dawn
13. For Friends In Italy
14. The Aftermath
15. Our Lady Of The Angels (Stu ‘Jammer’ James Mix)

To celebrate the 30th Anniversary of BMX Bandits seminal sophomore LP, Star Wars, Past Night From Glasgow will release the remastered album on vinyl to coincide with May 4th (Star Wars Day).

Featuring the classic Bandits line up: Stuart, McAlinden, Blake, Kelly, Keen and MacDonald the album is jam packed full of chiming guitars and catchy choruses, not to mention the odd spectacular ballad.

The sleeve has been updated (new wallpaper no less) and now features a die cut photo frame with an inner printed horse, how's that for classy updates?

TRACK LISTING

1. Come Clean
2. Think Tank
3. Smile For Me
4. Green Grow
5. Retitled
6. Life Goes On
7. Disguise
8. Students Of Life
9. Extraordinary
10. Do You Really Love Me?
11. The Sailor's Song
12. Star Wars

Pink Floyd Live At Knebworth 1990 for the first time on CD, double vinyl and digital platforms. This headline show was part of the star-studded 1990 Silver Clef Winners performance at Knebworth House, Hertfordshire that saw Pink Floyd topping the all-star bill that included Paul McCartney, Dire Straits, Genesis, Phil Collins, Mark Knopfler, Robert Plant (with Jimmy Page), Cliff Richard, Eric Clapton and Tears For Fears. Around 120,000 music fans saw these giants of rock appear on the hallowed stage of Knebworth, all in aid of the Nordoff Robbins charity, profits from which went towards setting up the BRIT School. The concert was broadcast globally on MTV.

This stunning live concert features many of the bands best known songs including Comfortably Numb, The Great Gig In The Sky, and Wish You Were Here. Alongside David Gilmour, Nick Mason and Richard Wright, the album also features original The Great Gig In The Sky vocalist Clare Torry, plus guest musicians including sax player Candy Dulfer and keyboard player and composer Michael Kamen.

David Gilmour and Andy Jackson have remixed the audio from this iconic concert featuring all seven tracks performed on the day, and the album features new artwork shot by Floyd collaborator Aubrey ‘Po’ Powell of Hipgnosis and designed by Peter Curzon of Storm Studios. The concert, previously unreleased until it appeared on 2019’s Later Years box set, is now available as CD or double Vinyl set for the first time as a stand-alone album.

TRACK LISTING

Side A

1 Shine On You Crazy Diamond, Parts 1-5
2 The Great Gig In The Sky

Side B

1 Wish You Were Here
2 Sorrow

Side C

1 Money

Side D

1 Comfortably Numb
2 Run Like Hell

The Selecter were one of the key bands of the ska revival in the late 70’s and one of the few racially and sexually integrated bands on the scene. Vocalist Pauline Black wrote about sexism, racism, and social issues. Their debut release was the AA side of The Specials single ‘Gangsters’ in the summer of 1979, which only consisted of Neol Davies and John Bradbury (of The Specials) before quickly forming a full band by the end of the year. Releasing their follow up single ‘On My Radio’ which reached No. 6 in the UK charts. Their debut album ‘Too Much Pressure’ was released in February 1980 and reached No. 5 in the UK charts. The album also included two further hit singles ‘Three Minute Hero’ and ‘Missing Words’.

TRACK LISTING

Vinyl Tracklisting:
Side A
1. Three Minute Hero
2. Everyday
3. They Make Me Mad
4. Missing Words
5. Danger
6. Street Feeling
7. My Collie (Not A Dog)

Side B
1. Too Much Pressure
2. Murder
3. Out On The Streets
4. Carry Go Bring Come
5. Black And Blue 
6. James Bond

Bonus 7"
Side A
1. On My Radio
Side B
1. Too Much Pressure

Deluxe CD Tracklisting:
Disc 1
1. Three Minute Hero
2. Everyday
3. They Make Me Mad
4. Missing Words
5. Danger
6. Street Feeling
7. My Collie (Not A Dog)
8. Too Much Pressure
9. Murder
10. Out On The Streets
11. Carry Go Bring Come
12. Black And Blue
13. James Bond

Disc 2
1. The Selecter
2. On My Radio
3. Too Much Pressure (Version)
4. Street Feeling (Outtake)
5. They Make Me Mad (John Peel Session 22/10/79)
6. Carry Go Bring Come (John Peel Session 22/10/79)
7. Danger (John Peel Session 22/10/79)
8. Street Feeling (John Peel Session 22/10/79)
9. Three Minute Hero (Alt Version)
10. Missing Words (Single Version)
11. Carry Go Bring Come (Live At Tiffany's / B Side)
12. A Live Injection / Mony Mony / Too Much Pressure (Soundcheck)
13. The Whisper
14. Train To Skaville
15. Cool Blue Lady (Outtake)
16. Train To Skaville (Extended Version)
17. On My Radio (Ready Mix Radio)

Disc 3
1. Murder (Live At Tiffany's, Coventry 29/11/79)
2. Out On The Streets (Live At Tiffany's, Coventry 29/11/79)
3. James Bond (Live At Tiffany's, Coventry 29/11/79)
4. Sweet Collie (Live At Tiffany's, Coventry 29/11/79)
5. Street Feeling (Live At Tiffany's, Coventry 29/11/79)
6. Everyday (Live At Tiffany's, Coventry 29/11/79)
7. The Selecter (Live At Tiffany's, Coventry 29/11/79)
8. Danger (Live At Tiffany's, Coventry 29/11/79)
9. They Make Me Mad (Live At Tiffany's, Coventry 29/11/79)
10. Carry Go Bring Come (Live At Tiffany's, Coventry 29/11/79)
11. On My Radio (Live At Tiffany's, Coventry 29/11/79)
12. Too Much Pressure (Live At Tiffany's, Coventry 29/11/79)
13. Three Minute Hero (Live In Hemel Hempstead 28/2/80)
14. Black And Blue (Live In Hemel Hempstead 28/2/80)
15. Missing Words (Live In Hemel Hempstead 28/2/80)
16. Train To Skaville (Live In Hemel Hempstead 28/2/80)

Cinematic synth album ‘The Sleepers’ re-awakens on vinyl for 2021, with an all-new master and a freshly recorded bonus track of the same name that wasn’t on the previous sold out cassette release/s. The new edition, once again on Spun Out Of Control and this time pressed on aquamarine vinyl, mixes upbeat synth bangers with hauntological drones and emotionally atmospheric instrumentals.

Electronic Sound magazine says of Hattie Cooke’s ‘The Sleepers’: ‘An enjoyably dark and woozy musical journey, perfect for a case Mulder and Scully would relish…’

The cover artwork for this first-ever vinyl issue has been re-imagined by original artist Eric Adrian Lee. Initially mastered by Nicholas Langley, the new 2021 vinyl master is by Antony Ryan.


The story behind ‘The Sleepers’, written by Hattie Cooke:

People everywhere are falling asleep and not waking up, but nobody knows why. As the scientific community struggles to find a cure, a violent, new cult known as ‘the sect’ emerges with a mission: to sacrifice the sleepers and achieve absolution. One morning, Maude awakes to find her sleeping son taken by the sect in the night. Searching for answers, she infiltrates the sect posing as a new convert. But she soon finds herself facing unexpected problems when she begins to fall for a fellow member who seems different from the rest. Will Maude find the answers she’s looking for?

TRACK LISTING

1.LIES 03:42
2.EVACUATION 03:49
3.RUN 02:47
4.RED SILK 02:56
5.CHAMBER 02:35
6.SAFE ARMS 01:51
7.LADDERS 05:10
8.RIOT 02:02
9.EMERGING 02:13
10.SOMETHING'S WATCHING YOU 02:58
11.SURVIVAL 02:29
12.MAIN THEME 03:16
13.THE SLEEPERS (new Bonus Track) 04:11

Freddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. 'Piñata', a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer. Piñata is “a gangster Blaxploitation film on wax,” says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), 'Madvillainy' (MF Doom) and the street-centric 'OJ Simpson' with Detroit’s Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer. On 'Piñata', where Gibbs can shift from textbook lessons in robbing and drugging on trackslike “Scarface” and “Knicks,” to perhaps the album’s most personal song, “Broken,” a collaboration with Scarface, who, along with Tupac, DMX and 50 Cent, make up the rapper’s own Mount Rushmore of MCs (“You’re getting a hurricane of all those motherfuckers hitting you at once when you listen to Freddie Gibbs,” he says). “Deeper,” a Gibbs favorite and the third single from the album after “Thuggin’” (2012) and “Shame,” (2013) is an ode to hip-hop in the mold of Common’s “I Used to Love HER”; “High,” featuring Danny Brown, is self-explanatory and just what you would expect from Gibbs, Madlib and one of Detroit’s finest; while on “Real,” Gibbs addresses an old score just as Michael Corleone settled all family business on baptism day. As a producer, Madlib, quite simply, is music. And ten years into his career - a time when other artists become comfortable - Gibbs remains restless, focused, with an eye on the competition and their position relative to his ascent. This is because mentally, he’s still on the corner hustling, which would be the downfall of the average rapper. With 'Piñata', Gibbs confirms that he is anything but average.

TRACK LISTING

SIDE A
1. Supplier
2. Scarface
3. Deeper
4. High Ft. Danny Brown
5. Harold’s

SIDE B
6. Bomb Ft. Raekwon
7. Shitsville
8. Thuggin’
9. Real
10. Uno

SIDE C
11. Robes Ft. Domo Genesis & Earl Sweatshirt
12. Broken Ft. Scarface
13. Lakers Ft. Ab-Soul & Polyester The Saint

SIDE D
14. Knicks
15. Shame Ft. BJ The Chicago Kid
16. Watts Ft. Big Time Watts
17. Piñata Ft. Domo Genesis, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko, & Mac Miller

Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

Plastic Ono Band was the debut solo album by John Lennon. Released on December 11th 1970, John and Yoko had started writing and demoing at Abbey Road (EMI Studios) in the summer, with recording sessions during September/October

After the break-up of The Beatles that year, John and Yoko embarked on a period of self-reflection and experimentation, with the results that the songs and sessions for Plastic Ono Band were heavily influenced by his immersion in Arthur Janov’s primal therapy. John was able to find emotional depth and honesty within himself that few artists had ever done before, with John saying to Rolling Stone “now I write all about me and that’s why I like it. It’s me.” . The result is perhaps the most honest and emotionally raw album that anyone has ever released, let alone someone who was one of the four most famous musicians on the planet. With a small core band comprised of just Ringo Starr on drums and old friend Klaus Voorman on bass, co-produced by Phil Spector, the album peaked at 8 in the UK charts and 6 in the USA. It has come to be regarded by many as John’s finest solo work and has continued to grow in stature and reverence and has often featured in various Best Of lists through the years since. 

Released on the same day was Yoko Ono’s Plastic Ono Band album, the couple regarding the release as a pair of albums rather than two entirely separate projects, albeit of course it not achieving the same sort of coverage or chart success as John’s.

Coming as this does hot on the heels of last year’s much loved and well-reviewed “Gimme Some Truth” set and “Imagine” before that, the audio has been completely remixed from the original studio tapes as part of the ongoing John Lennon Ultimate Mix series. The aim for this mix process is to achieve three things: to remain faithful and respectful to the original recordings; to ensure that the sound is sonically clearer overall and to increase the clarity of John’s vocals. As Yoko says, “it’s about John” and this new mix shows that it is his voice that brings the biggest emotional impact of the album.

TRACK LISTING

2LP
Side A: The Ultimate Mixes Album And Singles
Mother
Hold On
I Found Out
Working Class Hero
Isolation

Side B: The Ultimate Mixes Album And Singles
Remember
Love
Well Well Well
Look At Me
God
My Mummy’s Dead

Side C: The Ultimate Mixes/Out-takes Album And Singles
Mother / Take 61
Hold On / Take 2
I Found Out / Take 1
Working Class Hero / Take 1
Isolation / Take 23

Side D: The Ultimate Mixes/Out-takes Album And Singles
Remember / Rehearsal 1
Love / Take 8
Well Well Well / Take 2
Look At Me / Take 2
God / Take 27
My Mummy’s Dead / Take 2

This mini-album is Craven Faults’s second vinyl release on The Leaf Label.
Thirty-seven minutes of music over three epic tracks - longform analogue electronic journeys across the north of England.

Enclosures follows Craven Faults’ debut album Erratics & Unconformities. These 37 minutes of music are the start of the next journey. New terrain and more refined methods of travel. Dark clouds gathering.

We’re out of the blocks quickly. German engineering carries us swiftly across the moors on a Saturday night rendezvous. Two almost identical mushroom shaped rocks are the destination. There’s evidence of previous rituals carried out. Two hours due north we go in search of the power source. Cascading. An experiment in performance over a fixed point. Tape loops recorded in 1967 at The Philadelphia College of Art. Woodwind purchased from a charity shop in Yeadon. The concept of work was forgotten. We’re back on the millstone grit of the Mid Craven Fault for an exercise in simplification. Familiar territory. Sometimes the theory isn’t all it’s cracked up to be, and there’s still power in hammering a single note over two chords – a lesson learnt from the American South in the late 40s and early 50s and boiled down in the late 60s. Olympic Sound Studios, April 1967. The Hit Factory, April 1969.

On Erratics & Unconformities, Craven Faults often found a calm inner space in the vistas. Here the tensions of the early EPs return, with a focus on how human ‘progress’ has impacted and shaped the landscape. How the land was divided now shapes our present and future, and retracing that journey is particularly pertinent.

TRACK LISTING

X1. Doubler Stones (10.20)
X2. Hard Level Force (8.42)
O. Weets Gate (17.16)

Afrosound's mission was to emulate the guitar-heavy tropical sounds emanating from Peru and Ecuador at the time. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called 'inspiraciones'), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were also sprinkled in to spice up the proceedings.

The dozen tracks on Afrosound's debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later. This lovingly restored reissue features the artwork for the Peruvian edition, which was licensed and issued by Lima's El Virrey label in 1974. 

Dead-eyed post-punk from Olympia’s reigning noise-niks. Repetition rejects the major label signing spree of the mid-’90s entirely, training its hulking focus on haircut hardcore, white belt Jiujitsu, and frenzied feedback. The soundtrack to a fantasy Halloween candy heist, now on vinyl for the first time since 1996.

TRACK LISTING

A1 Message Received
A2 Corpse Pose
A3 Unauthorized Autobiography
A4 Lowest Common Denominator
A5 Sensible
A6 Lady Elect
B2 Murder Movies
B3 Next Exit
B4 Devoid
B5 Go To Dallas And Take A Left
B6 For Your Entertainment 

Back by popular demand, Memorials of Distinction is rereleasing Porridge Radio's shed-recorded debut album.

This comes after a year in which Porridge Radio's Every Bad, their first on Secretly Canadian, led to top reviews in Pitchfork, The Guardian, NME, The Times, The Quietus, Clash, Uncut, Q, The Independent, LOBF, DIY, Stereogum, Paste, Vice, amongst others, and then being shortlisted as one of the Hyundai Mercury Prize's 12 Albums of 2020.

Porridge Radio started as Dana Margolin’s bedroom project, but grew to a Brighton-based band who, on this debut, inelegantly knotted together tender melodic pop songs with vicious and furious emotional outpour. After a series of home-recorded solo demos and the growing legend of their live shows on the UK DIY scene, they originally released this lofi debut full band LP in 2016. The album documents struggles with life, love and boredom - spelt out with sticky fingers by five idiot savants. RP&OF's lyrics, title and artwork, as well as the group's name, brings to mind a certain scrapbook absurdism at the core of Porridge Radio's earlier work. Faced with the dark abyss of existence, Margolin and co. scrape together some value from the nonsensical and the pointless, and then cling to it, giggling, for dear life

TRACK LISTING

A1 Danish Pastry Lyrics
A2 Lemonade
A3 Barks Like A Dog
A4 Walking The Cow (Daniel Johnston Cover)
A5 Can U Hear Me Now?
B1 Sorry
B2 Worms
B3 And I Was Like
B4 Eugh
B5 Our Love Is Shrinking Down

"Tomate Y Alandette" by La Pesada is one of the best tropical records released by Codiscos. Issued in 1978, the album is a "one off" by an all-star ensemble of musicians and singers, many of whom had played with Fruko y sus Tesos, Los Hermanos Martelo and other Colombian orchestras. The album showcases a diverse and eclectic range of stylistic modes and genres. There is cumbia, salsa, bolero, son montuno, descarga and even calypso. The arrangements and instrumentation range from flute and violin charanga in a "tropico" Cuban mode (augmented by a trombone section) to Colombian percussion-heavy cumbia. 

Vinyl reissue of Future Sound of London’s seminal album, "Dead Cities". Marking 25 years since its original release this cult album is pressed on vinyl for the first time since its 1996 release.

“Herd Killing” and “We Have Explosive (Herd Killing mix)” both feature several samples from the Run DMC album Tougher Than Leather. Title track “Dead Cities” contains a vocal sample at the beginning of Laurence Fishburne from the film Deep Cover. Single “My Kingdom” features a vocal sample of “Rachael’s Song” (aka “Rachel’s Song”) by Vangelis, from the Blade Runner soundtrack .

The album charted in the UK top 40 with “My Kingdom” & “We Have Explosive” both entering the UK singles chart in the top 15.

A deadly mix of warped breakbeats, cinematic moods and adrenelin-triggering sfx and synthesis; it's world's apart from the acid house revellry of "Papua New Guinea" and a much more challenging, if rewarding and immersive experience...

TRACK LISTING

Side A
Herd Killing
Dead Cities
Her Face Forms In Summertime
We Have Explosive

Side B
Everyone In The World Is Doing Something Without Me
My Kingdom
Max
Antique Toy

Side C
Quagmire/In A State Of Permanent Abyss
Glass

Side D
Yage
Vit Drowning/Through Your Gills I Breathe
First Death In The Family

Goldie's critically acclaimed drum & bass opus from 1995, remastered and expanded with rareties and new remixes!

25 years old, this complex debut album founded a new chapter in the history of the electronic genre originally reaching no. 7 in the charts and has since been celebrated for its unique blend of sublime strings, beautiful atmospheres and sophisticated vocals. Inarguably an ambitious blueprint at the time; Goldie’s production fashioned the edgy rhythms and bass of jungle into a newly futuristic model, now globally admired as drum & bass.

Thsi special edition feature rarities and remixes unearthed from Goldie’s personal archive. Remastered with Goldie overseeing the process himself. 

TRACK LISTING

Disc 1

A Side:
1-1a Inner City Life
1-1b Pressure
1-1c Jah

B Side:
B1 Saint Angel
B2 State Of Mind
B3 This Is A Bad



Disc 2

C Side:
C1 Sea Of Tears
C2 Jah The Seventh Seal
D Side:
D1 A Sense Of Rage (Sensual V.I.P. Mix)
D2 Still Life
D3 Angel


Disc 3

E Side:
E1 Adrift
E2 Kemistry
E3 You & Me
F Side:
F1 Sensual
F2 Kemistry

Brand new liner notes with French/English lyrics, insightful and telling interview with Jane B on the Jane/Serge record, as well as original renderings of the images that made the couple so notorious
Without a doubt, Serge Gainsbourg is agent provacateur and Gallic soul brother #1. His sensual work is championed by all in the know and still resonates quite frankly in these sexually exaggerated times. Building on the North American re-introduction to the maestro’s work with 1971’s masterpiece concept album Histoire de Melody Nelson, Light In The Attic Records is thrilled to announce their follow-up Gainsbourg reissue. 1969’s Jane Brikin/Serge Gainsbourg (often referred to as Je t’aime… Moi, Non Plus).

Recorded as a series of duets and solo performances, with lover, actress, and model Birkin, the pair’s chemistry-enhanced collaboration was thrust about the record-buying public to much shock and horror, but indeed found global success. The disc quickly shot its cigarette brandishing author and fresh-faced vocalist into the international spotlight; and although the lead-off single “Je T’aime” and it’s seductive purrs reached top slot in the UK charts, no one other than the Pope branded the tune offensive and blasphemous. Ever the conversationalist, Gainsbourg wittily replied, “we couldn’t have gotten a better PR man!” Indeed Serge, indeed.

TRACK LISTING

Je T'Aime... Moi, Non Plus
L'Anamour
Orang Outan
Sous Le Soleil Exactement
18 - 39
69 Ann
Jane B
Elisa
Le Canari Est Sur Le Balcon
Les Sucettes, Manon,

The first vinyl pressing since 1983 on double blue vinyl with new liner notes. Ripe for rediscovery the sought-after and much acclaimed debut album from seminal Birmingham post punk revolutionaries The Nightingales. This newly expanded ‘Pigs On Purpose’ is remastered by Stuart Moxham with the addition of early demos and non-album singles from this period. The reissue coincides with new ‘King Rocker’ documentary celebrating the life of lead singer Robert Lloyd – a film by Michael Cumming (Brass Eye, Toast Of London), comedian Stewart Lee and James Nicholls (Fire Films, Fire Records).

An early punk classic, The Nightingales' debut was a strange transmission released as the musical landscape was changing. They were the last important band with roots in the first blossoming of punk and became a major influence upon the explosion of mid-80s indie labels and associated bands.

“A perfect example of out-of-sync genius” AllMusic

“Robert Lloyd's deadpan, elegantly hilarious lyrics make Sistine Chapel shapes of mundane provincial minutiae.” The Times

“When it comes to outsider artists, Robert Lloyd is the living embodiment of the term.” Record Collector

TRACK LISTING

SIDE 1

1 Blood For Dirt
2 Start From Scratch
3 One Mistake
4 Well Done Underdog
5 The Crunch
6 The Hedonists Sigh
7 It Lives Again

SIDE 2

8 Make Good
9 Don't Blink
10 Joking Apart
11 Yeah, It's Okay
12 Use Your Loaf
13 Blisters

SIDE 3

14 Bristol Road Leads To Dachau (demo)
15 Hark My Love (demo)
16 Nowhere To Return (demo)
17 Blisters (demo)
18 Idiot Strength
19 Seconds

SIDE 4

20 The Crunch (demo)
21 The Hedonists Sigh (demo)
22 Inside Out
23 Under The Lash
24 Paraffin Brain
25 Elvis, The Last Ten Days

Bonus Tracks On DL Only

1 My Brilliant Career (live)
2 Which Hi-Fi? (live)
3 Paraffin Brain (live)
4 Use Your Loaf (live)

“I Pity the Country,” is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. “It’s like the reason you’re supposed to make music,” said Kurt Vile about the song to MOJO Magazine in 2015.

How did you first experience the poetry, music, and film of Willie Dunn?

In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent’s record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in ‘73? On a good friend’s stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie’s celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA’s Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands?
There should be no judgment for coming to things when you do. All that’s important is remaining open to life-changing messages such as these…

With “Charlie,” Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn’s film technique, featured in 1968’s The Ballad of Crowfoot (NFB), predates the “Ken Burns effect” to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players.

“He was our Leonard Cohen,” said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten… PEACE

TRACK LISTING

The Ballad Of Crowfoot
Peruvian Dream (Part 1)
Charlie
Broker
I Pity The Country
Crazy Horse
Louis Riel
School Days
The Carver
O Canada!
Down By The Stream (Starlight Maiden)
Rattling Along The Freight Train (To The Spirit Land)
Pontiac
The Pacific
Nova Scotia
The Dreamer
Sonnet 33 And 55 / Friendship Dance
Wounded Lake
Métis Red River Song
Son Of The Sun
The Lovenant Chain
Bear And Fish

In 1981, Piper grooved onto the City Pop scene with their album debut "I’m Not In Love", cementing their smooth blend of soft rock and soulful funk that became a staple of the albums that followed and instantly acquiring a devoted fanbase that still exists today.

The blueprint for what was to come is evident here in the aural form: cocktails by the pool & cool ’80s shades, mixed with a disco dancefloor sensibility that is just so infectious it can only be Piper.

Now in 2021, Ship to Shore is proud to announce that I’m Not In Love will now be available on vinyl for the first time in 40 years in this limited edition pressing!

TRACK LISTING

I’m Not In Love
Lavender Trips
Far Away
Funny Face
Love Song
Dance
Zenny
I Love You
Lovely Night
Kugatsu No Sora
Tobenai Tori
Fuyu No Okurinomo

A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre. Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a “creative, progressive, and healthy arts environment”, building the foundations for a fascinating career journey ahead.

Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his selftitled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to “manifest the African heritage presence in the American continent.”

TRACK LISTING

Prelude “Welcome”
Afra Jum
Rumba Morena
Five A.M.
Samba De Amor
Cultural Warrior 
Epilogue - Conga “Hasta La Vista”

Part two of this incredible Francisco Mora Catlett piece sees wife Teresa Mora on vocals and trumpet legend Marcus Belgrave. “Mora I & II” are holy grails of Latin jazz, masterminded by an unsung hero of the genre. Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a ‘creative, progressive, and healthy arts environment’, building the foundations for a fascinating career journey ahead.

Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his selftitled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to ‘manifest the African heritage presence in the American continent.’

TRACK LISTING

Afra Jum
Amazona
Amazona Prelude
Dawn
Samba Conga Do Amor
Por Que Paro 
Afra Jum 
Old Man Joe 
El Morro

Guided By Voices’ long out-of-print ninth studio album repressed on vinyl - originally released in 1996 as the follow up to the breakthrough Alien Lanes, Under The Bushes Under The Stars further cemented GBV as one of rock music’s most lauded contributors

TRACK LISTING

Man Called Aerodynamics
Rhine Jive Click
Cut-Out Witch
Burning Flag Birthday Suit
The Official Ironmen Rally Song
To Remake The Young Flyer
No Sky
Bright Paper Werewolves
Lord Of Overstock
Your Name Is Wild
Ghosts Of A Different Dream
Acorns & Orioles
Look At Them
The Perfect Life
Underwater Explosions
Atom Eyes
Don't Stop Now
Office Of Hearts
Big Boring Wedding
It's Like Soul Man
Drag Days
Sheetkickers
Redmen And Their Wives
Take To The Sky

‘The Time Has Come’ is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favorite record of all time.’ Ryley Walker. 

"I've never written songs, regularly, because I never considered myself a song-writer. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music.” Anne Briggs //

Offering some of her first original compositions, ‘The Time Has Come’ was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki. The result is that her vocals are not submerged, but heightened - the plucked strings providing the perfect foil for her crystalline inflection. ‘The Time Has Come’ is a mix of Anne’s own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne’s playing, with sounds ranging from the breezy ‘Clea Caught A Rabbit’ to the terrible beauty of ‘Wishing Well’ - each song typifying the bouzouki or guitar style. To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.

TRACK LISTING

1 Sandman's Song
2 Highlodge Hare
3 Fire And Wine
4 Step Right Up
5 Ride, Ride
6 The Time Has Come
7 Clea Caught A Rabbit
8 Tangled Man
9 Wishing Well
10 Standing On The Shore
11 Tidewave
12 Everytime
13 Fine Horseman 

“My dad loved people. He was an activist for Black people, but also an activist for human rights. I don’t care what color you are, my dad was kind to you. He wanted the word ‘love’ out there: the self-love message, the world-love message. Anything good he knew, he wanted to let everyone know about it.” – Keesha Frierson Followers of our output might have a pang of recognition on reading the name, Frierson. That was the surname of Wendy Rene, whose work was collected into the 2012 LITA anthology After Laughter Comes Tears, and indeed, Johnnie Frierson is Wendy’s brother – a fellow member of her mid-’60s Stax four-piece The Drapels.

But Have You Been Good To Yourself will come as a surprise to anyone expecting more of the beat-driven R&B Johnnie and his sibling produced – including that compilation’s much-sampled title track. A mix of spoken word and gospel songs laid down direct to cassette, these ultra-rare home recordings draw from Johnnie’s religious upbringing and his history in the music business, which was interrupted in 1970 when he was sent to fight in Vietnam. Cratedigger Jameson Sweiger found Have You Been Good To Yourself and a companion album, Real Education, released under the name Khafele Ojore Ajanaku in a Memphis thrift store, but it was noticeably Frierson’s work. They hadn’t made it far – they would originally have been sold at corner stores and music festivals in the Memphis area, where Frierson continued to perform and host a gospel radio show, all the while working as a mechanic, laborer and teacher. The seven songs on Have You Been Good To Yourself are overtly religious; some, such as “Out Here On Your Word,” are strident and faithful; others, like the self-questioning “Have You Been Good To Yourself,” are more meditative. They reflect the difficult situation that Frierson was in when recording, shell-shocked from his time in the military and grieving the untimely death of his son. “He was really trying to find his way,” remembers Frierson’s daughter Keesha in Andria Lisle’s liner notes. “And writing and making music were a way out for him.” Remastered and released professionally for the first time, the message spread by Frierson– who passed away in 2010 – remains undimmed.

TRACK LISTING

1. Have You Been Good To Yourself
2. Heavenly Father, You've Been Good
3. Miracles
4. Out Here On Your Word
5. You Were Sent To This World
6. Woke Up This Morning
7. Trust In The Lord

The first Tunng album!

Originally released in 2005 on the magnificent Static Caravan (VAN88V), this is the first time this beloved album has been available on vinyl since 2006. Lovingly restored from the original masters, re-cut in December 2020.

Back in 2003, Sam Genders and Mike Lindsay were introduced by a mutual friend at a gig Sam was playing. Mike had a strange studio underneath a woman’s clothes shop in Soho at the time, and after some discussion, Sam asked if he could record an EP there.

Mike agreed, and after a while played Sam some ideas he’d been working on, fusing his vision of electronica and acoustic paganistic folk music. He then asked Sam if he’d sing on one, and then another one…and then another one. The pair began to write songs together from this point, and became totally immersed in this new album project, which would later come to be known as Mother’s Daughter and Other Songs.

Inspiration for the name “tunng” came from electronic artists Mike was into at the time – Mum, Isan, Benge. From here, the pair sent CD-Rs to labels, and Static Caravan got back immediately, signing on a handshake deal. “Tale From Black” was released on 7” in 2004 and became a favourite of John Peel’s. The album itself came out in Jan 2005 and it was from here that Tunng was made complete. Made up of friends the pair had made in London, Tunng now included Phil Winter (electronics), Ashley Bates (nylon string guitar), Becky Jacobs (vocals / melodica) and Martin Smith (sea shells, bear’s toenails, clarinet, keys). Seventeen years, a few mini world tours, a million festivals and 7 albums later the band are still making music together.

STAFF COMMENTS

says: Well well, this long awaited gem is finally here and it honestly sounds as good as the day it came out. One of the forefathers of the 'Folktronica' movement and consistently excellent to this day, this is an absolutely essential addition to any collection. It's a definite yes from me.

TRACK LISTING

1. Mother’s Daughter
2. People Folk
3. Out The Window With The Window
4. Beautiful And Light
5. Tale From Black
6. Song Of The Sea
7. Kinky Vans
8. Fair Doreen
9. Code Breaker
10. Surprise Me 44

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25th anniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I traveled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I was fascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization, shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

TRACK LISTING

Side A
1. From The Air
2. Big Science
3. Sweaters
4. Walking And Falling
5. Born, Never Asked

Side B
1. O Superman (for Massenet)
2. Example #22
3. Let X=X/It Tango

35th anniversary reissue of legendary Canadian/American singer, composer and transgender activist Beverly Glenn-Copeland’s beloved seminal work.

An ahead-of-it’s-time synth exploration which somehow combines the essence of new-age minimalism, early Detroit techno and the warmth of traditional songwriting.

His third album, Keyboard Fantasies was originally self-released on cassette in 1986. Initially over-looked by mainstream media, it caught the ear of a Japanese collector who contacted the artist in 2015 and asked for copies to sell. These sold out instantly and led to more copies being distributed… and multiple offers from record labels.

Features stunning alternative cover artwork + liner notes by Robyn.

Only the second time the album has been repressed (and previous repress was very limited), LP edition is housed in a gatefold sleeve with spot gloss to the cover, with printed inner sleeve, 180g black vinyl + download code.

First time the album has been available on CD. This format is a digi-sleeve with spot gloss to the cover + 8-page booklet.

TRACK LISTING

1. Ever New
2. Winter Astral
3. Let Us Dance
4. Slow Dance
5. Old Melody
6. Sunset Village

Soul Jazz Records reissue the 1976 debut album from the legendary Steve Reid in a new translucent red coloured vinyl edition, with digital download code included.

“A truly phenomenal artist.” - Gilles Peterson

“Steve Reid is one of the greatest drummers. He is a musical genius.” - Kieran Hebden (Four Tet)

As a radical jazz artist, Steve Reid played with an extraordinary group of artists, including Miles Davis, Sun Ra, Fela Kuti, James Brown, Ornette Coleman, Lester Bowie, Freddie Hubbard, Jackie McLean, Dionne Warwick, Archie Shepp, Chief Bey, Olatunji, Arthur Blythe, Dextor Gordon, Gary Bartz, Dee Dee Bridgewater, Sam Rivers, Leon Thomas, Lonnie Smith and Horace Silver.

Reid was born in the South Bronx and grew up in Queens, New York. He played in the house band at Harlem’s Apollo Theatre, accompanying James Brown, as well as playing in Sun Ra’s Arkestra. He lived next to John Coltrane, worked in a department store with Ornette Coleman and had a son who played drums with NWA. He began his career as a teenager in the 1960s as a drummer at Motown when he played on Martha and The Vandellas’ ‘Heatwave’ (aged 14).

At the end of the 1960s Reid was sentenced to four years in jail as a conscientious objector of the Vietnam war. On his release from prison in 1974 he formed the Legendary Master Brotherhood and started the independent record label, Mustevic Sound, to release his debut LP ‘Nova’ in 1976. This album is released in its entirety and with full original cover art here. ‘Nova’ was the first in a series of stunning independent records he released in the 1970s.

At the start of the 21st Century, Steve Reid began a successful collaboration with Kieran Hebden (Four Tet), who Reid referred to as his “musical soul mate,” resulting in a number of joint albums.

Steve Reid died in New York in 2010. Subsequently, the Steve Reid Foundation was set up in his name, to help aspiring musicians and artists.

TRACK LISTING

Nova
Lions Of Juda
Free Spirits - Unknown
Long Time Black
Sixth House

Double album that includes;
45rpm bonus disc with the singles and B sides
Gloss laminated gatefold sleeve
printed inner sleeves, containing lyrics, photos and interview by The Mouth Magazine
“Pleasure Bag” containing 4 postcards, 2 stickers, A stencil, Repro Tour Poster, Repro promo posters for “Go For Gold” and “Politics/ Its Fashion” singles. Press photo and Press Flyer

In 1980 post punk pop indie band GIRLS AT OUR BEST came out of nowhere (Well, Leeds actually) with GETTING NOWHERE FAST and was the NME’s Single Of The Week reaching the Top 10 of the indie chart. The band, fronted by Judy Evans, released four further singles plus the album PLEASURE which reached the UK album charts in 1981, before splitting up two years after that first record.

Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands who cropped up at the turn of the 80s – long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude ‘Jo’ Evans, forming a songwriting team with guitarist James Alan and bass player Gerard Swift after they met at art college. All four of their singles for their own Record Records, Rough Trade and Happy Birthday Records are included here as bonus tracks on a 45rpm 12”– including the wonderful ‘Getting Nowhere Fast’ (later covered by The Wedding Present), its coruscating b-side ‘Warm Girls’, ‘Politics!’, ‘Go For Gold’ and ‘Fast Boyfriends’

Their influence can be seen on innumerable C86/indie bands who came afterwards

TRACK LISTING

A1 Pleasure
A2 Too Big For Your Boots
A3 I’m Beautiful Now
A4 Waterbed Babies
A5 Fun-City Teenagers
A6 £600,000
B1 Heaven
B2 China Blue
B3 Fast Boyfriends
B4 She Flipped
B5 Goodbye To That Jazz
C1 Getting Nowhere Fast
C2 Warm Girls
C3 Politics
C4 It’s Fashion
D1 Go For Gold
D2 I’m Beautiful Now
D3 Fast Boyfriends
D4 This Train

First Time Reissued On Vinyl. Sourced From The Original Master Tapes. Pressed at RTI for Maximum Fidelity. Limited Edition Florescent Green Vinyl. 1977 Original Soundtrack LP for the horror sequel - music composed by Ennio Morricone. In one of his first forays into big budget Hollywood, Ennio Morricone handed in one of his weirdest, eeriest scores - Rolling Stone (top 35 greatest horror soundtracks) From the beautiful to the absolutely demented, while still playing in the same sandbox. Once you get to the deranged Satanic prog rock of “Magic And Ecstasy,” it hits you: this is the craziest we’ve ever heard Morricone. And it’s amazing. “I like the first Exorcist, because of the Catholic guilt I have, and because it scared the hell out of me; but The Heretic surpasses it”. Martin Scorsese

TRACK LISTING

1. Regan’s Theme (Finale)
2. Pazuzu (Theme From Exorcist II)
3. Interrupted Melody (Suspended Sound)
4. Rite Of Magic
5. Little Afro-Flemish Mass
6. Great Bird Of The Sky
7. Magic And Ecstasy
8. Seduction And Magic
9. Regan’s Theme (Floating Sound)
10. Dark Revelation
11. Night Flight
12. Interrupted Melody

A spectacular Hi-Life album with funky digital touches from the great Ghanaian producer Frimpong Manso.

Recorded in 1987 at Ghana Films Studio in Accra, the album Boafo Ne Nyame, that we can translate as “Helper is god”, is led by the great and sweet voice of K. Adusei.

Five long tracks filled with hypnotic hi-life grooves and many funk inflections that go way beyond lots of standard riffing of modern Afro Funk. The track “Asem De Ye So” (There's problem on us) is a dancefloor friendly song, already known from connoisseurs and maybe a future anthem when the clubs will reopen!

Manso Frimpong was born Feb 21st at Nkawkaw and sadly died Nov 23rd 2016 in Kumasi.

Official licensed by his son Kwaku Frimpong
Remastered by Frank Merritt at The Carvery. Pressed on Replika format.

TRACK LISTING

A1. Boafo Ne Nyame
A2. Ma No Nye Ansa
B1. Asem De Ye So
B2. Sesa Wosuban
B3. Odo Koo Ye Akye

Numero Group: A.R.T Wilson: Overworld. A new age album that draws as much from ethno-groove, Chicago house, and G-funk, as it does from primitive percussion and ’80s library music. Relaxing, gentle, and warm, the 10-song ambient suite was made for a multidisciplinary modern dance performance described as “Neo-Paganism, Pop Divas, YouTube, Yoga, and Death Metal side by side in a live performance that searches for transcendence in the most unlikely places.”

TRACK LISTING

A1 Overworld
2 Rebecca’s Theme (Water)
3 Sun Sign Cancer
4 Janine’s Theme (Earth)
5 House In The Garden

B1 Rachel’s Theme (Fire)
2 Sun Sign Aries
3 Akasha
4 Sarah’s Theme (Air)
5 Past Life Regression

Maybe the hardest to find Dead Moon LP. All kinds of killer songs. Another stone cold classic by the worlds greatest rock band. Some call them the thinking man's AC/DC & some call them the working man's Roky Erickson but really there is nothing that compares to Dead Moon. They live in a world of their own - DIY on every imaginable level, brilliant song writing, perfect elemental stripped down playing, honest & intense vocals. It's all here.

Reissued for the first time - Dead Moon's first record! Originally released in 1988. Dead Moon were a band that existed outside of the constraints that time and style usually impose on artists. An authentic mix of psychedelic rock, punk, blues, country and every other American music worth a damn. This LP features all time classics such as "Graveyard" (A 13th Floor Elevators type vibrating psychedelic song), "Don't Burn The Fires" and "I Hate The Blues". Lo-fi as hell. Remastered from the original tapes. Mississippi are very proud to make this LP available on vinyl once more.

The Infotainment Scan was first released in 1993 on Permanent Records and became the Fall’s highest charting album when it entered the UK Albums Chart at #9. The album is considered the Fall’s most accessible album and stands as a high point in their vast and varied catalogue.

Highlights include a cover of Sister Sledge’s ‘Lost in Music’, ‘Paranoia Man in Cheap Sh *t Room’ and ‘Glam Racket’

Back on vinyl for the first time in nearly three decades, this new edition is pressed on 140g clear vinyl and housed in a printed inner sleeve featuring new designs by original cover artist Pascal Le Gras.

TRACK LISTING

Side 1
1. Ladybird (Green Grass)
2. Lost In Music
3. Glam Racket
4. I’m Going To Spain
5. It’s A Curse

Side 2
1. Paranoia Man In Cheap Sh *t Room
2. Service
3. The League Of Bald Headed Men
4. A Past Gone Mad
5. Light/Fireworks

After the success of 1993’s The Infotainment Scan, the Fall returned to the studio to record Middle Class Revolt. Whilst it didn’t reach the same commercial heights, the album includes some of the Fall’s post popular tracks. Highlights include ‘Hey! Student’, ‘15 Ways’ and ‘Behind The Counter’ as well as covers of ‘War’ and ‘Shut Up!’

Back on vinyl for the first time in over 25 years, this new edition is pressed on 140g clear vinyl and housed in a printed inner sleeve featuring new designs by original cover artist Pascal Le Gras.

TRACK LISTING

A Side
1. 15 Ways
2. The Reckoning
3. Behind The Counter
4. M5#1
5. Surmount All Obstacles
6. Middle Class Revolt!
7. War

B Side
1. You’re Not Up To Much
2. Symbol Of Mordgan
3. Hey! Student
4. Junk Man
5. The $500 Bottle Of Wine
6. City Dweller
7. Shut Up!

The Twenty Seven Points is an album of live recordings made by the Fall between 1991 and 1995. Often seen by fans as one of the only ‘proper’ Fall albums, the recordings capture the chaotic atmosphere of the band’s live shows (complete with onstage mishaps and walk offs).

Featuring performances of songs from across the Fall’s back catalogue including ‘Big New Prinz ’, ‘Lost in Music’ and ‘Mr Pharmacist’.

Back on vinyl for the first time in nearly 25 years, this new edition is pressed on two 140g clear vinyl and housed

TRACK LISTING

Side 1
1. Mollusc In Tyrol
2. Return
3. Ladybird (Green Grass)
4. Idiot Walk Out
5. Ten Points
6. Idiot Joy Showland
7. Big New Prinz

Side 2
1. Intro Roadhouse
2. The Joke
3. M.H.'s Jokes
4. British People In Hot Weather
5. Free Range
6. Hi Tension Line
7. The League Of Bald-Headed Men

Side 3
1. 95: Glam Racket / Star
2. Lost In Music
3. Prague '91 / Mr. Pharmacist
4. Cloud Of Black
5. Paranoia Man In Cheap Sh *t Room
6. Bounces Leeds
7. Outro

Side 4
1. Passable (A Past Gone Mad)
2. Glasgow Advice
3. Middle Class Revolt - Simon, Dave & John
4. Bill Is Dead
5. Strychnine
6. War!
7. Noel's Chemical Effluence

Toots & The Maytals' long and storied musical career spans all the way back to the dawn of ska. The group are not only key figures in the development reggae, they were among the first to utilize the word in a song title which lead to the popularization of the very term reggae. Among the numerous musical accomplishments of Frederick "Toots" Hibbert and his group was the song "Pressure Drop", which was released initially in 1970, but received widespread acclaim for its appearance in the soundtrack to the film Harder They Come. It's since been covered by The Clash, The Specials, The Selecter, Robert Palmer, and numerous others, has been rated by Rolling Stone as one of the 500 Greatest Songs of All Time, and is credited with helping introduce reggae music to the world. Though originally released in 1970, the US wouldn't get to experience "Pressure Drop" until 1975, when it was released on the US version of their album Funky Kingston, easily considered one of the strongest albums in Toots & The Maytals' catalog, not to mention one of the greatest in reggae history. Upon its release in the States it received massive critical applause (Even warming the cold, icy heart of Robert Christgau) for its infectious melodies and rhythms on tracks like "Sailing On", "Time Tough", and the eponymous title track, quirky Jamaica-infused covers of tracks by John Denver and Ike Turner, and of course the influential "Pressure Drop." Reissued in a lovingly re-printed version of the original LP sleeve, Get On Down now presents a superb reissue of a legendary piece of music history.

TRACK LISTING

Time Tough
In The Dark
Funky Kingston
Love Is Gonna Let Me Down
Louie Louie…
Pomp And Price
Got To Be There
Country Road
Pressure Drop
Sailing On

What Did You Expect from The Vaccines? is the debut studio album by English indie rock band The Vaccines. It was released on 11 March
2011, entering the UK Albums Chart at #4 and going on to become the biggest-selling debut by a band in 2011.

The Vaccines were formed in West London in 2010 by Justin Hayward- Young (lead vocals, guitar), Freddie Cowan (lead guitar, vocals), Árni Árnason (bass, vocals) and Pete Robertson (drums, vocals). The band have released four studio albums and have sold more than two million records worldwide. They have performed at the world’s biggest festivals and toured with acts such as The Rolling Stones, Arcade Fire, Arctic Monkeys, The Stone Roses, Red Hot Chili Peppers, Imagine Dragons and Muse.

What Did You Expect from The Vaccines? drew comparisons to The Ramones and The Jesus and Mary Chain and contains 6 singles; “Wreckin’ Bar”, “Post-Break-Up Sex”, “If You Wanna”, “All In White”, “Nørgaard” and “Wetsuit”.

This limited 10th anniversary edition is pressed on solid pink vinyl. The LP package contains an exclusive, brand new insert + a free download coupon for the original album + unreleased What Did You Expect From The Vaccines? Demos album. Only 2500 copies are available.

TRACK LISTING

SIDE A 
1. Wreckin’ Bar (Ra Ra Ra)
2. If You Wanna
3. A Lack Of Understanding
4. Blow It Up
5. Wetsuit
6. Nørgaard

SIDE B
1. Post Break-Up Sex
2. Under Your Thumb
3. All In White
4. Wolf Pack
5. Family Friend
Hidden Track; Somebody Else’s Child

Inspired largely by the disco, funk and psychedelic sounds coming out of the Middle East and South Asia in the 70s, the album channels these influences through a vision soaked in mysticism, positivity and sun-drenched imagery.

During the process of writing and recording ‘Levitation’, Flamingods for the first time in four years found themselves living in the same continent, it’s this new unified feel that defines the confident and eclectic sound of the album.

‘Levitation’ is the follow-up to Flamingods’ breakthrough 2016 album ‘Majesty’ and follows their ‘Kewali’ EP release for Moshi Moshi in 2017 and a one-off release with Dan Carey for his Speedy Wunderground singles club. During this time they’ve performed live sessions at 6Music (with Gilles Peterson & Lauren Laverne), KEXP, Boiler Room and have been travelling the globe spreading their exotic psychedelia to the masses and getting people dancing from Austin to Amsterdam.

TRACK LISTING

Paradise Drive
Koray
Marigold
Astral Plane
Peaches
Moonshine On Water
Olympia
Club Coco
Mantra East
Nizwa
Levitation

Andy Warhol superstar Nico (Christa Päffgen) starred on the first Velvet Underground record before a series of highly acclaimed albums for Elektra, Reprise and Island between 1967 - 74.

This mini album is the first and rarest of two sessions (the other was in 1974) recorded live for John Peel’s ‘Top Gear’, a BBC Radio 1 show, on 2nd February 1971.

Featuring tracks from all the albums mentioned above, it is a beautifully haunting session featuring Nico at the height of her creative powers.

Previously available only very briefly on vinyl in 1989, this release benefits from the full luxurious Gearbox Records treatment, featuring all-valve mastering and the highest quality pressing.

TRACK LISTING

1. No One Is There
2. Janitor Of Lunacy
3. Secret Side
4. Frozen Warnings

Superb unreleased soundtrack from British 1972 sex comedy starring Gabrielle Drake (Nick Drake’s sister) and Rchard O’Sullivan (Gilbert O’Sullivan’s brother!). Brilliant music on many levels, 17 sexy tracks of swinging jet-set jazz, groovy scatty vocals, hell it must be good because it’s on Trunk Records.

Take yourself back to the fleapit cinemas of the early 1970s. My home town of Aldershot had two - the ABC/123 (with three screens) and The Palace (just one screen, and anything but palatial). Au Pair Girls, released in 1972, was exactly the kind of soft porn “comedy” flick with a vague plot that would, without doubt, have been playing as part of a double bill to the regular “dirty mac brigade”. Such films and such establishments guaranteed the small crowd regular titillating wide screen visions of nude women in preposterous situations and fulfilling preposterous fantasies.

The title of Au Pair Girls suggests it all of course; yes, four young women fly into London from Europe and Asia, are sent to their new employers and find themselves in unexpected and unusual situations pretty fast. There is of course full nudity, crudity and a large slab of cheese on the menu.There is also no real comedy, a sprinkling of infamous character actors (Richard O’Sullivan, John Le Mesurier), and “UFO” actress Gabrielle Drake (sister of Nick Drake) wearing nothing at all. If anything, the film has maintained a vague middle aged male following because of Gabrielle.

But there’s little to save this film from contemporary criticism - its outdated view of life, rights, sex and taste sit uncomfortably today. But the jet set soundtrack by Roger Webb was worth saving.

By 1972 Roger Webb’s career in film and TV music was taking off. He was an established songwriter and live pianist with a jazz trio. He’d already penned a few British scores and was just starting on a formidable future with library companies including Chappell, de Wolfe and Capitol. His route to Au Pair Girls was accidentally through Norman Newell, one of the giants of the post war music industry.Actress and performer Dee / Deanne Shenderry had asked Newell to recommend an artist to arrange her up and coming album. New;ee recommended Roger Webb.The two worked together and some music was produced, but to my knowledge only got to acetate stage (possibly for Apple Records). Dee husband was Kenneth Shipman, a co-owner ofTwickenham film studios.And so when Kenneth Shipman started pre
production of Au Pair Girls, Roger Webb was an easy go-to for film music composition.

Many years ago there was an original reel / master for Au Pair Girls. It was transferred to CD, DAT and cassette circa 1990 and the rapidly degrading tape was subsequently misplaced, lost or just binned. So all we had to work with was a rather shaky transfer from nearly 30 years ago, one which included numerous wobbles as well as speeding up and slowing down moments.The job of rescuing all this was left to Jon Brooks, my hero for all such musical problems. The end result is what you hear on this album. It is by no means sonically perfect but it is all we will ever have.

It’s certainly not Roger Webb’s best ever score (I have more of his ace work coming) but it has a certain charm and relentlessness.The lyrics were written by Norman Newell, and I can imagine the pair having a huge amount of fun putting the score together and recording it, with - as you’d expect - a pretty tight band and lively vocal group.The main theme does, as one reviewer state, “go on a bit”, but there’s enough musically here for me to get excited about and really want to “stick it out”. So I have.

TRACK LISTING

Side One:
Au Pair Girls 1 - 9

Side Two:
Au Pair Girls 10 – 17

Father John Misty is the nom-de-plume of Josh Tillman, who has been recording and releasing solo albums under his own name since 2003 and who recently left Seattle’s Fleet Foxes after playing drums with them from 2008-2011.

When discussing Father John Misty, Tillman paraphrases Philip Roth: “‘It’s all of me and none of me, if you can’t see that, you won’t get it.’”

‘Fear Fun’, Father John Misty’s album from 2012 and now available again through Sub Pop, began gestating during what Tillman describes as an “immobilizing period of depression” in his former Seattle home, when he had lost interest in songwriting and wound up finding his voice by writing a novel. After breaking from Seattle and settling in a spider-infested Laurel Canyon treehouse, Tillman spent months demoing songs, eventually liberating himself from his creative impasse. With the help of LA producer/songwriter/pal Jonathan Wilson, a wealth of talented musicians kicking around LA and producer Phil Ek (who everyone knows has worked with Built to Spill, Modest Mouse, Band of Horses, Fleet Foxes), ‘Fear Fun’ blossomed into a fully-formed expression of Tillman’s unrestrained vision.

‘Fear Fun’ consists of such disparate elements as Waylon Jennings, Harry Nilsson, Arthur Russell, All Things Must Pass and Physical Graffiti, often within the same song. Tillman’s voice has never been better and often sounds like Roy Orbison at his most joyous, while the music maintains a dark, mysterious yet playful, almost Dionysian quality.

Lyrically, his absurdist fever dreams of pain and pleasure elicit, in equal measures, the blunt descriptive power of Bukowski or Brautigan, the hedonist-philosophy of Oscar Wilde and the dried-out wit of Loudon Wainwright III.

TRACK LISTING

Funtimes In Babylon
Nancy From Now On
Hollywood Forever Cemetery Sings
I’m Writing A Novel
O I Long To Feel Your Arms Around Me
Misty’s Nightmares 1 & 2
Only Son Of The Ladiesman
This Is Sally Hatchet
Well, You Can Do It Without Me
Now I’m Learning To Love The War
Tee Pees 1-12
Everyman Needs A Companion

It seems that every time you turn around, there’s another Oh Sees slab. Long ago we lost all capacity to be surprised that this sturdy unit keeps putting out records and that they’re really good. You can now add the Metamorphosed 12” to your ever deeper shelf sagging row of John Dwyer & Co.’s seemingly no sleep release schedule. The five tracks were taken from the sessions that formed 2019’s Face Stabber album, a 17 track/80+ minute jammified four-sider. Metamorphosed would have been the perfect third LP to fit in with the other two. The very existence of Metamorphosed asks any number of questions. Speculation is for pundits and amateurs. Let’s go to John Dwyer and see if he’ll kick loose some information.

As to the Metamorphosed coming out so long after Face Stabber: This is just how the release landed. We are trying to stagger the releases a bit this year and we have a salvo coming down the pipe, so that’s how the cookie crumbled. Metamorphosed would’ve been out sooner but with the virus restrictions, shipping of LPs has obviously slowed down and so has manufacturing, so here we are. It’s worthwhile to note the Face Stabber sessions also resulted in The 12” Synth, a two track deal released in November of 2019. So, what was happening in the studio that rendered almost three hours of finished music? Just the usual run with ideas. Usually this takes place at the end of the planned recording. We have extra time and tape to lay down some deep cuts and long jams, etc., the fun part, really. It’s a test to keep up with Dwyer and his extraordinarily able bandmates. It seems like there’s always something on the way to the pressing plant. When and how did Metamorphosed come together? Basically, I found myself with a 12"'s worth of material in the new year and things were starting to grind to a halt, so it was the perfect time to sew it all up. People need some tunes right now and I think the artist's community is making a good run of it. So much great shit is seeing light right now. John and Matt Jones run the Castle Face label with full autonomy, so it would make sense that Metamorphosed, like The 12” Synth, would have been a CF release. Yet, it’s on the very cool Rock Is Hell Records label, which has put out some great Dwyer related jams in the past. The OCS Live In San Francisco album was not only great musically but all the vinyl and sleeve variants made the collectors break out in a fan sweat they’re probably still recovering from. Being able to do all this yourself, it’s obviously cool to still work with Jochen and Rock Is Hell. Yes. I’ve worked with Jochen a few times over the past decade or more (so he is grandfathered in. :) It’s pretty rare these days that I work outside my own label but his stuff is so well done and usually its own work of art. Last question. The fan cannot resist! At any time, were you thinking of making Face Stabber a 3LP set? Hell no. But now maybe I am. Metamorphosed isn’t just some barrel scrape for those who can’t get enough. All of the five tracks stand up to anything on Face Stabber. The record’s 23+ minute I Got A Lot is one of the coolest songs the band has ever done. As it is with a full on Rock Is Hell roll out, there’s a lot of details. Metamorphosed is no exception. This is what the release schedule looks like: In October, there will be a silkscreened cover limited to 300 copies with four sleeve variants. A larger press run will follow in January with four or five color variants. Whew! Something to look forward to! - Henry Rollins.

On the 'We Are Legacy' label - "Highway 61 Revisited" is the sixth studio album by American singer-songwriter Bob Dylan, released on August 30, 1965 by Columbia Records. Having until then recorded mostly acoustic music, Dylan used rock musicians as his backing band on every track of the album, except for the closing track, the 11-minute ballad "Desolation Row".

Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural chaos of contemporary America. Author Michael Gray has argued that, in an important sense, the 1960s "started" with this album. 

To celebrate the 10th anniversary of its release, Tame Impala present a deluxe, 4LP reissue of their debut album InnerSpeaker. Recorded in 2009 in Western Australia, InnerSpeaker is a psychedelic rock explosion that explores the joy of solitary creativity. triple j called it a “spiralling, trippy adventure”, while Pitchfork’s Zach Kelly said, “it's difficult to be so plugged-in to a vintage feel without the music seeming time-capsuled, but the band's vibrance help these songs sound very much alive.”

InnerSpeaker received critical acclaim upon its release: it won Australian Album of the Year at the j awards and Rolling Stone’s Album of the Year, received multiple ARIA award nominations, was labelled ‘Best New Music’ by Pitchfork, and has since been featured in multiple lists of the Best Albums of the 2010s.

TRACK LISTING

Lp 1
Side A
1. It Is Not Meant To Be
2. Desire Be Desire Go
3. Alter Ego
Side B
4. Lucidity
5. Why Won’t You Make Up Your Mind?
6. Solitude Is Bliss

Lp 2
Side C
7. Jeremy’s Storm
8. Expectation
9. The Bold Arrow Of Time
Side D
10. Runway Houses City Clouds
11. I Don’t Really Mind

Lp 3
Side A
1. Alter Ego
2. Runway Houses City Clouds
Side B
3. Why Won’t You Make Up Your Mind?
4. It Is Not Meant To Be

Lp 4
Side A
1. Demos/ideas
Side B
2. Jam With Sav

South announce the 20th anniversary re-cut of the cult-classic debut album ‘From Here On In’. They called themselves South as a statement; an act of bravado. Come and have a go if you think you're hard enough. Manchester bands had dominated for two decades, be it the Smiths, New Order, the Stone Roses, the Happy Mondays, and of course Oasis. Now it was the turn of three lads from North London. Move over Madchester. Although commercial success eluded them in the UK, South soared abroad - notably in the US, Germany and Japan. They toured the world with Elbow - one night South would top the bill, the next night it would be Elbow's turn. Guy Garvey would always dedicate a song to them from the stage "because they're real". In the US, their prominence was partly due to the fact that they composed the soundtrack to the smash gangster movie Sexy Beast, and that their biggest single Paint The Silence featured on the teen drama TV series The OC. When South split up in 2008 – four albums and a decade down the line - they had a back catalogue to be proud of.

And twenty years on from its release, their debut album From Here On In sounds as fresh as the day it was first pressed in 2001. Despite the swagger in their name, South couldn't have been less laddish or pugilistic. All three were quietly spoken, thoughtful, serious minded. They originally saw themselves as an electronic act, before morphing into a crusty-haired grunge band. They got a regular spot at the St Moritz Club on the legendary Wardour Street in 1998 and evolved again - less thrashing, more acoustic, tingling guitars, and sublime harmonies. Within weeks of starting at the St Moritz they had signed a publishing deal with Warner Chappell, before James Lavelle signed them to Mo'Wax.

For all that South eschewed the North, they would have been perfectly at home in Manchester. You can hear the influences of the great Manchester bands on From Here On In - the tender Gallagheresque ballad Keep Close; the gorgeous Paint the Silence nodding to the Stone Roses. Yet at the same time they brought so much extra to the party - dance beats in thumping rock rock songs; acoustic ballads that blaze ferociously. The reviews were sensational, particularly in America. "The tempos were stately. the lyrics suitably doleful and warmhearted," said the New York Times. The Chicago Tribune eulogised about "the dreamy atmospheric mix of pensive acoustic songcraft and electronic soundscaping."

Meanwhile Billboard said: "Every now and then a band comes along that prides itself on not fully ascribing to any one musical philosophy. Welcome to the world of north London's South." From Here On In was the perfect post-modern album - ballads to rave to, dance tracks to mourn to, pop rock, electro-rock, folk-rock, instrumental rock, prog rock, and even occasionally rock rock. In many ways the album was decades ahead of itself. Perhaps its time has come now.

TRACK LISTING

1.Broken Head (I)
2.Paint The Silence
3.Keep Close
4.I Know What You're Like
5.All In For Nothing (Reprise)
6.Here On In
7.Run On Time
8.Broken Head (II)
9.Sight Of Me
10.By The Time You Catch Your Heart
11.Live Between The Lines (Back Again)
12.Recovered Now
13.Southern Climbs
14.By The Time You Catch Your Heart (Reprise)
15.All In For Nothing
16.Broken Head (III)

Re-issue of a soul masterpiece from 1974. 'I Love You More and More' by Tom Brock was Tom's only solo album release, but what a beautiful classic it is.

For some, it is up there in the pantheon alongside their all-time treasured soul favourites such as Marvin Gaye's 'What's Going On'. Produced by the legend Barry White and released on 20th Century Records in 1974, it features the lush hallmark orchestration, heartfelt songs, and funky yet slick playing you'd expect from a White production. Like a dusting of sugar onto the top of the cake, the record also features the stunning arrangements of the great pianist, arranger, composer, and producer Gene Page, whose musical career left an impressive and prolific legacy.

'I Love You More and More' received another lease of life when it was resurrected for a new audience after having been sampled by Jay-Z, Mos Def, C.L. Smooth, and others. The record is solid throughout, but the song 'There's Nothing in This World That Can Stop Me From Loving You' proved to be an extra-bright star in the sky and it formed the base to Jay-Z's 2001 hit 'Girls, Girls, Girls'. The sampling of Tom's work triggered the collectors, diggers and DJs to explore his record and to transfer their passion for it onto their followers too. Tom Brock passed away in 2002, but left behind his sensational soulful voice on a handful of amazing dusty 7" singles, several assorted productions recorded by other artists, and this absolute winner of an album, which will be cherished for years to come.

TRACK LISTING

1. Have A Nice Weekend Baby
2. The Love We Share Is The Greatest Of Them All
3. There’s Nothing In This World That Can Stop Me From Loving You
4. I Love You More And More
5. Naked As The Day I Was Born
6. That’s The Reason Why (I'll Love You Until The Day I Die)
7. Shame Me, Wake Me
8. If We Don’t Make It Nobody Can

A repress of the 10th anniversary reissue of the critically-acclaimed “Black Sands”, Bonobo’s celebrated breakthrough record, on limited-edition grey vinyl featuring the new version of the iconic cover image taken by Green. Influenced by the divergent, bass-driven strands of the UK electronic music scene at that time, Green artfully fitted those evolving sounds into his own wider vision. The record’s lasting importance stems from the depth that he found in those combinations, rattling two-step rhythms and heavy pressure sub-bass twinned with carefully crafted songwriting and lush, brightly-realised instrumentation.

It’s a record that’s both timeless and wonderfully of its time. From ‘Kiara’, which weds cinematic, string-laden composition with chopped up vocals and luminous synth arpeggios, to ‘Eyesdown’, where subterranean swells of bass meet Andreya Triana’s warm, peerless vocals, the album is effortlessly multi-faceted. Listening back a decade later, it still sounds just as beguiling, emotive and transportive as it did the first time round.

TRACK LISTING

A1. Prelude
A2. Kiara
A3. Kong
A4. Eyesdown (feat. Andreya Triana)

B1. El Toro
B2. We Could Forever
B3. 1009

C1. All In Forms
C2. The Keeper (feat. Andreya Triana)
C3. Stay The Same (feat. Andreya Triana)

D1. Animals
D2. Black Sands

On March 2, 1991 Serge Gainsbourg bowed out and left France orphaned by one of the most important singer-songwriters of French song. Thirty years later, his songs are still with us, proof of their quality. Indeed, beyond the many successes that have marked a career spanning more than thirty years, Gainsbourg's repertoire is abundantly rich.

Always at the forefront of innovation, he has been able to adapt his delicate and classical writing with the most modern musical styles: jazz, reggae, funk ... without ever losing his eloquence or his soul.

This 2LP Set sends us back and shows how Serge Gainsbourg was an emblematic and major figure.

TRACK LISTING

LP 1
1.L'eau à La Bouche - BOF "L'eau à La Bouche
2.Baudelaire
3.La Javanaise
4.Elaeudanla Téitéia
5.New York USA
6.Couleur Café
7.Qui Est "In", Qui Est "Out"
8.Docteur Jekyll Et Monsieur Hyde
9.Comic Strip
10.Chatterton
11.Bonnie And Clyde (with Brigitte Bardot)
12.Initials B.B.
13.Ford Mustang
14.Requiem Pour Un C... - BOF "Le Pacha"
 
LP 2
1.Je T'aime Moi Non Plus (with Jane Birkin)
2.L'anamour
3.69 Année érotique (with Jane Birkin)
4.Sous Le Soleil Exactement
5.ElisaBOFL'horizon  
6.Ballade De Melody Nelson (with Jane Birkin)
7.L'hôtel Particulier - BOF "Melody Nelson
8.La Décadance - Bof Sex-Shop (with Jane Birkin)
9.Je Suis Venu Te Dire Que Je M'en Vais
10.Comme Un Boomerang
11.Ma Lou Marilou
12.Aux Armes Et Caetera
13.Lola Rastaquouère 

When I think I refused the first one, what an unconsciousness! "It was in these terms that Serge Gainsbourg expressed, in 1977, his joy at seeing his talents as a composer finally associated with the adventures of Emmanuelle, embodied on screen by the sensual Sylvia Kristel.

For a long time, he bit his fingers for declining the offer to compose the soundtrack for the first part of the erotic saga. In France, only one 45 rpm appeared on Philips in 1977, regrouping the song "Goodbye Emmanuelle" and the instrumental "Emmanuelle and the Sea".

However, Goodbye Emmanuelle's soundtrack was released in October 1977 as a nine-track LP reserved for the Asian market (Japan and Hong Kong). Enriched with two bonus tracks, this extremely rare LP is finally available in the UK. 

Directed by Just Jaeckin, the creator of Emmanuelle, starring Françoise Fabian, Madame Claude is inspired by the fictionalized memories of Fernande Grudet, the sulphurous instigator of the most famous luxury prostitution network in Pompidolian France.

The totally disco-funk Original soundtrack of this film released on screens in 1977 from Serge Gainsbourg is sublimated by the immense arranger- Jean-Pierre Sabar". Without forgetting the generic song of Madame Claude “Yesterday, Yes a Day” interpreted by Jane Birkin. 

The idea that you never get a second chance to make a first impression—that’s only partly true. But when you’ve made as strong an impression as Tokyo Police Club did with their first record and a half—2007’s Lesson in Crime EP and 2008’s Elephant Shell—it can be sneakily difficult to change the narrative, especially if the narrative has been good to you so far. But in deference to and celebration of its tenth birthday—that’s at least 50 in rock years—it is time to re-celebrate and re-examine Champ, the Canadian band’s fantastic-yet-underserved sophomore album.

Champ is something of a lost classic of new-millennium indie-pop and deserves to be hoisted to the special place in your collection—physically or mentally—that you keep the good stuff. “Boots of Danger,” the single, is every bit as catchy as the Strokes’ “Last Nite,” though it trades New York cool for youthful Ontario exuberance. And it’s not just the hits that drive Champ: Its bench is deep, from the insistent, twitchily bouncer “Big Difference” to the sombre sorta-ballad “Hands Reversed,” which could be a cousin to the best Walkmen songs.

TRACK LISTING

A1 Favourite Food
A2 Favourite Colour
A3 Breakneck Speed
A4 Wait Up (Boots Of Danger)
A5 Bambi
B1 End Of A Spark
B2 Hands Reversed
B3 Gone
B4 Big Difference
B5 Not Sick
B6 Frankenstein

Bonus 7”
A Hundred Dollar Day
B Bambi (Acoustic)

Who Cares A Lot? The Greatest Hits spotlights some of the biggest tracks released by Faith No More between 1987 and 1997. It includes massive hits such as “Epic”, “Easy”, “Evidence” and their first single “We Care A Lot.”

Presented in chronological order, this collection highlights the journey Faith No More went on, starting with tracks such as “We Care A Lot” and “Introduce Yourself”; tracks sung by original lead singer Chuck Mosley. After his departure in 1988, the band turned to current frontman Mike Patton, who’s first album with the band was the renowned “The Real Thing.”

Faith No More have maintained a cult status, being widely credited for developing alternative metal and having influence on bands such as Limp Bizkit and Slipknot. Founding member and bassist of Nirvana, Krist Novoselic, cites Faith No More as one of the bands who paved the way for Nirvana. This record presents a true celebration of Faith No More’s music and is on gold vinyl for the first time.

Merge reissue The Clean’s Unknown Country and Mister Pop on vinyl. Originally released in 1996 and 2009, respectively, we are thrilled to make both albums readily available worldwide. In 1978, The Clean were the seeds of New Zealand punk. In the years since, they have carved out a big sandbox for everyone to play in, and their influence resonates not only in NZ but around the world. A group that thrives when free of expectations, The Clean’s Robert Scott, Hamish Kilgour, and David Kilgour are, as Tape Op described, “a casually wonderful band.” Pitchfork writes: “The Clean have always exuded a casual grace that suggests they’d still be making the same records even if no one was listening, employing the same set of devices ramshackle locomotive rhythms, buoyant basslines, swirling organ lines, and wide-smile melodies irrespective of prevailing fashions, technological developments, or geopolitical unrest.

And yet, the Clean’s periodic resurgences serve as a reminder that, in a world of uncertainty, there are still some things you can rely on.” David Kilgour on Unknown Country: The Clean always wanna try something different, but on this LP, we were obsessed with the idea. Tracks like “Wipe Me, I’m Lucky” and “Franz Kafka at the Zoo” are fine examples of the approach, I reckon. Quite a long way from “Tally Ho!” and “Beatnik”! I remember we generally left vocal ideas to last, after the tracks were recorded, so we never really knew where we were headed. Might also explain all the instrumentals! Made during the Balkan War, hence the reference. And for the freaks, I think “Balkans” is the only Clean track ever to not actually feature The Clean playing. It’s all Alan Starrett, as we removed the backing track. Robert Scott on Unknown Country: This album is very different from our other albums. We didn’t go into the studio with many “song” ideas—a lot of it was written on the spot. I really enjoyed recording this as it was free of expectation. We weren’t playing much live at the time. It does contain some of my favourite Clean songs such as “Twist Top,” “Wipe Me, I’m Lucky,” and “Valley Cab.” Certainly our most experimental album.

TRACK LISTING

SIDE A

Wipe Me, I’m Lucky
Champagne & Misery
Changing Your Head
Balkans
Clutch
Franz Kafka At The Zoo
Whisk
Indigo Blue
Chumpy

SIDE B

Get The Liquid
Happy Lil Fella
Tweezer
Rope
Twist Top
Cooking Water
Valley Cab
Wall Walk
Balkans

Merge reissue The Clean’s Unknown Country and Mister Pop on vinyl. Originally released in 1996 and 2009, respectively, we are thrilled to make both albums readily available worldwide. In 1978, The Clean were the seeds of New Zealand punk. In the years since, they have carved out a big sandbox for everyone to play in, and their influence resonates not only in NZ but around the world. A group that thrives when free of expectations, The Clean’s Robert Scott, Hamish Kilgour, and David Kilgour are, as Tape Op described, “a casually wonderful band.” Pitchfork writes: “The Clean have always exuded a casual grace that suggests they’d still be making the same records even if no one was listening, employing the same set of devices ramshackle locomotive rhythms, buoyant basslines, swirling organ lines, and wide-smile melodies irrespective of prevailing fashions, technological developments, or geopolitical unrest. And yet, the Clean’s periodic resurgences serve as a reminder that, in a world of uncertainty, there are still some things you can rely on.” David Kilgour on Mister Pop: Mister Pop began in Brooklyn, NY, at Gary Olson’s Marlborough Farms studio and was completed in the basement hall of First Church Dunedin. There is more synthesizer on this album than the others, mainly an old Juno synth. I do remember having a bath in Brooklyn while Robert was downstairs singing and writing. I thought he was singing “he’s a factory man,” so I dried off and went down and wrote “Factory Man” while thinking heavily of The Kinks. Rainy and Geva from Haunted Love did some great work on backing vocals for “Loog” and “Dreamlife.” And old friend and longtime Clean collaborator Alan Starrett makes an appearance on “Moonjumper.” Robert Scott on Mister Pop: I remember thinking at the start of the NY sessions with Gary Olson, “Is this the start of a new album?” We were coming up with quite a bit of new stuff, and of course, Gary is great to work with. We carried on at Burlington St in Dunedin with (engineer and Heavy 8) Tex Houston at the controls, good fun from what I remember, lots of mucking around with keyboards and synths. We were going for that Krautrock groove and we sure got it on “Tensile,” one of my faves along with the pure pop of “Dreamlife.” “Loog” was a fun song to put together. “Asleep in the Tunnel” is written about being stuck in traffic in a tunnel under the Hudson River in NY.”

TRACK LISTING

SIDE A

Loog
Are You Really On Drugs?
In The Dream Life U Need A
Rubber Soul
Asleep In The Tunnel
Back In The Day

SIDE B

Moonjumper
Factory Man
Simple Fix
Tensile
All Those Notes

The landmark first album on the On-U Sound label, this self-titled debut announced a gathering of the tribes: producer Adrian Sherwood bringing together members of the Slits, the Pop Group, the Flying Lizards and the Raincoats and getting them to collaborate with the likes of the Roots Radics’ Style Scott, Creation Rebel’s Crucial Tony, and Aswad’s George Oban to form a potent post-punk/dub fusion.

The albums two highest peaks are brilliantly realised interpretations of Jamaican classics - Junior Byles’ “Fade Away” and Bim Sherman’s “Love Forever”, Ari Up’s vocal transporting the dread warning and lovers rock vibes to the icy hallways of early-80s London squatland. Elsewhere Mark Stewart marshalls an early version of his “Crazy Dreams and High Ideals” (later re-versioned with the Maffia), music journalist Vivien Goldman voices caustic album closer “Private Armies” (originally a b-side to her Launderette single), and all sorts of strange noises and rhythmic murk bridge the gaps, the instrumentals falling somewhere between a late night studio session at Channel One and the kinds of experimental soundscapes being explored at the time by Industrial Records.

A certified classic of the era back on wax for the first time in 40 years and an essential addition to any post-punk record collection. Includes download card and printed inner with new sleevenotes and interviews by Oli Warwick.

TRACK LISTING

A1. Fade Away
A2. Radial Drill
A3. State Assembly
A4. Crazy Dreams And High Ideals


B1. Abderhamane’s Demise
B2. Animal Space
B3. Love Forever
B4. Private Armies

The third New Age Steppers arrived in 1983 and marked a sea change in approach, a warmer sounding record than the two thrilling-but-abrasive LPs that had preceded it.

Part of this was down to frontwoman Ari Up moving to Jamaica and instigating proceedings with a session at the legendary Channel One with Style Scott and a JA horn section, before bringing the tapes back to London for Adrian Sherwood to work on. The other big factor was bringing in Bim Sherman to step up to the mic on several tracks, after interpreting some of his material on the previous albums. His distinctive croon works as the perfect foil to Ari’s own vocal takes, and the resulting album is perhaps the closest the collective got to laying down an album that is identifiably roots reggae, albeit still breaking tradition with colourful synth tones and a post-punk production sensibility.

First time available on vinyl since original release, includes download card and printed inner featuring new sleevenotes and interviews by Oli Warwick.

TRACK LISTING

A1 Some Love
A2 Memories
A3 5 Dog Race
A4 Misplaced Love

B1 Dreamers
B2 Stabilizer
B3 Stormy Weather
B4 Vice Of My Enemies
B5 Mandarin

Rare dubs, version excursions and unreleased tracks from the vault 1980 - 1983.

In the tradition of archival On-U Sound compilations of recent years such as the Return Of The Crocodile and Churchical Chant Of The Iyabinghi sets for African Head Charge; and the Displaced Masters LP of early Dub Synidcate rarities, we’ve gone through the tape vaults to put together this special record of unreleased versions and rarities from the white hot early days of the New Age Steppers, the group that launched the On-U Sound label by appearing on both the first single and album.

Highlights include a restored track from their infamous and long-lost 1983 John Peel session (an ebullient cover of Atlantic Starr’s “Send For Me” featuring a beautifully spirited vocal performance from the much-missed Ari Up), the Jah Woosh deejay cut of “Love Forever”, some rare dubs previously only available on Japanese import CDs, all bookended by two very different takes on Chaka Khan’s “Some Love”. An essential set for collectors of post-punk, dub and other outernational sounds. 

TRACK LISTING

A1 Aggro Dub Version
A2 Send For Me
A3 Izalize
A4 Unclear

B1 Singing Love
B2 I Scream (Rimshot)
B3 Avante Gardening
B4 Wide World Version
B5 Some Dub

The quickfire follow-up to the New Age Stepper’s self-titled debut, this set was also issued in 1981. A perhaps more melodic and accessible record than its predecessor, the bulk of the album is versions of tunes sourced from reggae imports of the period, featuring radical interpretations of songs by Bim Sherman, Horace Andy and B.B. Seaton.

Ari Up of the Slits takes more of a frontwoman role here, singing lead on most tracks, and bringing a lot of her own indomitable personality to bear on the material, even breaking briefly into German for her take on “Problems”! It also features the vocal debut of a very young Neneh Cherry on “My Love”. The rhythms are rock solid, laid down by the crack team of Eskimo Fox, Crucial Tony and George Oban, having honed their skills on sides by Creation Rebel and Aswad, with everything expertly dubbed through the mixing desk of Adrian Sherwood.

First time available on vinyl for 40 years, includes download card and printed inner featuring new sleevenotes and interviews by Oli Warwick. 

TRACK LISTING

A1. My Whole World
A2. Observe Life
A3. Got To Get Away
A4. My Love

B1. Problems
B2. Nuclear Zulu
B3. Guiding Star

Originally released in 1970 and still seen as one of Neil Young’s greatest albums, After The Gold Rush celebrates 50 years since its release with this special edition.

Featuring timeless classic Neil Young songs such as Southern Man and Only Love Can Break Your Heart, this new edition also includes a version of the track Wonderin’, originally written around the time of After The Gold Rush, which only previously appears on the Archives boxset plus a previously unreleased outtake from the recording sessions for that track.

TRACK LISTING

Vinyl Box Set Tracklisting:
180g Vinyl LP
Side A
01 Tell Me Why
02 After The Gold Rush
03 Only Love Can Break Your Heart
04 Southern Man
05 Till The Morning Comes
Side B
01 Oh Lonesome Me
02 Don’t Let It Bring You Down
03 Birds
04 When You Dance, I Can Really Love
05 I Believe In You
06 Cripple Creek Ferry

7” Single
Side A
01 Wonderin’
Side B
02 Wonderin’ (Outtakes)

CD Tracklisting:
01 Tell Me Why
02 After The Gold Rush
03 Only Love Can Break Your Heart
04 Southern Man
05 Till The Morning Comes
06 Oh Lonesome Me
07 Don’t Let It Bring You Down
08 Birds
09 When You Dance, I Can Really Love
10 I Believe In You
11 Cripple Creek Ferry
12. Wonderin’
13. Wonderin’ (Outtakes)

Half-speed vinyl release of the Dire Straits number 1 album Brothers In Arms, mastered by Miles Showell at Abbey Road Studios. Originally released in 1985, the album features the singles ‘Money For Nothing’, ‘Walk Of Life’, ‘So Far Away’, ‘Brothers In Arms’ and ‘Your Latest Trick’. The winner of multiple Grammy awards, the album was the first ever to be certified 10-times platinum in the UK and is one of the world’s best-selling albums. Part of the UMC half-speed range, the package includes a branded obi-strip and a certificate of authenticity from Abbey Road.

TRACK LISTING

Side 1

So Far Away
Money For Nothing

Side 2

Walk Of Life
Your Latest Trick

Side 3

Why Worry
Ride Across The River

Side 4

The Man’s Too Strong
One World
Brothers In Arms

Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue 3 their second album as a standalone release. “A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret” Edd Gibson, Friendly Fires. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a subcategory in the lexicon of record dealers and music critics alike. Released just months after their debut second album, ‘On The Shore’ sees a shift from the first record into something darker and more ambivalent with an arcane Englishness.

The product of an era characterised by clunky polemic, arcadian sentimentality or English fuzzy-felt surrealism, the album, like all classic records, is so much greater than the sum of its parts. Opening with ‘Soldiers Three’, learned from Dave Swarbrick, the album includes another traditional tune and one of the definitive moments in English folk rock ‘Polly On The Shore’ alongside ’Sally Free and Easy’ and ‘Streets of Derry’. // “The music’s arcane power remains intact” Mojo // “A fantastic band” Record Collector. // “Spectacular” Uncut. // “Sublime” Shindig. // “Timeless” Prog. // “It’s these two original albums that stand as pinnacles of form” The Wire.

TRACK LISTING

A1. Soldiers Three
A2. Murdoch
A3. Streets Of Derry
A4. Sally Free And Easy
B1. Fool

B2. Adam's Toon
B3. Geordie
B4. While The Iron Is Hot
B5. Little Sadie
B6. Polly On The Shore 

Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue their debut album ‘The Garden of Jane Delawney’as a standalone release. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a subcategory in the lexicon of record dealers and music critics alike. “When we are talking about psych folk or acid folk, we are really talking about music like this by Trees” Stuart Maconie, BBC6 Music. Trees first album, ‘The Garden of Jane Delawney’ (1970) snuggles nicely into contemporary nu-folkies’ idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias’ own songs. The record includes readings of ‘Lady Margaret’, ‘Glasgerion’, the old standard ‘She Moved Thro’ The Fair’, and the extended fade of the group’s own ‘Road’, presage the explosive instrumental duelling that would come to characterise the follow up album, ‘On The Shore’.

TRACK LISTING

A1. Nothing Special
A2. The Great Silkie
A3. The Garden Of Jane Delawney
A4. Lady Margaret

B1. Glasgerion
B2. She Moved Thro' The Fair
B3. Road B4. Epitaph
B5. Snail's Lament

After an overwhelming response to the fifth anniversary edition of Cardamom Times in 2020, Weyes Blood’s (Natalie Mering) warm, elegiac early career record manifests once again in 2021 as an Indie Exclusive Edition on transparent light blue vinyl with purple and maroon splatter, only available from the artist and at independent retail worldwide. The reimagined cover art for Cardamom Times transports the viewer to a desolate, urban paradise during sunset — Jamaica Bay in Queens, New York. A couple is laying on the ground, caught in a comfort beyond time while surrounded by a rusting reality. Since the EP’s release, Weyes Blood’s Front Row Seat to Earth (Mexican Summer, 2016) and Titanic Rising (Sub Pop, 2019) were both named Best New Albums by Pitchfork, with the latter making multiple Best Albums of 2019 lists, including The Guardian, Pitchfork, and The Independent.

Different from these elaborate albums, Cardamom Times was recorded onto reel-to-reel tape at Mering’s home studio in Rockaway Beach, New York. The songs of Cardamom Times demonstrate Mering’s reverence of devotional music and the avant-garde, channeling the domestic hymns of Sybille Baer through the lens of Baltimore’s experimental DIY scene; the minimal, melodic drones of Terry Riley accompanied by the voices of the Sacre Coeur; the confrontational words of Anaïs Nin along with the warm embrace of St. Augustine. With Cardamom Times, Mering invites listeners into that space of love and longing, struggle and change, surrounded by the decay of time that perpetually embraces us.

TRACK LISTING

A1. Maybe Love
A2. Take You There
B1. Cardamom
B2. In The Beginning

Future archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. It’s no exaggeration to say that the group changed the course of music in the ‘80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic. Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Run was, at one time, a DJ known as “Son of Kurtis Blow”) and Blow’s bassist and burgeoning super-producer Larry Smith, the trio – Joseph “Run” Simmons, Darryl “DMC” McDaniels and Jason “Jam Master Jay” Mizell – learned from the best, but created their own path. 1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, “Sucker M.C.s (Krush-Groove 1)” was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkers and music aficionados around the world by storm.

The song’s lyrics are a mandatory memorization assignment to this day by MCs learning their craft. “Two years ago, a friend of mine…” The group’s sound, which was laid out muscularly on Run-DMC, had a harder approach than their peers, thanks to producer Larry Smith’s use of live musicians who laid down grooves but didn’t soften the edges. Lyrically the group wasn’t just about brags either, with songs like “Hard Times,” “It’s Like That” and “Wake Up” (the first two were singles). Run’s and DMC’s overlapping tag-team approach to lyricism was powerful and immensely influential. “Rock Box,” another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their first worldwide smash, 1985’s “King Of Rock.” Jam Master Jay’s DJ work was stellar, knowing exactly when to jump in and put listeners’ ears in a headlock. The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started – their next two LPs would take them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it’s a classic that still sounds fresh today as it did more than 30 years ago. 

TRACK LISTING

A1. Hard Times
A2. Rock Box
A3. Jam-Master Jay
A4. Hollis Crew (Krush-Groove 2)
A5. Sucker M.C.'s (Krush-Groove 1)

B1. It's Like That
B2. Wake Up
B3. 30 Days
B4. Jay's Game

Repressed On translucent blue vinyl! Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game – Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic – chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D[MX] – get lost in their crates. For starters, the album’s first single, “Run’s House” b/w “Beats To The Rhyme” is arguably the most powerful one-two punch of the trio’s career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world’s best DJs, flexing the pinnacle of what would be called “turntablism” a decade later. Both songs show a musical telepathy between all three that has rarely been equaled.

The second single, “Mary, Mary,” driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like “Walk This Way,” the song wasn’t just bubblegum – there was an edge to it, and the lyrical gymnastics were very real. It wasn’t selling out, it was allowing fans to buy in. “Papa Crazy,” driven in concept and by a sample from the Temptations’ “Papa Was A Rolling Stone,” followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group’s first three LPs. It’s easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like “Radio Station” they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. “Tougher Than Leather” reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And “They Call Us Run-DMC” and “Soul To Rock And Roll” both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the ‘80s output of one of the decade’s most important groups. It encompasses the full range of the trio’s capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay!

TRACK LISTING

A1. Run's House
A2. Mary, Mary
A3. They Call Us Run DMC
A4. Beats To The Rhyme
A5. Radio Station
A6. Papa Crazy

B1. Tougher Than Leather
B2. I'm Not Going Out Like That
B3. How'd Ya Do It Dee
B4. Miss Elaine
B5. Soul To Rock And Roll
B6. Ragtime

The Magnetic North is made up of Erland Cooper, Hannah Peel and Simon Tong.

‘Orkney: Symphony Of The Magnetic North’ was inspired by a dream of Erland’s, in which he was visited by Betty Corrigall, an Orcadian girl who in the 1770s committed suicide having been outcast from her village for falling pregnant out of wedlock. The resulting long player, recorded in various locations across the Orkney Islands, is a collection of beautiful, evocative songs, at times reminiscent of Nancy & Lee, at others King Creosote & Jon Hopkins.

TRACK LISTING

1. Stromness
2. Bay Of Skaill
3. Hi Life
4. Betty Corrigall
5. Warbeth
6. Rackwick
7. Old Man Of Hoy
8. Nethertons Teeth
9. Ward Hill
10. The Black Craig
11. Orphir
12. Yesnaby

The long awaited re-press of the debut album by Junip, the Swedish folk-rock band featuring José González, is finally here.

Now on coloured vinyl!

TRACK LISTING

1. In Every Direction
2. Always
3. Rope & Summit
4. Without You
5. It's Alright
6. Howl
7. Sweet & Bitter
8. Don't Let It Pass
9. Off Point
10. To The Grain
11. Tide

The long awaited re-press of sophomore album by Junip, the Swedish folk-rock band featuring José González, is finally here.

Now on coloured vinyl!

TRACK LISTING

1. Line Of Fire
2. Suddenly
3. So Clear
4. Your Life Your Call
5. Villain
6. Walking Lightly
7. Head First
8. Baton
9. Beginnings
10. After All Is Said And Done

For their debut release, LA-based collective Discostan unearth "Disco Se Aagay", a lost Urdu new wave gem from 1984, lavishly restored and given all the shine it deserves. Influenced by the likes of Depeche Mode and Human League as well as the luminous disco of subcontinental icons like Nazia Hasan, musical ingenues 14-year-old Nermin and her 19-year-old brother Feisal created a new wave masterpiece with an unexpected twist — Urdu-language lyrics and Hindustani melodic scales.

“Disco Se Aagay” - literally “Beyond Disco” - is an unexpectedly perfect storm of two unlikely sources: the visionary sound of the British new wave seamlessly interwoven with the Pakistani musical heritage of its teenage dreamers, Nermin Niazi and Feisal Mosleh.
Recorded over the course of a summer school holiday in 1984 at the storied Zella Studios, the album was produced by the legendary Oriental Star Agencies record label in Birmingham. Feisal's fearless drum machine programming rivals Jellybean's early freestyle influence on Madonna's debut, while his sparkling synths and moody bass grooves showcase his Pakistani and British heritage respectively. Despite her youth, Nermin imbues her crystalline vocals with emotion and soul, especially on the emotive "Chala Hai Akela" and synth pop ballad "Sari Sari Raat" (a must-listen for fans of Italians Do It Better). There are hits throughout, and the disco DJs will be hammering "Dekha Jab Se Dekha", "Hum Tum" and "Taron Bhara" once clubs re-open.
Released in partnership with the artists, the remastered album has been pressed on a limited vinyl run for a new generation of listeners. Each album comes with a download code.

STAFF COMMENTS

says: If my grammar fails me at any point during this comment, please bear in mind I'm still trying to collect my blown-mind into a functioning organ. This INSANE dig from Discostan is the work of two teenage siblings from Birmingham, who hit the studio in 1984 to create an album which paid homage to their Pakistani heritage as well as the UK synth sounds and US pop they heard on the radio every day. The result is a full on masterpiece of Urdu disco, and a very early contender for reissue of the year.

TRACK LISTING

Dekha Jab Se Dekha
Hum Tum
Nainan
Chala Hai Akela
Sari Sari Raat
Taron Bhara
Nazneen 
Intezar
Dil Mein Dil Mein
Sari Sari Raat (Reprise)

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.

TRACK LISTING

The Genesis
NY State Of Mind
Life's A Bitch
The World Is Yours
Halftime
Memory Lane (Sittin' In Da Park)
One Love
One Time 4 Your Mind
Represent
It Ain't Hard To Tell

Recorded at Lovelite Studios in Berlin during November 2008 with further sessions in Finland and Paris, the Tenor / Allen collaboration whipped up a raw, heavy analogue sound mixing the full range of Allen’s Afrobeat repertoire with Tenor’s off-kilter brew of dark humour, tongue-in-cheek lyrics and tight, firing musicianship. The sessions involved key members of Tenor’s Kabu Kabu band and Berlin-based guest MC Allonymous with tracks evolving naturally from jamming ideas together over five intense days of recording, fuelled by plenty of African food and whisky. Tenor’s trademark range of home-made instruments rubbed shoulders with vintage keyboards and traditional African percussion. The resulting set became one of the best recordings that both artists produced during this period. Tracks range from Jimi’s S&M tableau, ‘Darker Side of Night’ to the apocalyptic commentary on our times, ‘Path To Wisdom’ and the hilarious lampooning of the UK immigration system, ‘Mama England’, composed on the Tenor tour bus. The album also featured fusions based around more traditional low-slung Afrobeat structures (‘Sinuhe’, ‘Got My Egusi’) and ended with the epic freestyle juggernaut, ‘Three Continents’, a life affirming, mesmeric groove built around another rough-as-nails Allenko rhythm base. 'Inspiration Information: Jimi Tenor / Tony Allen' is re-released on 22nd February 2021 and is dedicated to the memory of the great, incomparable Tony Allen.

TRACK LISTING

A1. Against The Wall (Feat. Allonymous)
A2. Sinuhe
A3. Selfish Gene
B1. Darker Side Of Light
B2. Got My Egusi
C1. Path To Wisdom (Feat. Allonymous)
C2. Cella’S Walk
C3. Mama England
D1. Three Continents

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.

TRACK LISTING

A1. The Fix (03:18)
A2. What’s Cooking (03:51)
A3. Cut To Music (04:44)
A4. Man Alive (02:58)
A5. Funky Footage (02:40)
B1. Breezin’ (03:16)
B2. Good Vibrations (04:39)
B3. Sun Goddess (05:20)
B4. Love Deluxe (04:36)
B5. Snake Hips (03:42)

Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. Unsurprisingly it’s one of the most sought-after records from the Themes catalogue.

This library LP is a library in itself, with its mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Trust us when we say that this is a box full of percussion firework ready to be thrown onto the dancefloor at the just right moment. We don’t have anywhere near enough space to describe all 34 tracks (there isn’t even enough room on the labels to list them all!) so we’ll pick out some favourites.

Favourites like opener “Impulsion”, a percussive masterclass with drum upon drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja’s eternal The Now Generation LP. And the dramatic “Fast Action” is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. “The Chaser” is classic library cop-funk with dilapidated drum figures, and the outrageously funky “Heat On” is the perfect accompaniment to your wild action sequences.

A real highlight is “Runaway”, and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. “Percussion Power” is an extended, near-three minute suite of funky drum solo after funky drum solo that just aches to be looped: open drums to die for people! “Shivers” is a tense, apprehensive underscore with shock stabs that builds to a climax whilst “Drums On Parade” is a showcase of head-nod drums and cymbals in march time. Did someone say “funky”?

Side B starts with a stroll down “Samba Street”. With the noise of the crowd in the background, this is riotous, authentically drawn samba that sounds like it’s been beamed straight in from Rio in full flow. Drop this at midnight and watch the cobwebs fly off any dancefloor. Prefer it without the fake crowd? “Samba Street (b)” has you covered.

The simple, innocent “Child’s Themes” (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of “Tropical Peace” only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells.

Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. The Themes series is known for each record having its own particularly striking sleeve, which was unusual for library records at the time, and Percussion Spectrums’s multi-coloured drumsticks make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Percussion Spectrum comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. As usual Richard Robinson has taken the same care with restoring the original sleeve from archive scans. This is another one ticked off the list of library records that should be out there for anyone who wants a copy.

TRACK LISTING

A1. Impulsion (3:06)
A2. Tension Build (0:31)
A3. Fast Action (2:29)
A4. The Chaser (1:59)
A5. Heat On (1:05)
A6. Runaway (2:04)
A7. Power Source (0:33)
A8. Percussion Power (2:53)
A9. Shivers (3:08)
A10. Gathering Storm (2:15)
A11. Drums On Parade (2:18)
B1. Samba Street (A) (3:04)
B2. Samba Street (B) (3:04)
B3. Child's Theme (A) (1:12)
B4. Child's Theme (B) (0:40)
B5. Child's Theme (C) (1:05)
B6. Child's Theme (D) (1:25)
B7. Child's Theme (E) (1:24)
B8. Spanner In The Works (2:19)
B9. Tropical Peace (1:48)
B10. Clippity Clop (1:18)
B11. Red Indian Drums (0:36)
B12. Fairy Wand (A) (0:09)
B13. Fairy Wand (B) (0:11)
B14. Fairy Wand (C) (0:11)
B15. Snare Drum Roll (A) (0:14)
B16. Snare Drum Roll (B) (0:09)
B17. Timpani (A) (0:25)
B18. Timpani (B) (0:05)
B19. Timpani (C) (0:06)
B20. Vibraphone (A) (0:09)
B21. Vibraphone (B) (0:10)
B22. Bell Chimes (0:28)
B23. Clock Chimes (0:36)

Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of 'Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985'. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic’s most ambitious and historically significant project in the label’s 12-year journey.

Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You’ll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You’ll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony.

The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin “Sipreano” Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface.

With cooperation and guidance from the artists, producers, family members, and behind the scenes players, Native North America (Vol. 1) sheds real light on the painful struggles and deep traditions of the greater Indigenous community and the significance of its music. The songs speak of joy and spirituality, but also tell of real tragedy and strife, like that of Algonquin/Mohawk artist Willy Mitchell, whose music career was sparked by a bullet to the head from the gun of a trigger-happy police officer, or those of Inuk singer-songwriter Willie Thrasher, who was robbed of his family and traditional Inuit culture by the residential school system.

Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it’s bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. Dedicated to legendary Métis singer-songwriter and poet Willie Dunn, featured on the anthology but who sadly passed away during its making, Native North America (Vol. 1) is only the beginning. A companion set featuring a crucial selection of folk, rock, and country from the United States’ Lower 48 and Mexico is currently in production.

TRACK LISTING

1. Willie Dunn – I Pity The Country
2. John Angaiak – I'll Rock You To The Rhythm Of The Ocean
3. Sugluk – Fall Away
4. Sikumiut – Sikumiut
5. Willie Thrasher – Spirit Child
6. Willy Mitchell – Call Of The Moose
7. Lloyd Cheechoo – James Bay
8. Alexis Utatnaq – Maqaivvigivalauqtavut
9. Brian Davey – Dreams Of Ways
10. Morley Loon – N'Doheeno
11. Peter Frank – Little Feather
12. Ernest Monias – Tormented Soul
13. Eric Landry – Out Of The Blue
14. David Campbell – Sky-Man And The Moon
15. Willie Dunn – Son Of The Sun
16. Shingoose (poetry By Duke Redbird) – Silver River
17. Willy Mitchell And Desert River Band – Kill'n Your Mind
18. Philippe McKenzie – Mistashipu
19. Willie Thrasher – Old Man Carver
20. Lloyd Cheechoo – Winds Of Change
21. The Chieftones (Canada’s All Indian Band) – I Shouldn't Have Did What I Done
22. Sugluk – I Didn't Know
23. Lawrence Martin – I Got My Music
24. Gordon Dick – Siwash Rock
25. Willy Mitchell And Desert River Band – Birchbark Letter
26. William Tagoona – Anaanaga
27. Leland Bell – Messenger
28. Saddle Lake Drifting Cowboys – Modern Rock
29. Willie Thrasher – We Got To Take You Higher
30. Sikumiut – Utirumavunga
31. Sugluk – Ajuinnarasuarsunga
32. John Angaiak – Hey, Hey, Hey, Brother
33. Groupe Folklorique Montagnais – Tshekuan Mak Tshetutamak
34. Willie Dunn (featuring Jerry Saddleback) – Peruvian Dream

Revelation of the 1st MIDEM in January 1967 with its title « 7h du mat » labelled a « sixties jewel » by Rock & Folk or little gem by La Voix du Nord while Juke Box sees this track as a « 60s classic »… A must, appreciated by all true connoisseurs - no female French rock compilation is complete without her. 

Jacqueline Taïeb is a comet, whose songs come back regularly without a wrinkle, every bit as modern.

TRACK LISTING

SIDE 1
1.7 Heure Du Mat
2. Le Printemps à Paris
3.Qu'est Ce Qu'on Se Marre (à La Fac De Lettres)
4.Le Coeur Au Bout Des Doigts
5.La Première à Gauche

SIDE 2
1.Bientôt Tu L'Oublieras
2.Bienvenue Au Pays
3.La Plus Belle Chanson
4.Maman Jusqu'où Tu M'aimes
5.On Roule A 160
6.7 AM

That Japan’s breakthrough record Quiet Life was released in both 1979 and 1980 is uniquely fitting for a band who were about to step out of the glam rock, post punk shadows of the late 70s and deliver an as yet genre-less record that would come to define the 80s.

Quiet Life was the third, final and most successful release on the Hansa Records label. A forerunner for the alternative/new wave sound of the new decade, the album would become one of the great classic British albums.

The record is now the subject of a major new reissue featuring a brand new Abbey Road half-speed remaster of the original album, alt mixes, b-sides, singles, rarities and live material – including the sought after ‘lost’ Live at Budokan show from March 1980 previously only available as the 4 track EP ‘Live in Japan’.

We are working directly with original band members Steve Jansen and Rob Dean, producer John Punter and with consultant advice from band biographer Anthony Reynolds and the Japanese Shinko archive.

The release features newly restored original album artwork, new liner notes with contributions from band members and original producer, rare and unseen photography and memorabilia.

TRACK LISTING

Quiet Life (2020 Remaster)
Fall In Love With Me (2020 Remaster)
Despair (2020 Remaster)
In Vogue (2020 Remaster)
Halloween (2020 Remaster)
All Tomorrows Parties (2020 Remaster)
Alien (2020 Remaster)
The Other Side Of Life (2020 Remaster)

The artwork sleeve is reverse board black - and includes the 'London' poem written by Arlo Parks. Artwork sleeve both front and back created by Arlo Parks.

Includes Sophie.”Sophie' is a song about "crumbling under expectations and feeling helpless, but with a persistent, quiet sense of hope underpinning it”. True to form, it's a melodic and beautifully articulated sonnet, cementing the notion that she is overwhelmingly considered the majestic voice of Generation Z. 

TRACK LISTING

Cola
Super Sad Generation
Sophie
Romantic Garbage
I Like.
Second Guessing
George
Angel's Song
Paperbacks
London Poem

“Di Doo Dah” is the first true solo album from British born actress, model, singer, mother, and French national treasure, Jane Birkin. Emerging as a creative and beatific force in London’s Swinging 60s, she met Parisian provocateur Serge Gainsbourg in 1968 on the film set of Slogan and birthed one of the most fantastic creative collaborations the world has ever known. After the 1969 duet album “Je T’Aime… Moi Non Plus” (LITA048) and the landmark “L’Histoire De Melody Nelson” (LITA040) Jane was ready for her own namesake debut. “Di Doo Dah” sees Birkin, Gainsbourg, and co-conspirator Jean-Claude Vannier (“L’Enfant Assassin Des Mouches”) meld Jane’s fragile vocals with jazz, rock, and lush orchestral textures: a perfect album for living and loving.

Light In The Attic’s definitive version of “Di Doo Dah” is available for the first time on 180-gram vinyl, with original artwork, unseen photographs, and extensive liner notes by renowned music journalist Andy Beta (Spin, The FADER). With full cooperation and insight from Birkin herself – not to mention French lyrics and English translations – this reissue truly allows listeners to delve into the album’s witty and frank world of sex, sin, voyeurism, motorcycles, Brighton, and banana boats. So what exactly does Di Doo Dah mean? “Nothing at all!” replied Birkin in a BBC interview from 1973. But this album is far from a throwaway, showing a maturity and musical understanding from all parties involved.

By the early 70s, this lady was already a mother and very much aware of traditional gender roles as well as the sexual revolution – clearly able to plumb the necessary emotional depths required to translate Serge’s madcap lyrics and songs. It is true that in Birkin, Serge had finally found his match and most transcendent muse. And although the couple eventually went their separate ways, they left us all whistling much more than “Zipp-a-Dee-Doo-Dah” in the process.

TRACK LISTING

1 Di Doo Dah
2 Help Cammionneur!
3 Encore Lui
4 Puisque Je Te Le Dis
5 Les Capotes Anglaises
6 Leur Plaisir Sans Moi
7 Mon Amour Baiser
8 Banana Boat
9 Kawasaki
10 La Cible Qui Bouge
11 La Baigneuse De Brighton
12 C'est La Vie Qui Veut Ca
13 La Decadanse
14 Les Langues De Chat

Mute / BMG announce the long-awaited vinyl reissue of Goldfrapp’s fourth album, Seventh Tree. Out on 5 March 2021, this is one of a series of Goldfrapp vinyl releases on special edition coloured vinyl.

Originally released in February 2008, Seventh Tree has been out of print for many years and will be reissued here as a yellow vinyl pressing in a gatefold sleeve, with an exclusive art print of the original artwork.

Featuring the singles ‘A&E’, ’Happiness’, ‘Caravan Girl’ and ‘Clowns’, the album was written by Alison Goldfrapp and Will Gregory and recorded at their own studio deep in the English countryside.

Seventh Tree followed the glitterball glamour of platinum-selling album, Supernature (2005), and is very much its sensual counterpoint. Where its predecessor came cocooned in style and sex, Seventh Tree emerges gilded in the butterfly colours of an English surrealism. It shimmers and shines with the warmth of a hazy summer, an electric whirlpool of sound over which Alison’s glistening voice soars.

Alison Goldfrapp described the album as “English romanticism with a hint of California sunshine.” while Will Gregory called it “heartache dressed in ten louche outfit”’.

Propeller was the fifth album by Guided By Voices, and was intended to be the group’s last. Released as a limited edition of 500 LPs in 1992, the album featured handmade covers and blank labels to keep expenses as low as possible. Their other albums hadn’t sold much, why would this one? Robert Pollard had a family to support and his musical aspirations had not exactly been a boon to their bank account.

As fate would have it, the band wound up releasing an album chock full of gems Pollard had stockpiled, and for the first time sounded distinctly like the band that fans have since come to love. Propeller also marks the return of Tobin Sprout to the GBV fold, along with an increased songwriting presence. From anthem-to-be “Over the Neptune” to the effortless melodies of closer “On the Tundra,” Propeller is a hell of a ride, and remains one of the most important albums in the band’s discography. The vinyl edition has been out of print for a decade, and features different cover art than previous pressings. The CD edition has been out of print for a minute as well, and is now housed in digipak format, also with a new, unique cover from one of the original pressings.

TRACK LISTING

1. Over The Neptune / Mesh Gear Fox
2. Weedking
3. Particular Damaged
4. Quality Of Armor
5. Metal Mothers
6. Lethargy
7. Unleashed! The Large-Hearted Boy
8. Red Gas Circle
9. Exit Flagger
10. 14 Cheerleader Coldfront
11. Back To Saturn X Radio Report
12. Ergo Space Pig
13. Some Drilling Implied
14. On The Tundra

"We can’t think of many artists that have had as diverse a career and who have been involved in as many different genres of music as Asha Puthli. A musical pioneer who forged a path through 60’s psych, free-jazz, pop, rock, disco, and more.

Asha’s 1976 album ‘The Devil Is Loose’ is maybe her most well-known record. Featuring the beautiful disco-funk-classic ‘Space Talk’, Asha’s ethereal soaring vocals take us on a journey that almost mirrors Asha’s eclectic career. The track was championed by a wide-range of musical scenes and movements, and over space and time it has been commandeered as their own.

Y ou would hear it played by David Mancuso at the now ‘mythical’ underground New York party ‘The Loft’, in the most discerning disco nightclubs across the globe, in the Rare Groove scene, and also being sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde. The appeal and lifespan of ‘Space Talk’ keeps on extending and morphing as new audiences gleefully discover it for the first time - it still sounds as relevant and fresh on the dancefloor today - a sign of a true classic.

Here at Mr Bongo we are thrilled to be releasing records by such an iconic musical maverick as Asha, from her roots in India to becoming a globe-trotting artist with a celebrated career in music and acting, whilst always staying true to her art. She has blazed a trail so that others could follow. Whether you are buying this album as a replacement for your worn-out original copy or it’s the first time you’ve heard of Asha Puthli and you’re just intrigued and drawn in by the cover, we hope you enjoy this quintessential slice of Asha’s world."

TRACK LISTING

Flying Fish
The Devil Is Loose
Hello Everyone
Wonder Why
My Buddy And Me
Say Yes
Space Talk
Our Love Is Making Me Sing
Good Night

This first Bureau B retrospective devoted to Die Welttraumforscher covers the Swiss project's early creative period from 1981 to 1990. The eccentric, heartwarming pop songs now sound like documents from a parallel world, interwoven with idiosyncratic fantasy, surreal stories and dreamlike apparitions. Considering their continuous and prolific output over the past four decades, it is quite remarkable how Die Welttraumforscher have remained under the radar for so long - that said, their cadre of admirers includes such illustrious artists as Mouse On Mars, Barbara Morgenstern and Felix Kubin. 

The second collection sees Bureau B zoom in on the years 1992 to 2012 in the Welttraumforscher universe. A more pensive atmosphere of melancholy pervades the tracks documented herein, as if the more spherical musical journeys and expeditions undertaken by creator and sole member Christian Pfluger lead to increasingly enchanted worlds. It may be possible to trace pop-cultural references to artists like Andreas Dorau or The Residents, and yet the Welttraumforscher's music has a life all of its own which appears increasingly sui generis with every album. 

Karen Dalton was a remote, elusive creature. A hybrid of tough and tender with an unearthly voice that seemed to embody a time long past. As is often the case with such fragile beings, she instinctively understood that the only way to survive the harshness of the world around her, was to keep herself hidden. So it comes as no great surprise that she rarely sang in public or ventured into the unnatural setting of a recording studio. Only twice, for 1969’s It’s So Hard To Tell Who’s Going To Love You The Best and then again for 1971’s In My Own Time, was she coaxed from her habitat into the studio. Other times she made music in casual settings, sitting around a kitchen table or wood burning stove with her friends, singing and playing until daybreak. In 1966, Carl Baron brought his reel to reel over to her remote cabin in Summerville, Colorado and recorded one of those exquisite musical evenings. Karen and Richard Tucker were rehearsing for a gig when Carl hit the “Record” button. The result is a 45-year-old tape, carefully exhumed, documenting Karen at her most raw and unfiltered. On it are Fred Neil and Tim Hardin songs we’ve never heard Karen give voice to before, as well as traditional songs she uncannily makes her own, including a devastating version of ‘Katie Cruel’, that is so powerful, it is as if the ghost of Katie Cruel seeped into her blood. This recording is a window to her Summerville cabin opened, allowing us to eavesdrop on Karen Dalton at her most pure and unaffected.

TRACK LISTING

1. Reason To Believe
2. Katie Cruel
3. Cotton Eyed Joe
4. Green Rocky Road
5. Don't Make Promises
6. Other Side To This Life
7. God Bless The Child
8. Little Bit Of Rain
9. While You're On Your Way
10. 2:19 Train
11. Misery Blues 
12. Mole In The Ground 
13. Shiloh Town 
14. Hallelujah

Reissue on vinyl of the fifth PJ Harvey studio album Stories From The City, Stories From The Sea. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in November 2000, Stories From The City, Stories From The Sea features the singles ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’ and includes a duet with Radiohead’s Thom Yorke on ‘This Mess We’re In’. The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

TRACK LISTING

Side A

Big Exit
Good Fortune
A Place Called Home
One Line
Beautiful Feeling
The Whores Hustle And The Hustlers Whore

Side B

This Mess We’re In
You Said Something
Kamikaze
This Is Love
Horses In My Dreams
We Float

Collection of unreleased demos of every track written for the fifth PJ Harvey studio album Stories From The City, Stories From The Sea, including demos of ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator Head. Features brand new artwork with previously unseen photos by Maria Mochnacz.

TRACK LISTING

Side A
Big Exit - Demo
Good Fortune - Demo
A Place Called Home - Demo
One Line - Demo
Beautiful Feeling - Demo
The Whores Hustle And The Hustlers Whore - Demo

Side B
This Mess We’re In - Demo
You Said Something - Demo
Kamikaze - Demo
This Is Love - Demo
Horses In My Dreams - Demo
We Float - Demo

Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.

For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP "Malende". Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.

The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

STAFF COMMENTS

says: La Casa Tropical save you some serious haggling on the Tropical Record Sales group, lending PVP's butter smooth and soulful fourth album the reissue treatment. Varying speed between the low slung groove of kwaito and steady stomp of more traditional house, this energetic set combines the exuberant SA sound with superior songwriting, rightfully earning its place at the top of the collectors' wantlists.

TRACK LISTING

A1. Malende
A2. Singapore
A3. Si Ya Jola
A4. Go Tsofala O Ratang
B1. Tshilidzi
B2. Somebody To Love
B3. Uli Bambe Lingashoni
B4. Go Down

New label on the block Raakvlak returns for its second release, this time branching out into more local territories. Deze Hoofden Praten is a vast recollection of the idiosyncratic work of spoken-word guru Rik van Boeckel.

Next in line for Raakvlak is a recollection of the wicked work of poet, spoken-word expert and all-round expressionist Rik van Boeckel. Deze Hoofden Praten is the result of two mid- eighties tapes released on Kubus Cassettes, the same label that accommodated the work of the mind- stretching ambient of subterranean-chill pioneer Enno Velthuys. Although van Boeckel’s oeuvre contains some similar elements, the outcome here is much wilder; a musical hodgepodge of new wave pop, ambient and quirky dub. What’s more, emphasis is just as much on the Dada- bordering poetry at present as on the sonical equivalent. Think Ton Lebbink’s cousin if he would’ve been into new age instead of punk. Certainly one to turn heads and ears alike, this may serve as a (re-)introduction of a singular mind to the wider universe.

STAFF COMMENTS

says: After turning us on with the kosmische grooves of that Overflow reissue for their first release, Raakvlak are back with more archival excellence, combining a couple of mid-80s cassettes from Rik Van Boeckel. Operating in dada-ist mode, Rik stiches spoken word vocals over experimental compositions which drift between dub, wave and C86 guitars.

TRACK LISTING

Ijsvallei
De Crisis
Strandscene
Dub In Dub Uit
Parijs
De Trein
De Sfinx
Een Lachend Lustige Melodia
Deze Hoofden Praten

Originally released in 1971, this classic album was the second studio album from American singer-songwriter Carole King. It is the 81st best selling album of all time, with over 10 million copies sold.

Ranked by 'Rolling Stone' as no.25 on the list of the Top 500 greatest albums of all time. 

Celebrating its 20th anniversary in 2021, The National’s self-titled debut album of sozzled Americana is a thing of beauty, laden with heavy hints that this was a special band in the making.

Their first release, The National arrived two years after The National formed, a time when they were juggling bandlife with needing to hold down full-time jobs. And while nods to the alt. rock artists that inspired them (Pavement, Silver Jews) can be heard, so too are the beginnings of something all their own – Matt Berninger’s stunning and unexpected lyrics being pinned to melodies that stop you in your tracks.

The National marks the start point for one of the best bands of their generation with its new master helping elevate it to new levels. A great primer to a great band.

Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

TRACK LISTING

1. / A1. Beautiful Head
2. / A2. Cold Girl Fever
3. / A3. The Perfect Song
4. / A4. American Mary
5. / A5. Son
6. / A6. Pay For Me
7. / B1. Bitters & Absolut
8. / B2. John’s Star
9. / B3. Watching You Well
10. / B4. Theory Of The Crows
11. / B5. 29 Years
12. / B6. Anna Freud

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure.

With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-effacing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.”

No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

TRACK LISTING

1. / A1. Cardinal Song
2. / A2. Slipping Husband
3. / A3. 90-Mile Water Wall
4. / A4. It Never Happened
5. / A5. Murder Me Rachael
6. / B1. Thirsty
7. / B2. Available
8. / B3. Sugar Wife
9. / B4. Trophy Wife
10. / B5. Fashion Coat
11. / B6. Patterns Of Fairytales
12. / B7. Lucky You

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to its collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a firm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World.

Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

TRACK LISTING

1. / A1. Wasp Nest
2. / A2. All The Wine
3. / A3. All Dolled-Up In Straps
4. / A4. Cherry Tree
5. / B1. About Today
6. / B2. Murder Me Rachael (Live)
7. / B3. Reasonable Man (I Don’t Mind)

Black vinyl pressing of the now sold out RSD 2020 reissue.

The Amorphous Androgynous unite their award winning psychedelic compilation series 'A Monstrous Psychedelic Bubble (Exploding In Your Mind)' with their symphonic new single 'We Persuade Ourselves We Are Immortal' (taken from the forthcoming album 'Listening Beyond The Head Chakra') to create this latest installment of the Monstrous Psychedelic Bubble series. Featuring a host of luminaries such as Peter Hammill -vocals (Van Der Graaf Generator), Paul Weller -piano and guitar and erstwhile members of the Spencer Davis Group / Ian Gillan Band And Soft Machine on lead guitar and sax among a plethora of other musicians (including the Chesterfield Philharmonic choir and a full string section!) alongside collaboration & remixes with a host of bands (Atomic Simao / Higher Peaks / Regal Worm / Cobalt Chapel plus others) to create one helluva progtronic psychedelic trip through the Amorphous Androgynous samplerdelic multiverse.

TRACK LISTING

A1. Future Children - The Lutine Bell
A2. Regal Worm Vs The Amorphous & Dodginess - Gunter & His Evil Soul Sacrifice Orchestra Play Black Mass A Gogo
A3. Cobalt Chapel - Hymortality (part 1) 
A4. The Amorphous Androgynous - Physically I'm Here, Mentally Far, Far Away (Excerpt)
A5. Higher Peaks - In Madness Reigns 
A6. Cobalt Chapel - Hymortality (part 2) 
A7. Las Trompas De Falopium - Somos Inmortales Nos Persuadimosi 
B1. Stoned Freshwaters - Everything Is Easy With A Little Persuasion
B2. Atomic Simao - Gravity Bong
B3. Richard E Further Out - Our Dominion
B4. Steve Cobby's Sweet Jesus - The Persuader
B5. The Amorphous Androgynous - Synthony On A Theme Of Mortality (part 2)
B6. The Flying White Dots - Counting Down The Time (part 2) 
B7. The Cuckoo Clocks - Tomorrow, Time & Immortality

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. 

Gluey Porch Treatments’ is Melvins’ out-of-print 1987 album, finally available again on LP, pressed on lime green vinyl.

‘Hostile Ambient Takeover’ is the band’s 2002 album available on LP for the first time, pressed onto baby pink coloured vinyl.

Back in 2001, when Detroit exploded all over the airwaves, the Dirtbombs’ released this album.. it flew out.. and here it is again on glorious vinyl format. Mick Collins and his merry band of Dirtbombs (which, this time around, features Bantam Rooster's Tom Potter and Detroit studio wiz Jim Diamond) bring the soul on their sophomore album Ultraglide In Black, named after Ultraglide in Blue, a cool late-nite flick from your youth. All the influences that helped shaped his sonic psyche are in the forefront here - Sly & the Family Stone, Marvin Gaye, Curtis Mayfield, Stevie Wonder, Parliament, the Miracles and host of others too obscure to mention all have their presence felt. If the Temptations owned fuzz pedals and read too many comic books they might've sounded something like this. There are a lot of young bands claiming to be creating "soul" music and "testifying" (we won't name names) but this here is the authentic item - accept no substitutes. "The Dirtbombs' combination of squealing feedback-driven guitar, dual drumming and walloping bass presence rivals that of the Velvet Underground. Imagine the Velvets, Gories and Oblivians battling to the death inside a tuna fish can, their raw and ultra crude instrumentation blazing away with hell-bent fury. Led by Mick Collins (who spent time fronting the Gories and the rockabilly grunge outfit Blacktop), the Dirtbombs' distinctive Motown howl and wicked axe slingin' escapades shred like one of Dolemite's rapid-fire, X-rated monologues.… Collins executes some snarling, self-professed "cyclone" guitar riffs underneath the stomping, mummified mayhem. These Detroit cavemen have found their place in a fuzz-drenched, garage band sound reminiscent of Question Mark and the Mysterians fused with the sonic annihilation of the Stooges." -Tucson Weekly.

A reissue of Emtidi's Saat, originally released in 1972 as the 14th release on the legendary label PILZ. Producer Dieter Dierks prescribed the folk duo a good portion of cosmic electronic chords. The remaster sounds better than all issues before. An enormous amount of work was invested in it - it was worth it! Transferred from the original analog tapes. Carefully remastered by Dieter Wegner. Original release was 1972. The album a mix of Folk and German Krautrock was produced by Dieter Dierks.

Bridge over Troubled Water is the fifth and final studio album by American folk rock duo Simon & Garfunkel, an x11 trk album, released in January 1970 on Columbia Records. Following the duo's soundtrack for The Graduate, Art Garfunkel took an acting role in the film Catch-22, while Paul Simon worked on the songs, writing all tracks except Felice and Boudleaux Bryant's "Bye Bye Love" (previously a hit for the Everly Brothers). With the help of producer Roy Halee, the album followed a similar musical pattern as their Bookends LP, partly abandoning their traditional style to incorporate elements of rock, R&B, gospel, jazz, world music, pop and other genres. It was described as their "most effortless record and their most ambitious". 

Debut studio album by American rock singer Meat Loaf, as well as his first collaboration with composer Jim Steinman and producer Todd Rundgren. Originally released October 21, 1977, Its musical style is influenced by Steinman's appreciation of Richard Wagner, Phil Spector, Bruce Springsteen and The Who. Bat Out of Hell is one of the best-selling albums of all time, having sold over 43 million copies worldwide. As of June 2019, it has spent 522 weeks in the UK Albums Chart, the second longest chart run by a studio album. 

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

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

TRACK LISTING

SIDE A
Overpowered
You Know Me Better
Checkin' On Me

SIDE B
Let Me Know
Movie Star
Primitive

SIDE C
Footprints
Dear Miami
Cry Baby

SIDE D
Tell Everybody
Scarlet Ribbons
Body Language
Parallel Lives

Originally released in 2018, this gorgeous LP from Alfa Mist stands out as one of the finest jazz releases of the current generation.

Alfa Mist is considered a frontrunner in the new London jazz movement. ‘Antiphon’ was created around a conversation with his brothers, Alfa blends melancholy Jazz harmony with alternative hip-hop and soul. Beautifully mellow and soulful, this album beams with effortless grace and adding another gem to the London Jazz scene.

If you like Yussef Kamaal/ Kamaal Williams, Ezra Collective and Kamasi Washington this will be right up your street.

STAFF COMMENTS

says: This is one of the most beautiful jazz albums of the year by far, an indication of that might be that this sold out before it could reach our shelves! Alfa Mist has created a wave of inspired nu-jazz broken beat, not one to be missed.

TRACK LISTING

Keep On
Potential
Errors
Breathe
7th October
Kyoti
Nucleus
Brian

Curtis Mayfield's visionary album, a landmark creation every bit as compelling and as far-reaching in its musical and extra-musical goals as Marvin Gaye's contemporary 'What's Goin' On'. Opening on the hit "Get Down," the album soars on some of the sweetest and most eloquent - yet driving - soul sounds heard up to that time. Mayfield's growing musical ambitions, first manifested on the Curtis album, and his more sophisticated political sensibilities, presented with a lot of raw power on Curtis Live!, are pulled together here in a new, richer studio language, embodied in extended song structures ("Underground"), idealistic yet lyrically dazzling anthems ("We Got to Have Peace," "Keep On Keeping On," and, best of all, the soaring "Beautiful Brother of Mine"), and impassioned blues ("Now You're Gone"). The music is even bolder than the material on the Curtis album, with Mayfield expanding his instrumental range to the level of a veritable soul orchestra; and the recording is better realized, as Mayfield, with that album and a tour behind him, shows a degree of confidence that only a handful of soul artists of this era could have mustered.

TRACK LISTING

A1. Get Down
A2. Keep On Keeping On
A3. Underground
A4. We Got To Have Peace
B1. Beautiful Brother Of Mine
B2. Now You're Gone
B3. Love To Keep You In My Mind

Stage Fright is the third studio album by Canadian American group the Band, released on August 17, 1970. Engineered by Todd Rundgren and Glyn Johns, it features two of the group’s best-known songs, “The Shape I’m In” and “Stage Fright”, both of which showcased inspired lead vocal performances (by Richard Manuel and Rick Danko, respectively) and became staples in the group’s live shows.

TRACK LISTING

1. The W.S. Walcott Medicine Show
2. The Shape I’m In
3. Daniel And The Sacred Harp
4. Stage Fright
5. The Rumor
6. Time To Kill
7. Just Another Whistle Stop
8. All La Glory
9. Strawberry Wine
10. Sleeping

A compilation of sought-after work of an overlooked UK trio far ahead of its time, joining the dots between late ‘80s electro, glacial deep house, sci-fi techno, futuristic dance pop and EBM.

Two years after reissuing Jason Adkins’ mid-‘90s work as Electro Music Union, "Sinoesin" and "Xonox", Cold Blow has once again dipped into the producer’s archives – this time to deliver a compilation of his turn-of-the-‘90s UK techno works as part of cult Bedford-based trio Liquid Son.

Released in collaboration with fellow archival electronic music specialists Musique Pour La Danse, "Garden of Eden" gathers together tracks made and released by Liquid Son – with a little help from fellow Bedfordshire producer Tony Boninsegna (Original Clique, Return of the Living Acid) – in 1991 and ’92, as well as a previously unheard demo version of the trio’s best-known track, "Tone Float", which Adkins made in his bedroom way back in 1985.

The compilation contains a string of sought-after gems that frequently blur the boundaries between Detroit techno, early UK bleep & bass, electro, EBM and the industrial funk of Cabaret Voltaire, while also boasting the kind of slick technical polish and musical depth so often missing from British club tracks of the period.

"Garden of Eden" was restored and remastered by Thomas P. Heckmann at Trope Mastering. Album layout and design by Britt Brown (Not Not Fun Records).

STAFF COMMENTS

says: Vintage house fetishers have plenty of get excited about here as a highly overlooked slice of '85 UK electronica gets a much needed reissue. This is fuckin' great! Proggy, trippy, baggy early acid house proudly aligning itself with the Goan scene in the East. Mega!

TRACK LISTING

A1. Tonefloat
A2. Rainfall (Garden Of Eden Part 1)
A3. Big Decision
B1. Freedom We Feel
B2. Tonefloat (Remix)
B3. Tonefloat (1985 Demo)

Bailter Space’s ‘Wammo’ is back in print for the first time since the album’s release 25 years ago.

Formed in Christchurch, New Zealand in 1987 as Nelsh Bailter Space, the band’s musical family tree touches on some of the nation’s most revered weirdo luminaries - including Flying Nun mainstays like The Skeptics, The Clean and The Gordons.

Bailter Space embraced chaos but celebrated precision, finding melody amid networks of brooding noise and feedback. After relocating to New York City, the band - who by then included Alister Parker, John Halvorsen and Brent McLachlan - arrived on Matador in in time for the US release of ‘Robot World’ (1993).

‘Wammo’ was the trio’s third and final full-length with the label (their fifth album overall). At the time, music scribes were a bit puzzled by the record’s “accessibility.” In retrospect though we can recognize ‘Wammo’ for the perfectly melancholy and drone-laced brain-zap that it is.

TRACK LISTING

Untied
Splat
At Five We Drive
Zapped
Colours
Retro
Glimmer
Voltage
D Thing
Wammo

25th anniversary edition of the bands debut album Olympian • Singles include; ‘Haunted by You’, ‘Still Can’t Find the Phone’, ‘Sleep Well Tonight’ and ‘Olympian’, which reached 18 in the UK charts in 1995.11 tracks pressed on 180g heavyweight vinyl, with original artwork, printed inner sleeve 

Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

TRACK LISTING

Side A
Halfway To Paradise
1. Haunted By You
2. Your Love, It Lies
3. Truth, Rest Your Head
4. A Car That Sped
5. Left-Handed

Side B
1. London Can You Wait?
2. To The City
3. Still Can't Find The Phone
4. Sleep Well Tonight
5. Olympian
6. We'll Find Our Own Way

Original 1996 compilation by Gene acts as a fine album in it’s own right Featuring early tracks such as ; ‘For the Dead’, ‘Be My Light, Be My Guide’, early live performances from Glastonbury, Radio 1 Session and The Forum and stand out cover versions of ‘I Say A Little Prayer’ and ‘Don’t Let Me Down’ Double LP pressed on 180g Heavyweight vinyl, with original artwork and printed inner sleeve  

Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

TRACK LISTING

1. Be My Light, Be My Guide
2. Sick, Sober & Sorry
3. Her Fifteen Years
4. Haunted By You (Live - Helter Shelter 6/7/95)
5. I Can't Decide If She Really Loves Me

Side B

1. To See The Lights
2. I Can't Help Myself
3. A Car That Sped (Radio 1 Session 1/2/95)
4. For The Dead (Version)
5. Sleep Well Tonight (Live - Forum 31/3/95)

Side C

1. How Much For Love
2. London, Can You Wait? (Radio 1 Session 18/5/94)
3. I Can't Help Myself (Radio 1 Session 18/5/94)
4. Child's Body
5. Don't Let Me Down (Radio 1 Session 1/2/95)

Side D

1. I Say A Little Prayer (Live - Glastonbury 25/6/95)
2. Do You Want To Hear It From Me
3. This Is Not My Crime
4. Olympian (Live - Forum 31/3/95)
5. Child's Body (Live - Forum 31/3/95)

“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley. The alto saxophonist was a member of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breath-taking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

TRACK LISTING

A1. Autumn Leaves
A2. Love For Sale
B1. Somethin' Else
B2. One For Daddy-O
B3. Dancing In The Dark

Two monumental full-side tracks from a pair of late 70s Orchestre Poly-Rythmo albums, Unité Africane isn’t exactly a compilation, more a combination of the standouts at a time when the band was at the peak of its powers. 

Originally released in 1977, the title track is an infectious Afro-Latin workout that is interwoven with driving horn stabs by master trumpet player Tidiani Kone. Unité Africaine was recorded over the Nigerian border at the state-of-the-art EMI Studios in Lagos, yielding majestic sonic results. 

Mede Ma Gnin Messe is taken from the 1978 Special 30 Novembre, and this time Poly-Rythmo wore their Afro-funk hat to deliver almost sixteen minutes of dancefloor fire. Propelled by Poly-Rythmo’s super-tight beats and underpinned by a relentless keyboard refrain, the magic is the stellar horn parts that take this track to another level. 

As with much of the Albarika catalogue, copies of the original LPs are incredibly tough to locate in anything approaching reasonable condition, so this should be a gift.

TRACK LISTING

1. Unite Africaine
2. Mede Ma Gnin Messe

An F-bomb saturated hip-hop call & response club cut...from Sun Ra?! While the most renown track in this omniversal opus is the atomic expletive-filled repartee ‘Nuclear War,’ there is so much more to this dark mysterious journey through the mind of Sun Ra.

The sprawling, suite-like 20-minute title track sustains a lyrical edge in spite of an open framework and textures, which encourage sonorities to surface and emerge from the band as if there was no human intention behind them. In opposition to ‘Nuclear War,’ Ra’s organ playing here was built less on bombast and sonic terror than it is on whispers, stutters, shivers, and swells.

Fireside Chat offers a wide stylistic array, as was the artist’s intent, reflecting his eclectic, seemingly irreconcilable approach to compositional extremes. With Sun Ra you get everything... except predictability.

First ever reissue of this iconic album!

TRACK LISTING

Nuclear War
Retrospect
Makeup
A Fireside Chat With Lucifer

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon.

TRACK LISTING

Semicircle
Kodama
Smoke And Mirrors
Streets Of Calcutta
Hem
White Moon

Originally released on CD in 1999, M. Ward’s debut is a sparse, mostly live affair recorded with pal and engineer Adam Selzer of Norfolk & Western at Type Foundry Studio in Portland, OR.

Listeners who are already accustomed to Ward’s breathy, conversational vocal delivery and soft-picked, West Coast Americana melodies will find much to love here. Duet for Guitars #2 is peppered with instrumentals in the John Fahey and Bad Timing-era Jim O’Rourke vein, and Ward’s lackadaisical picking sounds just as lazily precise here as it does on future recordings.

There’s a real warmth to the sessions that transcends the often bare-bones production. For the most part, it sound like most takes were done live with two microphones, with the occasional overdub, and that style suits Ward’s dreamy tales of molasses-slow teenage summers (\Beautiful Car\”) and oddball parables like “”Fishing Boat Song.”” It’s also interesting to hear him shedding the inflections of some of his more obvious heroes like Neil Young (“”Who May Be Lazy””) and Bob Dylan (“”It Won’t Happen Twice””). This limited edition is an indie record store exclusive and pressed on clear vinyl!”

TRACK LISTING

Duet For Guitars #2
Beautiful Car
Fishing Boat Song
Scene From #12
Good News
The Crooked Spine
Look Me Over
Who May Be Lazy
It Won’t Happen Twice
He Asked Me To Be A Snake And Live Underground
Song From Debby’s Strairs 
It Was A Beautiful Car
Were You There?
Not A Gang
Duet For Guitars #1

"Flight of the Behemoth" is the third album by sunn O))).

The band collaborated with legendary Japanese noise artist Merzbow, who mixed tracks 3 and 4. The first ever use of a drum machine on a sunn O))) track is heard on "F.W.T.B.T.", a deconstructive interpretation of Metallica's "For Whom the Bell Tolls”.

This punisher also features the first ever vocals heard as evoked from the band themselves.

Contains full color 24”x36” folded poster and all this grimness is housed in a glorious case-wrapped gatefold jacket. Also contains the vinyl only bonus track: "Grimm & Bear It”.

Vinyl/metal cut by Matt Colton (Alchemy Mastering) who also cut the vinyl for the bands 2019 releases: “Life Metal” & “Pyroclasts.

TRACK LISTING

1. Mocking Solemnity
2. Death Becomes You
3. O))) Bow 1
4. O))) Bow 2
5. F.w.t.b.t.
6. Grimm & Bear It