MAGIC MIX

STAFF PICKS

VINYL REISSUES

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

Nightmares On Wax

Smokers Delight - 25th Anniversary Edition

    Reissue of the 1995 magnum opus - a defining statement of intent in the development of the Nightmares On Wax sound. Moving away from the bleeps and breaks of their first album, ‘Smokers Delight’ presents a post-club comedown journey which experiments with elements of jazz, dub, soul and hip hop.

    If you don't own a copy of this LP, you should get one right now because it's one of the best LPs of the 90s. Originally out in '95, it's a defining moment of the 'trip hop' genre and ranks alongside LPs by Portishead and Massive Attack from the same era. Pure schmokers downbeat sounds!

    FORMAT INFORMATION

    2xColoured LP includes MP3 Download Code.

    Basil Kirchin

    Everyday Madness

      Holy shit! If it isn’t three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation and more from the master of such thing.

      HISTORY:
      The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now.

      “Pat’s Pigs” actually sounds to me like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat’s pigs. This whole tape recording may have been an early experiment towards what was to become Worlds Within Worlds Parts I and II. A lot of Basil’s work was headed in that direction.

      “Electronic” – first of all this is not that electronic. There are elements of the classic Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. I remember speaking to Basil many years ago about his Schurmatt recordings. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/ early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the WWW concept.

      “The Suspended Fourth” comes across like a soundtrack, so it could well be part of what Basil called his “imaginary film music period”. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It’s very well produced, possibly built up and improvised over a few days, could well have been an experiment, a pitch or just something that had to come out in the groovy studio. The tape itself states that this is The Suspended Forth with a subtitle: “The Musical Study Of A Mind, Part 1 Schizophrenia”. It therefore could even be something to do with a soundtrack he was asked to make for a mental heath conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, JBH005LP – the British jazz musical line seems like it could well be the very same). But who knows for sure? I shall continue looking in the archive for other possible parts.

      Before I go, the original title for this album and the artwork come from an empty tape box in the archive, which I think sums up all sorts of things about Basil, his awesome music and the tape archive all at the same time.

      More reel discoveries will follow. Thanks for listening as always. 


      Marvin Gaye

      More Trouble

        More Trouble is a collection of bonus tracks and alternate takes from Marvin Gaye’s Trouble Man sessions taken from the Trouble Man: 40th Anniversary Expanded Edition. These track will be on vinyl for the first time. 


        Ennio Morricone

        Four Flies On Grey Velvet (4 Mosche Di Velluto Grigio) - OST

          Manic percussion, tense staccato strings, discordant piano riffs, and jazz-rock motifs – this is Il Maestro at his finest. Death Waltz Recording Company is proud to present the definitive release of Ennio Morricone’s score to Dario Argento’s 1972 giallo classic Four Flies On Grey Velvet (a.k.a. 4 mosche di velluto grigio). Based around a psychologically embattled rock musician who finds himself in extraordinarily mysterious circumstances, Argento’s third film (as well as the last offering of his “Animal Trilogy”) is an excellent example of what the genre has to offer – a true Italian thriller/horror film that is sure to please any discerning genre film aficionado.

          This superb offering by Maestro Morricone, with orchestration by the legendary Bruno Nicolai, features everything a fan of the weird, avant-garde, and macabre could want, including hauntingly beautiful vocals by renowned Italian singer, Edda Dell’Orso. Take heed, dear friends, for a bevy of sublime sonic sounds will undoubtedly delight your ears. Perfect for late night listening or for DJing out to an audience of (cult)ivated and dedicated cinephiles, this soundtrack is a beauty to behold. Stunningly packaged with retina pleasing artwork, see how many flies you can spot …on grey velvet.


          FORMAT INFORMATION

          2xColoured LP Info: Clear vinyl.

          The Monochrome Set

          Strange Boutique

            The casual prose of pop history is full of backhanded compliments, and The Monochrome Set have received a few, ranging from "should have been massive" to "influential", numbering the likes of Morrissey and Marr, Blur's Graham Coxon and Franz Ferdinand's Alex Kapranos among their celebrity admirers. . Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song (predating Adam & The Ants's "Kings of the Wild Frontier" by months) and the Johnny Marr-anticipating "Love Goes Down The Drain", caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies. 

            FORMAT INFORMATION

            Coloured LP Info: Limited (300 copies) indies only clear vinyl LP.

            The Monochrome Set

            Love Zombies

              Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song (predating Adam & The Ants's "Kings of the Wild Frontier" by months) and the Johnny Marr-anticipating "Love Goes Down The Drain", caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies. 

              FORMAT INFORMATION

              Coloured LP Info: Limited edition (300 only) indie Exclusive Blue Vinyl Version.

              Patrice Rushen

              Posh

                The landmark 1980 album, representing a period of consolidation for Patrice Rushen. Her studio reputation as a go-to pianist and arranger among other artists and musicians was well established and was growing exponentially. Although never originally planning a career as a solo artist, she had built this side of her work through three Prestige albums and two sophisticated soul and disco albums for Elektra, ‘Patrice’ and ‘Pizzazz’. “I was lucky to have a group of musicians that I knew well by the time of these recording sessions,” remembers Patrice. “I had my pick of really incredible players because of all of the studio work I was doing. I also played with Lee Ritenour, Harvey Mason and others almost on a weekly basis at The Baked Potato club in L.A.”

                Tracks include the singles ‘Don’t Blame Me’, ‘Look Up!’ and ‘Never Gonna Give You Up’. “’Never Gonna Give You Up’ came out of playing ideas at home. Bassist Freddie Washington was living with my family while he tried to get a foothold in L.A.’s music scene and that groove came out of those jams. With ‘The Dream’, I had been listening to Minnie Riperton’s ‘Come To My Garden’, one of my favourite albums. With Charles Stepney’s arrangements, I saw that he didn’t have to use large instrumentation to be orchestral in his approach. So, ‘The Dream’ was a homage to that kind of writing.”

                “After ‘Posh’, we had a much better idea from the performance side what was important in our music and that informed my next album, ‘Straight From The Heart’. We took a little break after ‘Posh’ was released, although I was still writing and working regularly on scores for film and TV. That had always been my main focus in my music.”


                Tom Misch

                Beat Tape 1

                  Beat Tape 1 marks Tom Misch's first official release of his instrumental beats, which combine elements of jazz, soul and grooves all heavily inspired by Toms love for J Dilla.

                  Composed, Performed and Mixed by Tom Misch.

                  Spanning over 19 tracks, the mixtape also includes a brand new, never heard before track 'Marrakech'.

                  Waxahatchee

                  Cerulean Salt

                    Reissue of the second Waxahatchee album.

                    On her second full-length record as Waxahatchee, former P.S. Eliot singer Katie Crutchfield’s compelling hyper-personal poetry is continuously crushing.

                    On this new record, Crutchfield’s songs continue to be marked by her sharp, hooky songwriting; her striking voice and lyrics that simultaneously seem hyper-personal yet relentlessly relatable, teetering between endearingly nostaglic and depressingly dark. But whereas before the thematic focus of her songcraft was on break ups and passive-aggressive crushing, this record reflects on her family and Alabama upbringing. And whereas American Weekend was mostly just Crutchfield and her guitar, Cerulean Salt is occasionally amped up, with a full band and higher-fi production. At times, Cerulean Salt creeps closer to the sound of PS Eliot: moody, 90s-inspired rock backed by Keith Spencer and Swearin’ guitarist Kyle Gilbride on drums and bass. The full band means fleshed-out fuzzy lead guitars on “Coast to Coast”, its poppy hook almost masking its dark lyrics. Big distorted guitars and deep steady drums mark songs like “Misery over Dispute” and “Waiting”. There’s plenty of American Weekend’s instrospection and minimalism to be found, though. “Blue Pt. II” is stripped down, Crutchfield and her sister Alison (of Swearin’) singing in harmony with deadpan vox. She’s still an open booking, musing on self-doubt versus self-reliance, transience versus permanence. “Peace and Quiet” ebbs and flows from moody, minimal verses to a sing-song chorus. “Swan Dive” tackles nostalgia, transience, indifference, regret over the a minimal strum of an electric-guitar, the picking at a chirpy riff and the double-time tapping of a muted drum. The album closes with a haunting acoustic-guitar reflection on “You’re Damaged,” possibly the best Waxahatchee song to date.

                    Waxahatchee

                    American Weekend

                      Debut album from Waxahatchee aka Katie Crutchfield. The Brooklyn via Alabama artist brings ‘just guitar, her voice, and a piano to tell stories.’ 

                      The 11 songs were recorded in a span of seven days on an 8-track recorder.

                      Marcos Valle

                      Marcos Valle - Reissue

                        Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Includes the Brazilian boogie anthem 'Estrelar', Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career. The album is full of soaring disco tracks, killer vocal boogie numbers and blissing instrumentals over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. Essential! Presented in facsimile artwork and pressed on 180g vinyl. 

                        Rowland S. Howard

                        Teenage Snuff Film

                          Rowland S. Howard's importance to the world's musical landscape and Mute's history can not be understated. Rowland joined The Boys Next Door in 1978, a band formed by Nick Cave and Mick Harvey and is often sited as the catalyst that turned that band's sound into the force of nature that would become their new band The Birthday Party. After The Birthday Party split up in 1983, Nick Cave formed the Bad Seeds with Mick Harvey and Rowland formed the magnificent These Immortal Souls whilst also collaborating with Simon Bonney's Crime & The City Solution, Lydia Lunch, Nikki Sudden, Fad Gadget, Foetus, Jeffrey Lee Pierce, Epic Soundtracks and Mick Harvey. Rowland sadly passed away in 2009 after recording his final solo album Pop Crimes, both this and Teenage Snuff Film have been unavailable physically outside of Australia for many years and both fetch high prices on Discogs and Ebay.

                          FORMAT INFORMATION

                          Coloured LP Info: Limited blue vinyl.

                          Coloured LP includes MP3 Download Code.

                          Molchat Doma

                          С КрышНашихДомов

                            When S KryshNashikhDomov the debut album by MolchatDoma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time.

                            MolchatDoma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: MolchatDoma creates a sound and meaning that is immediately recognizable as all their own.

                            The band is comprised of EgorShkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.


                            John Frusciante

                            The Empyrean (10 Year Anniversary Reissue)

                              10 year anniversary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers.

                              He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others

                              Nina Simone

                              1957-1962: The Essential Works

                                Nina Simone was an exceptional artist. She was gifted with a precocious talent and she played music at home and in church. Nina originally counted on becoming the first black female classical pianist ; her plans were thwarted and that frustration no doubt permeated almost her entire career. Yet she became a diva capable of combining the jazz world with those of the classics and soul, and among other titles she recorded are some of the most vibrant and moving performances of Wild is the Wind or You Can Have Him, I don’t Want Him.

                                She was one of the greatest artists of her time, and her fervour and rigorous demands concerning the quality of her music took her to the highest summits, whether in her compositions or in her vocal and piano performances. For all that, she never forgot her condition as a black woman in the America of the Sixties, and her active commitment to defending the rights of the black minority was exemplary - and at times even excessive, for which she was often reproached.

                                She has left us some of the most beautiful chapters in jazz and soul music, among them the 23 titles that appear in this album.


                                Fu Manchu

                                In Search Of... Deluxe Edition

                                  The first release in Fu Manchu’s 30th Anniversary vinyl reissue series, In Search Of...Deluxe Edition, celebrates the band’s 3rd album and major label debut, which was originally released on 27 February, 1996. Recorded at Grandmaster Studios in Hollywood, California by the band and Brian Jenkins (KYUSS, SCREAMING TREES), "In Search Of…" is considered a classic of the '90s and a pillar for the "stoner rock" movement.

                                  Highlights include the lead single "Asphalt Risin'", "Redline" and fan favorite "Cyclone Launch.” This limited edition run is pressed on clear vinyl with blue and yellow splatter and the gatefold package design includes never before seen photos of the band. Also included is a bonus red/black splatter 7” of “Chevy Van” (a Sammy Johns cover that was previously only available on the Japanese pressing of the original album) b/w a 1995 Demo version of “Redline.” Both the LP & 7” feature newly remastered audio for maximum fidelity

                                  FORMAT INFORMATION

                                  Coloured LP Info: Clear with Blue and Yellow Splatter LP + Red/Black Splatter 7".

                                  Kanye West

                                  808s & Heartbreak - Reissue

                                    808s & Heartbreak is the fourth studio album by Kanye West. It was released on 24th November 2008 through Def Jam Recordings and Roc-A-Fella Records, re-issued in 2016 for the US, and is now being made available ex-US. Conceived in the wake of several distressing personal events, 808s & Heartbreak marked a major musical departure from West’s previous rap records, instead featuring a sparse, electronic sound and West singing through an Auto-Tune vocal processor. His lyrics explore themes of loss, alienated fame, and heartache, while the album’s production abandons conventional hip hop sounds in favor of a minimalist sonic palette, which includes prominent use of the titular Roland TR-808 drum machine.

                                    Despite varying responses from listeners, the album received positive reviews from most music critics, who generally commented on West’s experimentation, and was named one of 2008’s best records in several year-end lists. Four singles were released in promotion, including the hit singles “Love Lockdown” and “Heartless”. 808s & Heartbreak has since been cited as a prominent influence on subsequent hip hop, pop, and R&B music. This was due to a new wave of rappers, singers, and producers coming to adopt aspects of its style and thematic content.

                                    Rowland S. Howard

                                    Pop Crimes

                                      Rowland S. Howard's importance to the world's musical landscape and Mute's history can not be understated. Rowland joined The Boys Next Door in 1978, a band formed by Nick Cave and Mick Harvey and is often sited as the catalyst that turned that band's sound into the force of nature that would become their new band The Birthday Party. After The Birthday Party split up in 1983, Nick Cave formed the Bad Seeds with Mick Harvey and Rowland formed the magnificent These Immortal Souls whilst also collaborating with Simon Bonney's Crime & The City Solution, Lydia Lunch, Nikki Sudden, Fad Gadget, Foetus, Jeffrey Lee Pierce, Epic Soundtracks and Mick Harvey. Rowland sadly passed away in 2009 after recording his final solo album Pop Crimes, both this and Teenage Snuff Film have been unavailable physically outside of Australia for many years and both fetch high prices on Discogs and Ebay.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Limited red vinyl.

                                      Coloured LP includes MP3 Download Code.

                                      Cocteau Twins

                                      Garlands - Reissue

                                        Garlands was the Cocteau Twins debut album, released in the early autumn of 1982. It was the only album they made with original bassist Will Heggie. Describing it as “haunting”, “spellbound”, “diaphanous”, and discerning a “frosting of sweetness”, the critics wore out their adjective; this was rock music - just - but it was conjured in the unlikeliest environment from the strangest of material. This is Garlands’ first vinyl pressing in over ten years, remastered from the original analogue tapes.

                                        FORMAT INFORMATION

                                        LP Info: 140g black vinyl.

                                        LP includes MP3 Download Code.

                                        Cocteau Twins

                                        Victorialand - Reissue

                                          Victorialand, Cocteau Twins’ fourth album, was released in spring 1986. The largely acoustic, non-percussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil's second album. Dif Juz label mate Richard Thomas guested on tabla and saxophone. The Guardian said "It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice."  Victorialand is remastered from the original analogue tapes.

                                          FORMAT INFORMATION

                                          LP Info: 140g black vinyl.

                                          HNNY

                                          Sunday

                                            After a brief design-related false start, Swedish wunderkind HNNY releases his debut on Tooli's Omena Records. After bursting onto the the scene with a chunky house refit of Mariah's Foreigner cover, Johan Cederberg delivered a stream of revival house bangers on Local Talk and Let's Play House (including the majestic "For The Very First Time") before broadening his horizons to include Balearic groovers and sunkissed downbeat, and tt's in the latter mood we find him on his debut longplayer. Armed with an endless supply of dusty blue eyed soul samples, production expertise and unhurried style, HNNY packs "Sunday" with the kind of sumptuous textured chill out we, well, chilled out to in the genre's late nineties heyday. Previous singles "Cheer Up My Brother" and "There Is No One Else" are the most floor-friendly cuts on the LP, the latter cutting neat shapes in the filter house realm, while "Sylvia" and "My Baby" are delightfully horizontal soothers worthy of a vintage Ibizan sunset. Lavishly packaged and in frenzied demand, you'd be advised to snap this up sharpish.

                                            STAFF COMMENTS

                                            Matt says: Balearic centric HNNY album that disappeared rather quickly in 2015 and has since demanded high figures 2nd hand. Limited repress so don't be complacent!

                                            Sleaford Mods

                                            Key Markets (Repress)

                                              Housed in a gatefold sleeve designed by Steve Lippert, mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. From Original Press Release 2015 “Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980,” explains Jason Williamson. “My mum would take me there and I'd always have a large coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album 'Key Markets'. It's the continuation of the day to day and how we see it, the un-incredible landscape.” “The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. 'Key Markets' is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em

                                              FORMAT INFORMATION

                                              Coloured LP Info: Red & White splatter LP.

                                              Etta James

                                              At Last!

                                                Containing the complete Etta James albums “At Last!” and “The Second Time Around” + 7 bonus tracks, and including updated liner notes

                                                After spending a few years in limbo after scoring her first R&B hits ‘Dance With Me, Henry’ and ‘Good Rocking Daddy,’ Etta James returned to the spotlight in 1961 with her first Chess release, At Last! James made both the R&B and pop charts with the album’s title cut, ‘All I Could Do Was Cry,’ and ‘Trust in Me.’ What makes At Last! a great album is not only the solid hits it contains, but also the strong variety of material throughout. On this album one hears the singer at her peak in a swinging and varied program of blues, R&B, and jazz standards.


                                                FORMAT INFORMATION

                                                LP Info: 180g vinyl & CD.

                                                Ella Fitzgerald & Louis Armstrong

                                                Ella & Louis

                                                  Ella and Louis is an inspired collaboration, masterminded by producer Norman Granz. Both artists were riding high at this stage in their careers, and Granz assembled a stellar quartet of Oscar Peterson (piano), Buddy Rich (drums), Herb Ellis (guitar) and Ray Brown (bass). Equally inspired was the choice of material, with the gruffness of Armstrong's voice blending like magic with Fitzgerald's stunningly silky delivery. Outstanding are Irving Berlin's "Cheek to Cheek" and "Isn't This a Lovely Day," and everything else works like a dream, with the golden star going to the Gershwin brothers' "They Can't Take That Away from Me." Gentle and sincere, this is deserving of a place in every home.

                                                  FORMAT INFORMATION

                                                  LP Info: 180g vinyl & CD.

                                                  Lightning Bolt

                                                  Hypermagic Mountain - Reissue

                                                    “‘Hypermagic Mountain’ is Lightning Bolt’s fourth, most well-oiled album: song-by-song it chugs into rockier Van Halen, Fucking Champs, or Orthrelm territory.” - Pitchfork.

                                                    ‘Hypermagic Mountain’, Lightning Bolt’s fourth album has been unavailable for nearly a decade since its 2005 release.

                                                    Back as a double LP including a full drawing by Brian Chippendale as the D side etching.

                                                    Recorded at Machines with Magnets and Lightning Bolt’s home by Dave Auchenbach.

                                                    Lightning Bolt play with abandon that is unmatched and remarkably undiluted and this album is just one more example of that raw power and sound.

                                                    FORMAT INFORMATION

                                                    2xColoured LP Info: 2LP available on hypermagic red coloured with full
                                                    colour 4-page booklet.

                                                    The Pop Group

                                                    Alien Blood

                                                      Alien Blood is the result of the band’s meticulous process of revisiting the original 2” tapes of their studio sessions and recordings, unearthing never-before-heard material, including the studio recording of ‘Kiss The Book’, gloves off version of ‘We Are Time (Ricochet)’, and ‘Words Disobey Me (Dennis The Menace Mix)’ whilst exposing the raw skeletons of iconic tracks such as the original velocity of ‘Thief of Fire (Bass Addict).’ Alien Blood reveals the life of Y before everything was finalized, exposing revelatory dimensions within these iconic works.

                                                      FORMAT INFORMATION

                                                      LP Info: Includes poster.

                                                      The Pop Group

                                                      Y Live

                                                        The Y Live album is an essential addendum to the original release, one that captures all the fierce urgency of The Pop Group’s live performances at the time. Comprised of Y era recordings captured at a variety of locations including New York, Manchester & Brussels – the latter on a bill with William Burroughs and Joy Division – Y Live exemplifies what had proved so thrilling about The Pop Group. A snapshot of a time when the group were sharing stages with future acolytes including Cabaret Voltaire, Linton Kwesi Johnson & Public Image Ltd, Mark Stewart describes the recordings as attempts to ‘paint the impossible’.

                                                        FORMAT INFORMATION

                                                        LP Info: Includes original tour poster.

                                                        Kaleidoscope is the debut studio album by American singer, songwriter and chef Kelis. It was released on 7th December 1999 by Virgin Records and was produced entirely by The Neptunes (Pharrell Williams & Chad Hugo). The album performed well in international markets, including the United Kingdom, where it was certified gold. Kaleidoscope charted on the US Billboard 200, In Europe all three singles; “Caught Out There”, “Good Stuff”, and “Get Along with You” — attained commercial success. After reaching number 52 on the UK Singles Chart on imports alone, “Caught Out There” was given a proper release in the UK, eventually peaking at number four. “Good Stuff” also proved a success, reaching number 19 on the UK chart. The third and final single from the album, “Get Along with You” also charted. As well as producing the album Williams and Hugo also feature on album track Ghetto Children where Slick Rick is a co-writer.

                                                        Espers

                                                        Espers

                                                          Espers’ self-titled first release appeared in 2004, heralding an era in which there was a perception of back-to-the-roots in the underground; kids making new music that spoke strongly of folk traditions and psychedelia, in the process setting themselves apart from latter-day sounds and approaches. Espers didn’t shy away from this image, projecting a collective air, almost like a rural outpost, out of time and place in the urban environs of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6- and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied arrangements rife with traditional and classical details and the regular intervention of acid-toned guitar leads formed, along with the mystic and melancholy cast to their songwriting, a galvanizing identity for them among other like-minded music players of the day.

                                                          Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favour of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers’ individualism, optimism and deeply empathetic soul. ‘II’ and ‘III’ continued the journey through 2009, after which Espers quietly dispersed. Since then, ‘Espers’ and ‘The Weed Tree’ went out of print and have stayed away for some years now. New vinyl and CD editions will surely be welcomed by the members of the burgeoning listening community that continues to evolve in the spirit and image of the communities that preceded them. And the circle remains unbroken.

                                                          Espers

                                                          The Weed Tree

                                                            The second Espers album, ‘The Weed Tree’, was released in 2005. It was a nearly inevitable endeavour for the group, made almost entirely of cover material but the traditional folk songs - ‘Rosemary Lane’ and ‘Black Is the Color’ - were paired with songs by Nico, Michael Hurley and even Blue Oyster Cult, making for an oblique run through eclectic aspects of the past that succeeded due to Espers’ thorough re-imagining of the material in their own image. The addition of current members Helen Espvall on cello and Otto Hauser on drums and percussion upped the alchemy of the band to its most potent, making music that drew from tradition but making it new at the same time.

                                                            Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favour of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers’ individualism, optimism and deeply empathetic soul. ‘II’ and ‘III’ continued the journey through 2009, after which Espers quietly dispersed. Since then, ‘Espers’ and ‘The Weed Tree’ went out of print and have stayed away for some years now. New vinyl and CD editions will surely be welcomed by the members of the burgeoning listening community that continues to evolve in the spirit and image of the communities that preceded them. And the circle remains unbroken.

                                                            Trey Gruber

                                                            Herculean House Of Cards

                                                              A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years, Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st-century disconnect, an alphabet’s worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards.

                                                              Roy Budd

                                                              The Internecine Project - OST

                                                                Coming from the peak Roy Budd period – post Get Carter and pre Diamonds - this score neatly bridges the two with Carter-style hypnotic jazz driven cues and superb Diamonds-style drama. The film itself was a slick British thriller directed by Ken Hughes, set in a greay, gloomy London and based around espionage and murder. The plot is simple; former spy Robert Elliot (the ice cool James Coburn – with interesting facial hair and equally as interesting wardrobe) is given a big government job. In order to cut all questionable ties and clean up his rather grubby past he devises a plan in which all of his dodgy associates unwittingly kill each other on the same night – and in alphabetical order. The film’s unusual and often misspelt name comes from the word internecine – the definition of which is conflict within a group.

                                                                Male

                                                                Zensur & Zensur

                                                                  It was 40 years ago when Germany’s first ever punk band MALE released their 'Zensur & Zensur' album, now to be reissued. Anything was possible in those heady days. The Dusseldorf punk scene was without compare in the years 1977 to 1979 and MALE were there in the thick of it, etching their name into German musical history. MALE arguably reached their zenith as backup for The Clash on the London Calling tour in Germany. In the wake of the name change to Vorsprung, Jorgen Engler soon shifted his focus to die Krupps, but MALE remained close to his heart as new songs and the odd gig here and there demonstrated in the years that followed. 

                                                                  Chapterhouse

                                                                  Whirlpool

                                                                    British shoegazing/alternative rock band Chapterhouse released two albums during their existence, Whirlpool (1991) and Blood Music (1993). Their debut album is a fantastic example of shoegaze at its best. The wall of sound approach is built around dance music structures and they’re creating some heavy grooves. Whirlpool spent 3 weeks in the UK Album chart in 1991, peaking at number 23. This classic is definitely set in the nineties but has stood the test of time.

                                                                    Available as a limited edition of 1500 individually numbered copies on blue & silver marbled vinyl

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Limited edition of 1500 individually numbered copies on blue & silver marbled vinyl

                                                                    African Head Charge

                                                                    Songs Of Praise

                                                                      Originally issued in 1990 and considered by most fans to be AHC’s masterpiece. Religious chants set to an African dub backdrop of layered hand percussion, with a mighty sonic and great musicianship places the record in a unique place. An outernational classic. For this reissue the album has been expanded to a double LP with all the tracks from the original vinyl release plus bonus tracks previously only available on CD. Includes a download card for the full audio plus double-sided poster insert with excerpts from a new interview with band leader Bonjo Iyabinghi Noah.


                                                                      STAFF COMMENTS

                                                                      Matt says: Yes there's plenty of get stuck into with AHC, but if you insist on only one - then make this one it! The quintessential set from the pioneering transcendental dub wizards! Every home deserves one...

                                                                      The Who

                                                                      Quadrophenia - OST

                                                                        Replica LP reissue of the soundtrack from the classic and influential 1979 film, adapted by director Franc Roddam from the Who’s 1973 rock opera, that gave rise to the self-styled mod revival in the UK. Features a searing, star-making performance by Phil Daniels as Jimmy the disaffected mod. Set in 1965, and also starring Leslie Ash, Ray Winstone and Sting as the ‘ace face’, the film is set against a backdrop of the mods and rockers battles of the period. Includes 13 Who tracks, including 5:15, Love Reign O’er Me, Bell Boy & others – several re-recorded and remixed exclusively for the soundtrack. Also features 3 tracks not featured on the original 1973 album – Get Out And Stay Out, Four Faces & Joker James, and classic tracks from the 60s mod era by James Brown, Booker T & The MGs, The Ronettes and others.

                                                                        Czarface

                                                                        The Odd Czar Against Us - Green Vinyl Edition

                                                                        All new full-length from Czarface. Debuting on Black Friday in an exclusive never to be repressed color. The kid gloves are off: bored with beating down the regular bad guys, Czarface takes his cosmic reach and sonic superpowers to uncharted territory. Expected the unexpected as one of the most recognizable voices in modern hip-hop pulls no punches across twelve tracks sharp and direct tracks. The beats are as captivating as the verses, taking in boom-bap, reggae and gangsta rap tropes and smothering it in that gritty NY patina.

                                                                        FORMAT INFORMATION

                                                                        Ltd LP Info: Limited green vinyl edition.

                                                                        Embrace

                                                                        The Good Will Out - Vinyl Reissue

                                                                          Following in the footsteps of Oasis and the Verve, Embrace became a pop sensation in post-Brit-pop Britain, breaking through in the late ‘90s. The group—hailing from Huddersfield, West Yorkshire, England—had a knack for big, anthemic hooks, which they transform into sweeping, sprawling, lugubrious rockers. This synthesis earned them a strong fanbase with their first singles in 1997, and their debut album, The Good Will Out.

                                                                          Originally released on Virgin's Hut subsidiary in 1998, The Good Will Out became one of the fastest selling debut albums by a British artist, going on to sell over 500,000 copies domestically. Certified gold on the first day of release, the album hit the number one spot and spent 24 weeks in the Top 100, spawning three Top 10 singles, “All You Good Good People” “Come Back To What You Know” and “My Weakness Is None Of Your Business” together with two further Top 40 hits, “One Big Family” and “Fireworks.” Critically acclaimed across the board, NME hailed the album as the “one of the great debut albums of the past decade”.

                                                                          Pressed on heavyweight 180gm vinyl, include DL codes.

                                                                          Rain Parade

                                                                          Emergency Third Rail Power Trip

                                                                            Though there are a number of worthy contenders—Dream Syndicate's The Days of Wine and Roses, The Bangles' All Over the Place, Green on Red's Gas Food Lodging among them—Rain Parade's 1983 release Emergency 3rd Rail Power Trip places at worst in a tie for first among the greatest albums to emerge from the early '80s L.A. Paisley Underground scene. That's because the band—and the album—were probably the most transparent in their influences and probably the most successful in transcending them.

                                                                            Here was the jangle-rock of the Byrds married with the soft, downbeat vocal harmonies of early Pink Floyd, infused with a Love-like delicacy, peppered with a Buffalo Springfield twin lead guitar attack—yet the dark lyrical themes and droning melodies made listening to Rain Parade a singular experience, like being on an acid trip teetering on the knife edge between pure nirvana and colossal bummer. Which, for true fans of psychedelia, was an awfully sweet spot to be.

                                                                            Emergency 3rd Rail Power Trip was the band's debut album, and the only one to feature the original line-up of multi-instrumentalist Will Glenn, drummer Eddie Kalwa, bassist Stephen Roback, and guitarists David Roback (later of Mazzy Star) and Matt Piucci; it hasn't been reissued on LP for over thirty years, and never in the U.S. 

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: 300 on green vinyl with original artwork intact.

                                                                            Bardo Pond

                                                                            Bardo Pond - Repress

                                                                              Critical praise from Pitchfork, Clash, The Wire, Q Magazine and more upon release. New inverted LTD edition artwork. Fire re-issue Bardo Pond’s eponymous eighth studio album from 2010, their debut for Fire from way back when. A lysergic brain wrestler in which the Pennsylvanian drone outfit perfect their modal sound. Teasing the artistry of LaMonte Young and Terry Riley into a guitar shaped cauldron, the album’s compulsive reverbed guitar shapes slowly simmer behind Isobel Sollenberger’s esoteric vocals “Like hearing a tannoy at a station in the voice of Jesus.” The Quietus. A claustrophobic stuttering raga interlocks with their psychedelic leanings best exemplified on ‘Cracker Wrist’ which sounds like something that’s intentionally always just about to happen/and/or spin back in time. Featuring lengthy fully nurtured play offs between the quintet ‘Bardo Pond’ is a heady statement that’s like the most wholesome kind of vegan-friendly mushroom trips. Pitchfork reckons they’re “playing fuzzed out stoner dreams.” Vice’s musical brother Noisey likens them to “Fugazi On Acid.” Allmusic intervenes with: “These are epic, soaring psychedelic ambient power-drone rock noise melodies where partially buried, distant female vocals are laced throughout a roaring, murky/sludge guitar soundscape

                                                                              FORMAT INFORMATION

                                                                              2xColoured LP Info: Double silver vinyl repress.

                                                                              African Head Charge

                                                                              Vision Of A Psychedelic Africa

                                                                                The first album African Head Charge made for On-U since 1993, this 2005 set was a triumphant return that saw longtime collaborators Bonjo Iyabinghi Noah and Adrian Sherwood reunited in the studio once more, the album title referring to the project’s original mission statement (nicked from Brian Eno!). This album is African Head Charge at their very best, rich in varied percussion and spiritual chants, set over hypnotic and transcendent layers of African rhythms, trippy and bubbling dubbed-out effects, and trademark pounding bass. This is the first time the album has been released n vinyl. Cut over 4 sides for maximum dynamics by King Kevin Metcalfe. Includes double-sided poster insert featuring a new interview with Bonjo, download card for full contents and two bonus tracks.


                                                                                STAFF COMMENTS

                                                                                Matt says: More from the post-millennial incarnations of the African Head Charge catalogue. This is a particularly third-eye-opening set, rich in spirituality and oneness with Eart'.

                                                                                African Head Charge

                                                                                Voodoo Of The Godsent

                                                                                  A fresh slew of African Head Charge lands for 2020! This 2011 LP from the massive was never available on vinyl when it was first released. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski. All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance, but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date. Cut as a double LP for maximum dynamics by King Kevin Metcalfe. Includes download card for full contents and double-sided poster insert containing new interview with Bonjo on the making of the record.

                                                                                  STAFF COMMENTS

                                                                                  Matt says: A new set of later recorded African Head Charge albums has just landed. Be sure to check 'em out if you're into all corners of the bass spectrum as Adrian Sherwood is one of the leaders of the pack.

                                                                                  African Head Charge

                                                                                  In Pursuit Of Shashamane Land

                                                                                    Originally issued in 1993 and the last African Head Charge album on On-U Sound for 12 years, released at the height of the band’s popularity as a staple of live music festivals. Continuing the skillful fusion of styles they had explored on “Songs Of Praise”, this album added elements of trance and electronica to their trademark percussion-heavy sound. This expanded reissue adds 8 bonus tracks to the original vinyl edition, including 2 that have never been released before. Includes a download card for the full audio plus a double-sided poster insert with excerpts from a new interview with band leader Bonjo Iyabinghi Noah.

                                                                                    The first Be With foray into the archives of revered German library institution Selected Sound is one of our favourites on the label - the super in-demand "Japan" from Victor Cavini, originally released in 1983.

                                                                                    Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness!

                                                                                    Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is
                                                                                    his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occassional contemporary twist. Contemporary for 1983, of course.

                                                                                    These “Pictures of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures of Japan XII” is just drums.

                                                                                    And then “Pictures of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures of Japan XIV”.

                                                                                    This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Whatever it is, it sounds awesome.
                                                                                    Recalling both Rino de Filippi’s "Oriente Oggi" and Giancarlo Barigozzi’s "Oriente", the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late 70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983.

                                                                                    The audio for Japan has been sensitively remastered for vinyl by Be With regular Simon Francis to keep all the character of the original recordings. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve. Essential.


                                                                                    Twylyte '81

                                                                                    The First Coming

                                                                                      First ever reissue of this extremely rare and off-the-radar soul album: "The First Coming" by Twylyte '81. Produced and released in 1981 in New Jersey and featuring the all-star musical trio of Alfred Brown Jr., Frank Jones Jr. & John Belzaguy, it contains a dazzlingly rich display of musicianship, with a warmth that should find it more than capable of captivating the living room at any given moment.

                                                                                      The perfect for a languid Summer evening, the galloping percussion and gentle jazz drums are the perfect accompaniment to Frank Jones' deep and gravelly vocals.

                                                                                      Original copies are rare-as-hen's-teeth! 


                                                                                      Jim Morrison & The Doors

                                                                                      An American Prayer

                                                                                        An American Prayer was The Doors’ 9th and final studio album and posthumously features Jim Morrison. The band reunited 7 years after Morrison’s death and 5 years after the remaining members broke up. They recorded backing tracks over Morrison’s poetry, originally recorded between 1969-1970. Other pieces of music and audio include dialogue from Morrison’s film HWY: An American Pastoral and snippets from jam sessions

                                                                                        FORMAT INFORMATION

                                                                                        LP Info: 180g Black Vinyl 1LP Gatefold with Booklet

                                                                                        Grizzly Bear

                                                                                        Horn Of Plenty (Reissue)

                                                                                          The debut album from Grizzly Bear will be repressed on cloudy clear vinyl for its 15 year anniversary.

                                                                                          Before they were sound tracking Super Bowl ads, headlining festivals, making TV appearances and opening for Radiohead, Ed Droste started Grizzly Bear as a pet project meant only for friends. 15 years ago, Horn of Plenty was created in his Brooklyn apartment and after hooking up with multi-instrumentalist Chris Bear, Horn of Plenty was released by the new, upstart Brooklyn label Kanine Records in 2004. One year later, Horn of Plenty was rereleased with a bonus remix album, which will be included in the download card of this release. The rest of Grizzly Bear’s rise is history.

                                                                                          "The Grizz offer tender and creepy folk mantras that function as a Paxil substitute or antidote, depending on your disposition." Spin Magazine

                                                                                          "The gentlemen of Grizzly Bear paw around in wholly distinct regions of gentle, nocturnal psych-folk, conjuring visions of an imagined bedroom collaboration between the Doug Yule-era Velvet Underground, Nick Drake, and a pajama-clad Pooh with his head jammed in a honey jar." Pitchfork Media

                                                                                          "Grizzly Bear captured its etherized folk on the beautiful Horn of Plenty (Kanine), a dreamy, evocative record that sounds like it was recorded a mile below sea level." Time Out NY

                                                                                          "Dreamy vocals and pillowy, guitar-driven effects that evoke Neil Young on cough syrup." V Magazine

                                                                                          “The pure atmospheric power of the songs is more than enough to hypnotize” Rolling Stone



                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Cloudy Clear vinyl.

                                                                                          Coloured LP includes MP3 Download Code.

                                                                                          Bardo Pond

                                                                                          Adrop / Circuit VIII

                                                                                            Where do you start with Bardo Pond? Ever since their first release in 1992, these Philadelphia stalwarts have continually amazed all comers with not only their songcraft and musicianship, but also with their steadfast and singular artistic vision. Close to thirty years and sixty releases later the trip continues unabated, their one true goal of flawless musical unity with the galaxy pressing ever forward. Not only have they outlasted many of their peers ‘ and labels ‘ with this pursuit, but their quest has created hyper-devoted fanbase but also a pool of folks sympathetic to Bardo Pond’s cause but a little intimidated of their deep catalog and unsure of just exactly where they are supposed to start. For these folks on the fringes, Three Lobed Recordings steps forth to definitely answer that central Bardo Pond question: start with Adrop and Circuit VIII. These two multi-movement suites drill down to the exact Bardo essence, each displaying how the band’s longest-running lineup at a sustained creative peak could so easily hit all of the facets of their sound and experimentation in equal measure. That said, these two albums serve not only as starting points but also as reminders to the Bardo faithful of why they have ridden with the band for so long.

                                                                                            Fred A. was a two-faced act. His musical grasp to the new wave-movement was countered by his lyrical love for Flemish and Dutch ‘kleinkunst’, and his progressiveness as a composer was in stark contrast with his restraint as a performer. ‘De Angst Voorbij’ is an anthology of those remnants, with eight songs derived from the most fertile period in the musical career of Fred A. The record translates how Gerry opened up again to his late musical endeavours, recalling the 30-years younger version of himself. “The music on this record is a testimony of my life back then. It is delimited in time, that’s why this whole feels coherent to me. It shows who I was back then and what I stood for. And that’s worth cherishing.

                                                                                            STAFF COMMENTS

                                                                                            Patrick says: Always my go-to guys for 80s melancholy, Stroom bring the gloom once again, this time via the bittersweet bedroom wave of Fred A. Far to introverted to fall under outsider pop, this is music for nocturnal reflection, chilly evenings and profound loneliness. Red wine and ambien - models own.

                                                                                            Music From Memory's latest essential output is a retrospective of an artist long-loved by the label, Brazilian composer and multi-instrumentalist Priscilla Ermel. Origens Da Luz brings together a selection of recordings drawn from a body of work that was originally recorded between 1986 and 1994.

                                                                                            Priscilla was raised in a musical family in São Paulo and learned the cello and guitar at an early age. She then embarked on a deeply personal musical journey that would travel from origins rooted in Tom Jobim and Chico Buarque to recording the music of the natural world and the communities around her. A film-maker and anthropologist by training, Priscilla is a lifelong student of a universal music. Disillusioned with contemporary European classical music, she spent long periods living with indigenous populations in Brazil, collecting instruments that she would later combine with synthesizers and field recordings. After studying with the renowned Taoist master Liu Pai Lin, she integrated the slow-moving pace of Tai Chi into a music that connects intimately with a multiplicity of cultures at the same time that it unmistakably reflects her Brazilian soul.

                                                                                            Combining sounds drawn from the history of Brazil with her own explorations of analogue sound technology, Priscilla’s music opens up a mystical space, where ancient and modern evolves into a new language. Compiled by John Gómez and released on 2xLP, Origens Da Luz offers a panoramic view of this artist’s unique and mesmerizing sound world.

                                                                                            STAFF COMMENTS

                                                                                            Patrick says: MFM continue their fruitful relationship with John Gomez here, returning to Brazil's lush rainforests to visit the vibrant sound world of Priscilla Ermel. Recorded and realised from 86 to 94, the mesmeric, immersive compositions marry the stately pace of Tai Chi with a detailed mesh of fourth world melodies and textures, offering a South American analogue to the likes of Finis Africae.

                                                                                            Los Campesinos!

                                                                                            Romance Is Boring - 10th Anniversary Edition

                                                                                              A pivotal moment in the evolution of Los Campesinos! - both more ambitious and more assured than the two albums that preceded it - this is the work of a band truly hitting their stride as songwriters. Musically the band expanded their already impressive sonic palette further on this album to incorporate orchestration from composer Jherek Bischoff and brass instrumentation, along with guest vocals from Jamie Stewart (Xiu Xiu) and Zac Pennington (Parenthetical Girls).

                                                                                              Lyrically, too, this album is a leap forward, with Gareth honing his skills as a storyteller and turning his focus outwards where the previous albums were more biographical in their subject matter. The results are some of Los Campesinos!’ best songs - from the anthemic poppier moments such as ‘These Are Listed Buildings’ and the album’s title track, to the sweeping melodrama of ‘The Sea Is A Good Place To Think Of The

                                                                                              FORMAT INFORMATION

                                                                                              2xColoured LP Info: Gold vinyl.

                                                                                              2xColoured LP includes MP3 Download Code.

                                                                                              King Gizzard & The Lizard Wizard

                                                                                              Fishing For Fishies - Lilypad Edition

                                                                                                The seven-headed Aussie rock beast King Gizzard & The Lizard Wizard return with ‘Fishing For Fishies’, perhaps their most perfectly-realised album to date. The Lilypad Edition has been pressed an Aqua Marble after the first pressing quickly sold out. Released on the band’s own Flightless Records, here is a world where the organic meets the automated; where the rustic meets the robotic. Where the past and future collide in the beautiful present.

                                                                                                The fourteenth album since their 2012 debut - and their first following the release of five vastly different albums in 2017 - ‘Fishing For Fishies’ is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains. From the soft shuffle Outback country of the opening title track through the sunny easy listening of ‘The Bird Song’ (think a lysergically-soaked Laurel Canyon circa 1973) and on through the party funk of ‘Plastic Boogie’ (which somehow summons the spirit of Stevie Wonder’s ‘Innervisions’) the road-trucking, Doors-like highway rock of ‘The Cruel Millennial’ and ‘Real’s Not Real’ - what Carpenters might have sounded like had they existed entirely on vegemite and weed - it’s a dizzying, dazzling display which addresses a number of pertinent environmental issues along the way.

                                                                                                “We tried to make a blues record,” says frontman Stu Mackenzie. “A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it - or maybe it was us fighting them. Ultimately though we let the songs guide us this time; we let them have their own personalities and forge their own path. Paths of light, paths of darkness. This is a collection of songs that went on wild journeys of transformation.”

                                                                                                Quiet though it was on the record front, 2018 was hardly a year of rest - almost in perpetual motion, they continued their unstoppable rise as their juggernaut of a live show grew and grew and grew, with a mind-blowing headline slot at last year’s Green Man Festival, a massive sold-out US tour in the summer which saw them play their biggest venues to date, a brain-frying sold out Brixton Academy show, two gigs in Russia and Istanbul where they played in front of over 15,000 people and putting on the fourth edition of their annual Gizzfest in Melbourne amongst the highlights.

                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: Lilypad pressing.

                                                                                                A seamless mix of the organic and inorganic, the recent past and distant future, and the possible and impossible, Japanese multi-media artist Masumi Hara’s sophomore album arrived like a fish on the moon in 1984. An album filled with contradiction and purpose, 4 X A Dream is both Balearic acid folk and damaged steel drum dub, hi-tech new wave balladry and ambient synth pop. Classical and neo-impressionist vibes haunt and entrance. Quite possibly the most unique LP you’ll ever add to your collection.

                                                                                                Simon & Garfunkel

                                                                                                Bridge Over Troubled Water

                                                                                                  This is the 50th anniversary release of this iconic Simon & Garfunkel album, regarded as one of the greatest albums of all time! The final album they recorded was less folk & more Rock, Gospel, R&B, Pop. The album sales were certified x10 Platinum in the UK & won several Grammy's in America. Includes the title track, alongside "The Boxer", "Cecilia" & more... 

                                                                                                  FORMAT INFORMATION

                                                                                                  Coloured LP Info: This new version is pressed on 180gm, heavyweight Gold LP Vinyl, with a bespoke insert containing a download code.

                                                                                                  Schatzimusik saunter onto our shelves for the first time with a big inaugural release, a super neccessary reissue of Trimolo's masterful debut LP, a gorgeous fusion of organic and esoteric jazz, new age moods and European exoticism.

                                                                                                  Though they came into being in '84, Trimolo's career kicked off in 1987 when the fourpiece moved out of their basement and onto the stage, winning a band contest which took them into the studio for the first time. From there, the outfit lent two expressive tracks to the "Rock Feierwerk 1987 Sampler", before blessing the world with their exceptional debut LP. 

                                                                                                  A sublime combination of infectious rhythms, dexterous guitar playing, evocative synths and playful flute, Trimolo's music breezes through the forest, relaxes by the stream and soaks up the sun, embodying the carefree syncronicity of its creators. The detailed melodies, woozy aesthetic and utter joie de vivre of the LP has put this platter in high demand over the years, and the keen eared will have spotted "Tempo 100" on Basso's "Proper Sunburn" compilation (Piccadilly #1 comp of 2019!). Now you get to luxuriate in the glory of this mellow killer, expanded with the inclusion of the two "Rock Feierwerk Sieger 87" versions. Thank you Schatzimusik!

                                                                                                  Townes Van Zandt

                                                                                                  Townes Van Zandt - 50th Anniversary Edition

                                                                                                    Townes Van Zandt is the third studio album by the American singer-songwriter Townes Van Zandt, originally released in September 1969 by Poppy Records. It includes re-recordings of four songs from his 1968 debut album, including the first serious song he ever wrote, "Waitin' Around To Die".


                                                                                                    FORMAT INFORMATION

                                                                                                    Ltd LP Info: 180g remastered vinyl.

                                                                                                    The Upsetters

                                                                                                    Eastwood Rides Again

                                                                                                      Eastwood Rides Again follows the theme of Lee ‘Scratch’ Perry & The Upsetters previous classic, Return Of Django - and like that one, the groove isn’t just the rocksteady rhythms you’d expect – but also maybe this more spacious version of the style. They got their funk on with the inspiration of Spaghetti Westerns and soul music. The record is largely instrumental and its a representation of Perry’s significant production skills.

                                                                                                      Lee ‘Scratch’ Perry was a pioneer in the 1970s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

                                                                                                      Eastwood Rides Again is available as a limited edition of 1000 individually numbered copies on orange vinyl.

                                                                                                      FORMAT INFORMATION

                                                                                                      Coloured LP Info: Limited edition of 1000 individually numbered copies on orange vinyl

                                                                                                      When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

                                                                                                      Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

                                                                                                      Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

                                                                                                      The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

                                                                                                      The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

                                                                                                      Words from the artist___:
                                                                                                      "I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

                                                                                                      Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

                                                                                                      As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

                                                                                                      Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

                                                                                                      For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

                                                                                                      Kedama

                                                                                                      The Complete Collection

                                                                                                        “Three thick lps of hot jellied kraut-prog heavies coming at you from 1970s swiss-german based Kedama 3 lps of “live” in the studio and actual live recordings unbelievably telekinetic drums, keys and guitar Vision quest soundscapes a total gem lost to the ages here, y’all The first lp was reissued by Geurrson Records a while back the other two lps are unreleased on wax as of yet - rarities and live oddities It’s been a real pleasure to work with these guys as they were as excited as we were and provided us with a plethora of recordings & photos and press clippings to sort through to pull together this nice little set it’s raw, like you like it after a few it’s heavy, so you can nod as you sway along the path it’s beautiful, so you can reminisce it’s winding, so your imagination is blindfolded it’s far flung space jams so you can fry out it’s screwed down genius so you can be inspired this shit is far out and a real-deal old school fuse lighter and its limited to 1000 copies nice, never seen before photos of the gurus so come and get it nerds!

                                                                                                        Gil Scott-Heron

                                                                                                        I'm New Here - 10th Anniversary Expanded Edition

                                                                                                        In February 2010, the late, legendary musician, poet and author Gil Scott-Heron released his thirteenth, and last, studio album. First conceptualised in 2005, and ultimately produced by XL Recordings head Richard Russell during New York recording sessions that commenced in January 2008, "I’m New Here" was Scott-Heron’s first album in thirteen years and found him sounding as vital, boundary-pushing and insightful as ever before.

                                                                                                        In addition to the original album, this 'I'm New Here' 10th Anniversary Edition features two unreleased tracks - a cover of Richie Havens’ 'Handsome Johnny’ and a previously unheard Scott-Heron song 'King Henry IV’ - as well as a selection of other recordings from the original I’m New Here sessions that were only previously available on a rare, vinyl only deluxe version of the LP.

                                                                                                        "Ten years ago I was in the midst of recording “I’m New Here” with Gil. There was a lot more to the experience than it was possible to process at the time, and there was some great material that never made it onto the album. Our cover of “Handsome Jonny” was the last recording Gil and I made on the last day of the last session for “I’m New Here”, at Clinton Studio in Hell’s Kitchen, NY, on September 19, 2009. Gil had introduced me to the original version of the song, explaining how Richie Havens had performed it in his opening set at Woodstock some forty years earlier, and we added it to a list of material we were considering for the album. In the end we recorded some of these songs, like Bobby Blue Bland’s “I’ll Take Care Of You”, Bill Callahan’s “I’m New Here” and Robert Johnson’s “Me and the Devil”, and didn’t get round to some others, including Joy Divison’s “Disorder”." - producer Richard Russell

                                                                                                        STAFF COMMENTS

                                                                                                        Barry says: There's little that can be said about this legendary outing from XL head Richard Russell and the great GSH that hasn't already been said, it's an absolutely essential listen, and this expanded edition makes it even moreso. A wildly groundbreaking and influential recording.

                                                                                                        FORMAT INFORMATION

                                                                                                        2xColoured LP Info: Double LP (one green and one pink disc).

                                                                                                        Rhythim Is Rhythim / Derrick May / Mayday

                                                                                                        Innovator - Soundtrack For The Tenth Planet

                                                                                                        When Network Records originally issued “Innovator” in 1991 they knew that the music contained within was timeless. At that time, of course, they had no grasp of how well Derrick’s epic soundscapes would time travel. They christened the collection - “Soundtrack For The Tenth Planet” - because it seemed like the music (and Derrick) had indeed arrived from another world.

                                                                                                        The release has been acclaimed as iconic because Derrick, the madcap and maverick philosopher of Detroit Techno, introduced the concept of dance music with a musical and emotional agenda way beyond anything that had come before. Beats with beauty. Literally the strings of life. Where fellow musical geniuses Chic had previously urged everybody to simply "Dance, Dance, Dance" mood alchemist Mayday merged simple yet cerebral dreamscapes with strange and urgent complex dance rhythms and invited us all to Dance And Dream. And in a strange juxtaposed way helped birth the hedonistic Acid House scene with classics “Nude Photo” and “Strings Of Life”

                                                                                                        The energy is frenetic, but merged with a new age ambience. The gems collected on this offering were iconic in 1991, now they cause mass hysteria when Derrick turns his one time musical experiments, created in a tiny room in Detroit, and turns them into epic concerts with orchestras and musicians across the globe. “Hand In Hand” existed in 1991 and the label wanted to release it then, but it’s taken until now for the complete 13 minute recording to finally meet the world. It will be revered, because like all of Derrick May’s music it is life affirming. Emotions Electric indeed.

                                                                                                        The original “Innovator” release was housed on one single slab of wax. This time around it's been expanded to two discs to make space for “Hand Over Hand” and also so everything elsewhere - masterpieces remastered - can be presented in a complete and superior fashion. Whatever the tweaks, changes and updates etc all these years on, this music still sounds gloriously alien and groundbreaking. But there’s still no Tenth Planet.

                                                                                                        "Innovator" remastered by Curvepusher, London 2019. Re-presented by Network Records in conjunction with Derrick May.


                                                                                                        NBN Archives is proud to debut a forthcoming series of Hip-Hop and R’n’B reissues with a little known Californian project from "108", a short lived Bay Area group which consisted of rappers Encore (Shaya Bekele) and Grand The Visitor (Everett Aknowledge) along with composer-producer Sedric Edwards. Originally released in 1996 in a very limited quantity of one hundred CD's, the album "Mission Infinite" never really got the attention it deserved until now.

                                                                                                        By the mid 90s Encore and Grand had already been gravitating around the San Jose Hip-Hop scene, releasing music in connection with Bay Area Hip-Hop Icon Peanut Butter Wolf - both featuring on one of Wolf’s first 12’s “Step On Our Ego's?” (1996, South Paw Records). In the same year, Grand released his first solo single “The Visitor” on Blind Side Recordings produced by PB Wolf and Encore's first single was one of the very first releases on Stones Throw in 1997. Sedric Edwards was a sound engineer working locally when he met Chris Cut (aka PB Wolf). They set up a studio together where he met the two MC’s. According to Encore: "One day, Sedric was playing some of his Jazz-infused instrumentals in between sessions, and we were like: ‘We should try something with this!’”

                                                                                                        Working with Sedric’s simple homestudio set-up and with local musicians adding instrumentation to his bass playing, they managed to achieve a "live feel" on the album. Released upon completion via Wake Up Records, the LP was promoted with a couple of shows in small clubs around the San Jose area - where most of the CD's were sold. However without distribution or promotion the record fizzled out. It remains a mystery up until today how this album remained so slept-on for over two decades.

                                                                                                        At a time when rapping over live instrumentation was not very common, a style popularized by bands like The Roots, the 108 project truly stands out amongst other Hip-Hop releases of that era. NBN Archives is extremely proud to present this 90's Hip-Hop underground masterpiece, remastered from the original DAT tapes, for the Jazzy Hip-Hop Aficionados.


                                                                                                        MC5

                                                                                                        Live Detroit 68/69

                                                                                                          Discover the raw energy of MC5, a pioneer band of punk rock and hard rock.

                                                                                                          Recognized and known for their high-flying scene performance, this live recording in their home city (Detroit) is no exception. The first four songs were recorded at the Unitarian Church in Detroit in August 1968, while the last three were recorded at Westfield Highschool in Detroit in January 1969.

                                                                                                          Acid Mothers Temple & The Melting Paraiso U.F.O.

                                                                                                          Minstrel In The Galaxy - Repress

                                                                                                            Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.

                                                                                                            What we said back then ...

                                                                                                            ‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.

                                                                                                            The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.

                                                                                                            They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

                                                                                                            To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!


                                                                                                            FORMAT INFORMATION

                                                                                                            Ltd LP Info: Limited edition 500 only coloured vinyl LP with download code in gloss finished 350gsm board sleeve.

                                                                                                            It was one of the most peculiar landings of the Sun Ra Arkestra. Time: 7 December 1986, Polish People’s Republic, still separated from the West by the Iron Curtain. It's a grey and poor twilight of a real socialism era. In three years the Eastern Bloc would collapse, but what still occupies the minds of Poles now is mostly the martial law imposed by the Pro-Moscow regime in 1981, when the country wanted to free itself from the influence of the Soviet Union. Place: Kalisz, one of the oldest Polish cities dating back to the 10th century, historically connected with the first kings of Poland, grew into a multinational centre with time as not only the Czech Brethren escaping the Habsburg monarchy found refuge here, but also prominent rabbis known across Europe used to operate and expound in the local Jewish community.

                                                                                                            In the 20th century Kalisz became a provincial city and its presence in the cultural life of Poland was most significantly marked with the International Jazz Piano Festival. It was during the 13th edition of the festival that Sun Ra Arkestra performed. What turned out to be most memorable for the concert-goers was the closing procession of musicians who left the stage to walk around the audience, circle the venue, and return. Researchers of the Sun Ra mysticism recognized such gestures as rituals of passage corresponding to the cosmic cycles of death and resurrection. From a European perspective, Sun Ra's work turns out to be a dream come true for Wagner and Stockhausen. His music brought the myth to life. The myth connecting the past with the future – above the unfavourable present – which created a sphere of freedom. However, Ra used to say that it was not freedom that was at stake here, but precision and discipline. 

                                                                                                            Happy Mondays

                                                                                                            Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)

                                                                                                              Released in April 1987, the Happy Mondays debut album was a perfect snapshot of a very different kind of pop culture coming from beyond the fringes. It would be an underground album but a game changer. Produced by Velvet Underground legend, John Cale, this was the accidental sound track for the endless housing estates sailing away from Manchester City centre and into Salford-perfectly captured by this gang of misfits.

                                                                                                              With artwork lovingly replicated by original Manchester designers Central Station Design, this album is on vinyl for the first time since it’s original release. Features the singles “Tart Tart” and “24 Hour Party People”.

                                                                                                              STAFF COMMENTS

                                                                                                              Andy says: Totally original, eternally rhythmical, post-punk/funk topped with Shaun Ryder's inimitable drawl. A proper band fronted by two cartoonish magicians in Shaun and Bez. Amazing, reallu.

                                                                                                              Happy Mondays

                                                                                                              Bummed

                                                                                                                Like many an influential album in rock history, the cultural significance of Happy Monday’ Bummed was apparent to precious few listeners upon its first release on 5 November 1988. Within a decade or two, Bummed would be hailed as one of the best records of the ’80s, often by the self-same publications that had slated it back in the day – a harbinger of the seismic shift about to take place in British popular music, away from the squeaky-clean, corporately ordained pop-radio fodder which had increasingly dominated the charts since punk, and back towards the more aggressive, unruly and experience-hungry urges which had always pulsed through rock ‘n’ roll.

                                                                                                                With artwork lovingly replicated by original Manchester designers Central Station Design, this album is on vinyl for the first time since it’s original release.

                                                                                                                Featured the singles “Wrote For Luck” and “Lazyitis - One Armed Boxer”

                                                                                                                STAFF COMMENTS

                                                                                                                Andy says: The Martin Hannett produced "Bummed" was a huge step up (and on!) from their debut record. Cavernous and rambling, heavy and churning, the tunes here were much more direct whilst the grooves were (can we say it?) BAGGY as fuck! One of Factory Records' greatest ever releases.

                                                                                                                Happy Mondays

                                                                                                                Pills 'N' Thrills And Bellyaches

                                                                                                                  Happy Mondays formed in 1980 and were signed by Tony Wilson to Factory Records. While their first album 'Squirrel And G-Man' had been all ramshackle ramblings and jarring grooves, by their second album 'Bummed' they were already showing signs of what was to come on 'Pills and Thrills' with off kilter funky grooves carrying Sean's sneering nonsensicle lyrics. 

                                                                                                                  By 1990, 'Madchester' was in full swing, this was the time of the indie-dance crossover. Previously there had been a very distinct line drawn between these two genre's which was rarely (if ever) crossed, but rave culture and Ecstacy had erased such rigid barriers and with DJ Paul Oakenfold more dancefloor orientated production, the Mondays embraced this change and added loose (ok, yes, baggy) psychedelic grooves to their uncompromising lyrics and shady tales. This album (along with Primal Scream's 'Screamadelica') came to defined this indie-funk-psych-rave melding of genres and hedonistic scene perfectly. 

                                                                                                                  STAFF COMMENTS

                                                                                                                  Andy says: The Mondays first "pop" (but not really) LP was produced by superstar DJ Paul Oakenfold and featured their biggest hit, the superb "Kinky Afro". This was their time,and they didn't fail to deliver.

                                                                                                                  Happy Mondays

                                                                                                                  ...Yes Please!

                                                                                                                    ‘...Yes Please!’ was the last Happy Mondays album on Factory Records. It was produced by Talking Heads’ Tina Weymouth and Chris Frantz and reached number 14 in the UK chart. Artwork lovingly replicated by original Manchester designers Central Station Design. Features the singles “Stinkin´ Thinkin”, “Sunshine & Love” and “Angel”.

                                                                                                                    STAFF COMMENTS

                                                                                                                    Andy says: "Yes Please" signaled the chaotic end of the Happy Mondays but it's still really interesting with it's tasty Talking Heads production and "Stinking Thinking" is one of the best things they ever did.

                                                                                                                    'Picture London, thirty years ago, as Neneh Cherry gears up to release her debut album Raw Like Sushi - a thrumming, restless, vibrant city that in 1989, much like today, pulsed defiantly against a backdrop of increasing political doom, rocking to the joyful noise of culture leaping across boundaries, radically reordering itself. Rents are low. Soho hums to the chatter of poets, vagabonds and petty sex tourists drinking in the same elixir of possibility. The divisions between the queens of Old Compton and mods and punks of Carnaby Streets look huge but feel slight. A spirit of multiracial unity permeates the air. New York hip hop and Chicago house continue their euphoric colonisation of nightclub culture. Amid this maelstrom, Neneh Cherry emerges, capturing the entire, giddy rumble of this rolling community street culture in one record, Raw Like Sushi. With no interest in genre, Raw Like Sushi upsets and inverts everything you thought you knew about how pop can work, at its brightest and most effective. One of the greatest debut albums of all time, born halfway between Never Mind The Bollocks and Boy In Da Corner, Raw Like Sushi was ready to escort you right to the centre of its dancefloor, dripping hot sweat under a mirrorball at 3am - and its particular magic remains just as potent today.

                                                                                                                    Since the release of Raw Like Sushi 30 years ago, Neneh Cherry has continued to define and redefine culture, style and music releasing five studio albums, including 2018’s Broken Politics, produced by Four Tet, which was met with critical acclaim by the likes of The Guardian, Rolling Stone, The Times, Q and Pitchfork. Neneh went on to tour the album throughout 2019 including her largest ever headline show at London’s Roundhouse, and festival performances at Glastonbury, Latitude, Primavera, Pitchfork and more proving her music and message more relevant than ever.


                                                                                                                    Revolution (Live Disco Show In New York City) is the fourth and final BBE reissue of Sidiku Buari’s unique and sought-after body of African Disco albums. Side 1 is (possibly!) ‘live’ throughout, from a 1979 show at the (possibly mythical!) La Cheer Nightclub, NYC, but very well recorded for a ‘live’ album with clean, bright top notes, sharp percussion and heavy bass-lines. Keep The Rhythm Going segues into Ofey Karambani reminiscent of the Kongos’ massive Loft Club floorfiller Anikana-O, whilst This Is Music and Disco Soccer keep up the 120-140bpm pace to complete a side that rocks enough for the lazier DJ to play from start to finish without lifting the needle! Side 2 consists of four very varied tracks all recorded at Aire L.A.Studios, the two openers Revolution and Together We Can Rebuild It (Ghana Motherland) being polemics against government and army corruption, and a battle-cry for Flight Lieutenant Jerry Rawlings, who ruled the country for a brief period in 1979 when this recording was made, later serving as Ghana’s President from 1981 to 2001. Then there’s a perennial crowd-pleaser Merry Christmas and Happy New Year, Side 2 rounding off with the super-heavy Afrobeat-Disco groover, Happy Birthday. Originally a national athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Sidiku Buari then moved to America on a music scholarship at The York Institute, obtained as a result of his athletic achievements. When one of York’s music teachers, Irvin Mechanic, heard him singing in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them. Four classic albums followed in quick succession, after which Buari’s solo output abruptly ceased. But it was an ending that held within it the seeds of greater musical achievements to come. In 1990 he was appointed to the board of the Musicians’ Union of Ghana, later becoming its President from 1999 until 2007. In 2019, he was honoured with a Lifetime Achievement Award by the Pan-African Republic Honorary Award Society for ‘meritorious contribution to the development of music and movie industries in Ghana’.

                                                                                                                    Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.

                                                                                                                    Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.

                                                                                                                    The LP opens with Kimiko’s highly desirable version of “I Thought It Was You”, an elegant take on Herbie’s own anthem. Other superb re-workings include the delicately soulful “Butterfly”, jazzy groover “Sunlight”, the smooth and sexy “Tell Me A Bedtime Story” and the beautiful ballads “Maiden Voyage” and “Harvest Time”. A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn’t be missed, the set closes with a jaw-dropping version of Stevie Wonder’s “As”.

                                                                                                                    This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous 4 page folded insert - has been faithfully restored. Simon Francis’ sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.


                                                                                                                    LaRombé is one of the most talented songwriters to have graced our eardrums at Piccadilly. Having gone through much of his tape archive it obvious what a powerhouse of song writing and composition this man is. LaRombé music is of the strongest calibre all the way, from his first release in 1979 to present day. All of his Soul, Disco & R&B stands the test of time. It's easy to have one record that with luck ends up great but another thing to write record after record with great hooks you can't leave alone. 

                                                                                                                    STAFF COMMENTS

                                                                                                                    Millie says: LA soul writer LaRombé is on the notoriously good label for all things funk and soul Athens of the North. 'From Philly' is an archive of all his best stuff, with the hit single ‘You’re The Best’ which created a storm of fiery soul and R&B, it’s a favourite at Piccadilly!

                                                                                                                    Nas' 1994 debut "Illmatic" is rightly hailed as a paragon of underground hip-hop, a turning point in East Coast rap's development, and one of the all-time greatest debut albums in general. Though Nas' artistic legacy is without question, it was not always the case; if Nas had flourished during the mid-90s, he had stumbled clumsily while transitioning into the 00's. After achieving universal praise via Illmatic and commercial success with its' follow-up It Was Written, Nas' next few releases were considered inconsistent and lackluster compared to the critical one-two punch they followed. During this time period he had abandoned the socially-conscious and philosophical topics that made him a critical darling in favor of more commercially viable gangsta rap. Though he maintained a chart presence for much of the late-90s, review scores began to dwindle, and his status among the hip-hop community was thrown into question. This would change in 2001 with the release of Nas' fifth studio full-length, which made the effort to re-establish him as a legitimate artist. Eschewing the pop-friendliness he'd found success with, Nas instead opted to return to the underground style he came up in, with tracks about American politics, ghetto life, and social upheaval. Perhaps sensing this need to return to his roots, he titled the album "Stillmatic", a clear and present reference (and sequel of sorts) to Illmatic.

                                                                                                                    The ploy worked perfectly; Stillmatic was hailed by critics as a stunning comeback, and a brilliant return to form, earning rave reviews from rap outlets such as The Source and HipHopDX as well as from more mainstream publications as The Rolling Stone and The Village Voice. Praise was heaped upon the complexity and introspective nature of Nas' lyrical content, the top-tier production from veterans like Large Professor, DJ Premier, L.E.S., and Trackmasters, and hard-hitting guest appearances from AZ, Mary J. Blige, and Amerie. Stillmatic would see release on December 18th of 2001, right as Nas was caught in the middle of a highly publicized feud with fellow New York rapper Jay-Z. As such, the record features one of the feud's most intense apexes in the form of its second track "Ether", a ruthless Ron Browz-produced diss track. A response to Jay-Z's own diss "Takeover", "Ether" savaged the Brooklyn-native, accusing him of brown-nosing to get ahead, of plagiarizing earlier rappers such as Notorious B.I.G. and KRS-One, and dismissing his street cred. To this day "Ether" is considered one of the best and most potent diss tracks ever recorded, a major turning point in the Nas/Jay-Z feud, a standout among the already critically acclaimed Stillmatic, and is even credited with boosting Jay-Z's career by proxy. 

                                                                                                                    FORMAT INFORMATION

                                                                                                                    2xLtd LP Info: Standard black vinyl release.

                                                                                                                    Frédéric Gassita discovered music at the age of five. In 1977 he left Gabon to study in France. His tutors in France spotted the talent of the young man and decided to enroll him at the Conservatory of Music in Châteauroux, where he learned classical music, composition, and perfected his practice of piano, bass and guitar.

                                                                                                                    Back in Gabon in 1983, Frédéric decided to form the band "Surprise" with his longtime friend Jean-Jean Gateau. His musical influences – his parents introduced him to a lot of music: Afro-Cuban music, Jazz, Soul or RnB. - forged the sound of the band as well as a strong inspiration from the US Funk that invaded the radio waves of Gabon. The Guitarist Célestin Assélé Bongo joined the band and provided them the necessary means to record an album. Florence Nang Ekomye, a talented self-taught jazz singer, is immediately recruited, being the voice of Surprise.

                                                                                                                    Benefiting from the unique recording conditions of Studio N'Koussou in Libreville (set-up by Patience Dabany in the early 80s), one of the handful studios to use a Digital 48 Tracks recorder at the time, the young musicians had the strong desire to get the perfect sound: "It took us almost a year to finish the album. We were young and we wanted to do the best we could so we dithered a lot on the choice of songs ..." The result is a sensational production, the use of synthesizers is slamming and the charm of Florence’s voice makes the recording quite unique.

                                                                                                                    "Beleive Me" is an outlier considering what was being done in Gabon at the same time. Indeed, the vast majority of small Gabonese bands were still mimicking the sound of James Brown in cabarets… The record unfortunately did not meet the success the band expected and seemed to have never really benefited from a real marketing. A year after the release of "Beleive Me", Frédéric flew to the U.S. and joined the Berklee College of Music in Boston where he studied for six years; the band never recorded together again.

                                                                                                                    Totally unknown until recently, Surprise, primarily an early work from the great composer, still sounds fresh and crisp and we hope it will now get the attention it did not get upon release.

                                                                                                                    STAFF COMMENTS

                                                                                                                    Patrick says: Sublime groove-led music here from Africa's Atlantic coast, as Gabon's Surprise fuse reggae, disco, jazz and boogie into a shimmering digital delight, somehow overlooked on its mid 80s release.

                                                                                                                    Angelo Badalamenti

                                                                                                                    Music From The Twin Peaks Soundtrack - Coloured Vinyl Edition

                                                                                                                    "Lucy, put Harry on the horn." And so began the most unique, iconic and absurd series in the history of television. For two glorious seasons we pressed our nose to the glass and watched the strange and beautiful goings on in Washington's weirdest logging town. We looked on in awe as Cooper drank coffee, ate cherry pie and savoured the woodland smells, got close to Audrey but kept a respectable distance. We rooted for Norma and Ed, Harry and Joan, Andy and Lucy, Margaret and her log, and laughed ourselves queasy at James and Donna's hilariously wet highschool romance. We tried to find Laura Palmer's killer, figure out the Red Room and the Black Lodge and work out exactly how Cooper got in touch with Diane. We failed, gave up and enjoyed the goings on anyway. And throughout it all, we were swept along on the thematic perfection of Angelo Badalamenti's sublime score. From the swelling bass and dreamy chords of the title music to the bittersweet beauty of "Laura's Theme", from Audrey's seductive jazz to the smokey sweetness of "Dance Of The Dream Man", the score never put a foot wrong. 

                                                                                                                    STAFF COMMENTS

                                                                                                                    Patrick says: In a rare triumph of synchronicity, the finest TV show ever made also boasted the best soundtrack ever written. And that gorgeous, glorious, dreamy soundtrack is now available on coloured vinyl! As lovely as Audrey and as cool as Agent Cooper, this is aces!

                                                                                                                    Thin Lizzy

                                                                                                                    Jailbreak

                                                                                                                      Regarded as one of the bands all time classic albums, Jailbreak released in 1976 was a hit both sides of the Atlantic and contains the ultimate Thin Lizzy anthem in The Boys are Back in Town.’

                                                                                                                      This vinyl reissue is on 180gm vinyl (with download code) with replica artwork.

                                                                                                                      STAFF COMMENTS

                                                                                                                      Andy says: An incredible band who were heavy as heck (and funky, and poppy) and in Phil Lynott had one of the best songwriters of his generation.

                                                                                                                      It's been a year since the magnificent 'Dark is the Sun' first enchanted listeners back in 2011, and we're thrilled to announce the next installment of mesmerizing non-contemporary jazz by the Greg Foat Group with their new album 'Girl and Robot with Flowers'.

                                                                                                                      Evading the dreaded 'second album syndrome' with consummate ease, 'Girl and Robot with Flowers' is a sonic soundscape of epic proportions that leaves 'Dark is the Sun' in the dust while propelling the listener into infinity - and beyond!

                                                                                                                      With a doff of the hat to sci-fi writer Brian Aldiss, we're whisked off on a thematic journey into the emotive and enthralling realms of cinematic jazz, seductive ambience and exciting, majestic drama. Often unpredictable and certainly never dull, British pianist/composer/arranger Greg Foat uses everything from brass bands and kettle drums to Moog synthesizer and harmonium to take us above and beyond the stratosphere of our senses. Have spacesuit? Let's travel!

                                                                                                                      As with 'Dark Is the Sun', this album was recorded in a unique, pure analogue studio in Sweden to capture the full warmth and dynamic range of the wide variety of instruments utilized. The spacious, high quality sound that was achieved by recording direct to tape through high quality vintage equipment is absolutely impeccable, revealing in stunning detail a magical atmosphere the likes of which is rarely heard in the current climate of digitalization and MP3s.

                                                                                                                      Over the years Greg Foat has collaborated withmusicians and artists such as Wendy James, Questlove of The Roots, The Black Lips, Justice and The Bees. This past year has been a busy one with tours of Europe and the UK, exposing their music to seasoned audiences: Jamie Cullum, Chris Evans, Gilles Peterson, Craig Charles, Ozwald Boateng, Helena Christiansen, Jude Law, Benicio Del Toro, Lyndsey Lohan are just a few of the many faces who have enjoyed the music of the Greg Foat Group.

                                                                                                                      Galaxie 500

                                                                                                                      This Is Our Music

                                                                                                                        After producing two albums celebrated by a thirsty underground network of fans, Galaxie 500 released what turned out to be their unexpected swansong, "This Is Our Music". The title is an intentionally declarative statement. After being labeled masters of the disengaged and forlorn, Damon Krukowsi, Dean Wareham, and Naomi Yang delivered a full-length comprised of their most stately material. Here, one can hear potential realized, as well as changes afoot. "Fourth Of July" is a surprisingly up-front song for the band, with rolling drums and a bass-heavy refrain, and it proved to be their most popular single. The track sets the stage for the dynamism of "This Is Our Music". When Galaxie 500 sounds wistful ("Summertime"), it sounds like years of yearning actualized; when the band sounds regretful ("Sorry"), it comes pleading on its knees. The trio found a beautiful balance between increased production values and knob-twiddler Mark Kramer's odd handed approach. For the first time since its original pressing, "This Is Our Music" is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

                                                                                                                        STAFF COMMENTS

                                                                                                                        Andy says: Galaxie 500's third and final album felt bolder and more dynamic than their previous work. Such an amazing band!

                                                                                                                        When Galaxie 500's today was released in 1988, it set off a chain reaction of quiet explosions still being felt. Never before had a record so emphasized the calming elements of rock music, transforming what at first seems like a collection of bridges into fully realized songs. And one can draw a straight line from here to the many groups they influenced, like Low, Belle & Sebastian, and Bon Iver. "Today" is full of idiosyncrasies. The trio of Damon Krukowski, Dean Wareham, and Naomi Yang were recent Harvard grads who intuitively eliminated any histrionic tradition to rock songs, leaving core emotion (not for nothing did they include a cover of "Don't Let Our Youth Go To Waste", by the kings of feeling, the Modern Lovers). It was produced by Mark Kramer, who was best known for his work with cataclysmic slop rock pioneers such as Bongwater, Ween, and King Missle. The band's hometown of Boston was just coming out of its love affair with Mission Of Burma and pouncing upon the spasmodic electricity of The Pixies. Despite, or perhaps because of, all these elements, "Today" thrived. More than 20 years after its initial release, its title is still no misnomer. The music, recorded with what many thought at the time was too much reverb, sounds present, alive, and indeed a product of today. Songs like "Flowers", "Temperature's Rising", and of course "Tugboat" (the band's debut single) stand the test of time and exist in an eternal now. For the first time since its original pressing, "Today" is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

                                                                                                                        STAFF COMMENTS

                                                                                                                        Andy says: "Today" hit in 1988 and blew everyone's minds with its echoey, minimal, slow rock. Something for The Longing...

                                                                                                                        Be With Records present the first ever vinyl release of R&B star Cassie's seductive debut. A late-night classic of chilly electro-soul, the self-titled album has influenced many in the dance music fraternity since its original appearance back in 2006. Indeed, it is particularly revered by Jamie xx, Four Tet, Hot Chip, CFCF, oOoOO and How To Dress Well.

                                                                                                                        Perhaps most famously, it features the slick summer smash “Me&U” (which reached No.6 in the UK charts and topped the US equivalent) but the remaining 10 tracks serve to create a minimalist R&B masterpiece. The intricate and space-filled arrangements are laced with sinister synth bleeps that wouldn’t have been out of place on an early 90s Warp record. The dark, hypnotic high ends coupled with Cassie’s ice-queen delivery made this stand out from the tired crowd of mainstream R&B at the time. It still sounds wholly and eerily unique.

                                                                                                                        Like all Be With releases, this record is officially licensed and has been pressed on audiophile 180g vinyl, befitting the heaviness of the music contained within. When news of this vinyl release first broke, the R&B cognoscenti went into overdrive. Don’t miss your opportunity to own this timeless classic on the format it should've always been on.


                                                                                                                        A heady mix of digi killers, digital roots, dub, electro, and unlikely vocoder magic, "Love Lives Forever" is the first ever compilation of Miami reggae-not-reggae diva Dhaima.

                                                                                                                        The record gathers a collection of the original Natty Queen’s seminal ’80s and ’90s recordings, including her big 1982 chune “Reggae On Sunset,” the Ninakupenda-issued “Don’t Feel No Way,” the previously unreleased “Loving You Is My Thing,” and “Surrender” - the last song recorded before her untimely death in 2000. Then you make it to the last track for the killer "Sweat Til Your Body's Wet", a dope digi-dub stepper on the theme of "Reggae On Sunset".

                                                                                                                        Pressed loud on vinyl in a long-playing format to mash up your home speakerbox.

                                                                                                                        Left Ear have put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. "Phase III" commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.

                                                                                                                        The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.

                                                                                                                        I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout. 

                                                                                                                        This new anthology on Afrosynth brings together six songs by South African disco star Kamazu, spanning his career from 1986 to 1997. The six track set perfectly traces an evolution of dance music over that period, moving from the boogie/proto house heat of his biggest hits ‘Korobela’ and ‘Indaba Kabani’ (think a South African Inner City) to the MTV new wave of the more obscure ‘Victim’ and ‘Why’, to a couple of slow and slamming tracks from his kwaito comeback, ‘Mjukeit’ and ‘Atikatareni’. Virtuoso playing, super cool synth sounds and great vocals throughout.

                                                                                                                        Pale Saints

                                                                                                                        The Comforts Of Madness

                                                                                                                          On the eve of a post-Thatcherite Britain, the Pale Saints, alongside the likes of Lush, Ride and Slowdive, were ushering in a new wave of British indie. And in 4AD, they found a perfect home for their music - an exciting & undeniable meld of noise and dream-pop.

                                                                                                                          Their debut album, The Comforts of Madness, didn’t disappoint, now standing as one of the best of its era. Pitchfork placed it in their Best 50 Shoegaze Albums Of All Time saying, “There’s a restless urgency, particularly when the volume swells and the rhythms intensify. That energy not only keeps (it) vital, it emphasizes Pale Saints’ inventiveness, how they channelled softness and rage into something distinctive.”

                                                                                                                          Nearly 30 years on and The Comforts of Madness is finally getting the reissue treatment. Having been remastered, a faithful LP repress on black vinyl is being released as well as double CD and double clear vinyl editions, both of which come with a bonus disc of previously unreleased demos and the band’s only John Peel Session, recorded in 1989.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          2xColoured LP Info: Deluxe clear vinyl double LP includes unreleased demos & 1989 John Peel Session.

                                                                                                                          Emotional Rescue shares a little shine with the music ensemble Man Jumping, via this reissue of their experimental, post-minimalist meets pop debut album "Jumpcut", which will be followed by 2 special remix EPs featuring Khidja, Bullion, Reckonrong and more.

                                                                                                                          Formed in 1983 out of the disbanded The Lost Jockey (Les Disques Du Crepuscule), Man Jumping's aim was to move on from the unwieldy nature of that collective to combine the 'systems music' of Steve Reich, Terry Riley, LaMonte Young etc with rock, funk, dance and world music and create a new cross over.

                                                                                                                          Consisting of studied musicians and created from theory as well as technique, the liberation from formal restrictions took shape over four years that spawned 2 albums and one 12". 
                                                                                                                          Released on Bill Nelson's 'Cocteau' label in 1985, Jumpcut's was critically praised but destined for more discerning ears. The 7 songs - including here a 12" mix of Aerotropics - developed from 16 stave manuscript into live recordings straight to tape, with no sequencing to keep their live feel intact.
                                                                                                                          Carefully planned but made in the moment, members Charlie Seaward, Glyn Perrin, John Lunn, Orlando Gough and Shaung Tozer's legacy is demonstrably durable, a testament to their originality of thought to an idea of what might be rather than an imitation of what has been.

                                                                                                                          STAFF COMMENTS

                                                                                                                          Patrick says: I'm all over this one! Operational in the mid 80s, Man Jumping took the serialist and minimalist sound of Reich et al and pushed it into the pop sphere with danceable grooves, dubby studio fx and fretless bass licks, giving us a glimpse of Talking Heads if Arthur Russell had become a full time member...

                                                                                                                          MC5

                                                                                                                          Kick Out The Jams - Splatter Coloured Vinyl Edition

                                                                                                                            Kick Out The Jams is the debut album from the American punk outfit MC5. Originally released in 1969 the album is revered by rock fans worldwide and contains the world renowned title track which was named the 65th best hard rock song of all time by VH1.

                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: 140g red/white/blue splatter vinyl - RSD Stores Exclusive.

                                                                                                                            Morphine

                                                                                                                            Good - Expanded Edition

                                                                                                                              Morphine are proud to present their debut album ‘Good’ as an expanded edition released by Run Out Groove, including a bonus LP consisting of live and demo tracks. Morphine are considered to be one of the most unique and original rock bands to have graced the alternative scene in the 90’s, blending a mix of genres creating their own distinct sound.

                                                                                                                              The album marked the start of a stellar career and appealed to a wide audience because of its ability to cross genres and styles so uniquely. 


                                                                                                                              FORMAT INFORMATION

                                                                                                                              2xDeluxe LP Info: 2LP 180g Black Vinyl.

                                                                                                                              This debut album by prodigious keys player, composer and producer Joe Armon-Jones, is buoyant, celebratory and welcoming. With a background in jazz, he draws from influences in dub, hip-hop and soul. Different traditions are infused and commingled together. Soulful brass arrangements are coloured with carefully-tuned atmospherics; individual flashes of brilliance are bound into the album’s bigger picture. He’s part of London’s young, jazz-influenced music scene. Drawn from that same close-knit circle, the album features the likes of Moses Boyd, Nubya Garcia and Oscar Jerome. It’s playing with those – along with Ezra Collective, which he co-founded, and touring with the likes of Ata Kak and Pharoahe Monch – which has honed his playing and grown his ideas. It’s made for a record with an unmistakable depth. He draws on deep musical understanding, making music which is warm and has a feeling of joy. A document of his vision for bringing together his different influences, it’s also a testament to hard-earned, head-turning musical virtuosity.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              LP 2 Info: New non-gatefold version.

                                                                                                                              Donnie & Joe Emerson

                                                                                                                              Dreamin' Wild

                                                                                                                                Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin’ Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.

                                                                                                                                Spurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.

                                                                                                                                This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. Be sure to also check out the short documentary Rock and Roll Farmers, premiering on LightInTheAttic.net.

                                                                                                                                “‘Baby’ has been a staple on just about every playlist / mixtape I’ve assembled in the past 3 years. It is nothing short of sublime.” - Ariel Pink.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Coloured LP Info: 40th edition pressing on baby blue colored vinyl.

                                                                                                                                Lightning Bolt

                                                                                                                                Lightning Bolt

                                                                                                                                  “Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing.” - LA Times

                                                                                                                                  Since their first moment it seems like they’ve been as electric as their name suggests. ‘Lightning Bolt’, their first album, captures that energy in a raw form. Famously lo-fi, this is the album that’s been described as most feeling like being at one of their shows. It’s difficult to listen and not want to jump with the crowd it feels like must be huddled around the amp producing an incredible wave of noise, astonishingly coming from just two musicians. You can hear the threads of their later work; use of repetition, a sense of grinding and building, noise melting to guitar solos. This album is loud and the riffs repeated become mesmerizing as they warp slowly thru the songs.

                                                                                                                                  ‘Lightning Bolt’ has not been available on vinyl since its original pressing of 740 in 1999.

                                                                                                                                  First time ever released as a double LP. LP1 is the original release, LP2 was recorded at the same time and has never been issued on vinyl.

                                                                                                                                  Packaged in a two-sided silkscreen wrap using original designs by Brian Chippendale and printed by Crosshair.

                                                                                                                                  Uncle Tupelo

                                                                                                                                  Anodyne - Coloured Vinyl Edition

                                                                                                                                    This is the fourth studio album from the alternative country band, originally released in 1993. The album came after the exit of drummer Mike Heidorn and the addition of three new members: John Stirratt, Ken Coomer and Max Johnston. 

                                                                                                                                    Galaxie 500

                                                                                                                                    On Fire

                                                                                                                                      "On Fire" is widely recognized as the canonic pinnacle of Galaxie 500's career. The artwork conveys this, with a low-angle shot of the band, looking up towards an amber sky. This record marked the realization of their signature sound. Nowhere is it clearer than on the album opener, "Blue Thunder", the closest a song can come to waves crashing on a beach in songform. Lyrically inconsequential, with a chorus composed entirely of 'la's', the track's power lies in a systematic build and break of intensity that reaches a spector-like climax. It is the quintessential Galaxie 500 song, encapsulating all that was great about the band. With the Boston trio once again utilizing the bizarre genius of producer Mark Kramer, "On Fire" sounds like anything but. The guitars are warm blankets enwrapping Dean Wareham's vocals, percolated by the open percussion of Damon Krukowski and anchored by the emotion-laden bass of Naomi Yang. Songs like "Snowstorm", "Strange", and "Decomposing Trees" have an endless quality, without beginnings or ends, but rather frozen somewhere on a spectrum of melancholy. For the first time since its original pressing, "On Fire" is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

                                                                                                                                      Tino Contreras

                                                                                                                                      Musica Infinita

                                                                                                                                      Gilles Peterson launches his new imprint Arc Records with a reissue of cult record “Musica Infinita” by Mexican drummer and composer Tino Contreras. A psychedelic, experimental jazz record, originally released in 1978, it marked a daring step forward by the Mexico City-based musician, and is now re-released for a chance to get the widespread dues it deserves. A limited private press, copies of the original are highly sought after, despite the drummer being much overlooked in both his home country as well as abroad, with a career that started in the 1950s, and which has seen him share stages with many of the greats – including Dave Brubeck, Cannonball Adderley and the Duke Ellington Orchestra.

                                                                                                                                      The story behind Peterson re-releasing the record is serendipitous. Several years ago, he bought a copy before a gig in Japan, and it soon became one of his most cherished discoveries; he was awed by its otherworldly blend of jazz fusion and psychedelia. Years later, booked to play at a festival in Mexico, Peterson was introduced to Carlos Icaza, a record collector and musician, who also had a copy of the record – in fact, he has two – and to whom it was also an extremely special album. To Peterson’s delight, Icaza suggested they meet up with Contreras who, at 95, is still active and based in Mexico City. Soon enough, the three of them were sat down together and agreed upon a plan to re-issue “Musica Infinita”.

                                                                                                                                      The album is the product of a long, varied musical development for Contreras, and of his productive partnership with Estrella Newman, a scholar who championed pre-Columbian culture and Mexico’s experimental traditions, such as the micro-tonalism pioneered by musician and academic Julián Carrillo. On “Musica Infinita”, Contreras filtered these local traditions through an American-influenced jazz lense, his playing and compositions honed through formative experiences seeing the likes of Art Blakey and Shelly Manne, decades of touring internationally, and of being part of a series of orchestras and ensembles central to Mexico’s jazz history.

                                                                                                                                      By the time he recorded “Musica Infinita”, Contreras had been a part of the Luis Arcaraz orchestra, had led a series of outfits to record albums for the Musart label, been part of recordings for the Polydor, Typic and Berta imprints, and had introduced Mexico to the Dominican Republic’s merengue rhythm, through his 1953 recording debut with an orchestra, the ‘Volado por los merengues’ 10”.

                                                                                                                                      The group name adopted for the album, Quinto Sol, reflects the influence of the Aztec Calendar, a concept which Contreras and Newman were inspired to build their shared musical project around. It’s a concept based around an Aztec carved stone structure, known as the Sun Stone, discovered in the late eighteenth century, believed to outline five periods – or suns – which explain the transformations of the earth. Inspired by a nighttime visit to the Pyramid of the Sun, in the ancient city of Teotihuacan, Contreras decided to adopt a group name in reference to the fifth period of the Aztec Calendar. Thus, he picked Quinto Sol – or, “Fifth Sun”.

                                                                                                                                      Re-issued for the first time, it’s a chance to get acquainted with an especially bright moment for an artist whose legacy is surely due for greater attention. Bridging strongly-felt Mexican tradition with a grounding in a primo jazz schooling, “Musica Infinita” channels grand concepts into a visceral musical experience.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      Ltd LP Info: Second issue on 140 gram vinyl with obi-strip.

                                                                                                                                      With a West Coast tour looming and problems with the recording (burnt singers, overheated tape reels, the final mix getting lost in the post etc), Chromatics' Johnny Jewel decided to run off a few demo CDs of "Night Drive" to sell at the band's shows anyway. However, as soon as the press and bloggers got hold of copies, the album became in overnight sensation. In need of money to get Italians Do It Better going (this was 2007 remember), and with big demand for copies, Jewel decided to release this demo version as a full album... Which is how it remained - until now! When that lost final mix finally turned up 18 months later (!), it was decided to remaster the whole production, add the tracks missed off the original demo CD copies and press up some vinyl too.

                                                                                                                                      The record opens at the end of a long night with our heroine making a phone call to her lover. In the background through the muffled walls of a sweaty nightclub you can hear music playing. She drives to the coast to clear her head, with "Night Drive" on the car stereo. As the hi-hat attacks your speakers, her hair blows in the breeze. This is the opening of the record that continues to define Chromatics' unique sound. The music is drenched in reverb echoeing the death of hope and the price of nostalgia. The most powerful example of this is Chromatics daring take on the Kate Bush classic, "Running Up That Hill," a favorite amongst fans and critics alike. With ethereal songs like "Tomorrow Is So Far Away", "Tick Of The Clock", & "Let's Make This A Moment To Remember", they give the listener the space to breathe. We get a glimpse of their chequered past with the post punk sheen of Joy Division on "Healer".

                                                                                                                                      The lost side of the album is dark and abstract. Opening with the almost funerial "Shining Violence". Where detuned analog synths collide and struggle to hang onto a fading melody. Followed by the sleeper hit, "Circled Sun", and the Vangelis-inspired reflection of life's duality in "The Gemini". "Night Drive" closes with an arpeggiated musical refrain from the beginning of side one. "Acelerator" reinterprates elements of the chord progression from "Night Drive" while leaning heavily on the gear shift. As painted lines in the road begin to strobe, Chromatics propels full speed ahead into an uncertain future.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      2xColoured LP 2 Info: Ivory coloured vinyl repress.

                                                                                                                                      Lydia Lunch & Rowland S. Howard

                                                                                                                                      Shotgun Wedding

                                                                                                                                        Out of print on vinyl since it’s 1991 release, this re-press is a must have. Lydia Lunch: New York City’s provocateur, poet, singer, author, performer and actress. Rowland S. Howard is no doubt best known for his work with the Birthday Party, his discordant guitar is an essential factor in their sound. Featuring production by JG Thirwell (Foetus, Manorexia..) and drums by Jim Sclavunos (Bad Seeds, Grinderman..) it’s a veritable who is who of the post punk / no wave scene of the time. With both parties at the height of their respective talents, this is an alternative rock gem, yet however maintains an atmosphere of eerie beauty throughout.

                                                                                                                                        The Replacements

                                                                                                                                        Pleased To Meet Me - Coloured Vinyl Edition

                                                                                                                                          This is the only album released by the band as a trio, before Bob ‘Slim’ Dunlap became part of the band. This album portrayed a move through other genres. The album was recorded in Memphis so perhaps injected a soul vibe to the album. Including tracks such as ‘Alex Chilton’ this album was loved by critics. 

                                                                                                                                          The Replacements

                                                                                                                                          Don't Tell A Soul - Coloured Vinyl Edition

                                                                                                                                            Originally released in 1989, this is the sixth studio album from the Replacements, but the first with Bob ‘Slim’ Dunlap on guitar, replacing Bob Stinson in 1987. Featuring their hit single ‘I’ll Be You’, this album received high praise across the board, with Rolling Stone stating that the album was full of Westerberg’s ‘sharp-tongued wordplay and idiosyncratic musical structures’.

                                                                                                                                            FORMAT INFORMATION

                                                                                                                                            Coloured LP Info: RSD store exclusive 140 gram clear vinyl.

                                                                                                                                            Frank Zappa

                                                                                                                                            The Hot Rat Sessions

                                                                                                                                              The original 1969 Frank Zappa album was the first record to be recorded on a prototype 16-Track Tape Machine. Self-described as a “Movie For Your Ears,” it was technically the second solo outing for the composer and the album that put FZ on the map as a guitar player.

                                                                                                                                              A single disc LP of the original album, pressed on hot pink vinyl, pressed at Pallas.

                                                                                                                                              Queens Of The Stone Age

                                                                                                                                              Era Vulgaris - Vinyl Reissue

                                                                                                                                                2007's Era Vulgaris finds QOTSA touching on a variety of styles, incorporating electronic and acoustic textures alongside the band's trademark heavy rock crunch. The album includes such fan favorites as "Sick, Sick, Sick," "3's & 7's" and "Make It Wit Chu," with guest appearances by Julian Casablancas of The Strokes and frequent QOTSA collaborator Mark Lanegan.

                                                                                                                                                The previous LP edition was on 3x 10” LPs, this LP edition marks the first-ever release of Era Vulgaris on 12" vinyl.

                                                                                                                                                Queens Of The Stone Age

                                                                                                                                                Lullabies To Paralyze - Vinyl Reissue

                                                                                                                                                  Queens of the Stone Age's 2005 release Lullabies to Paralyze debuted at No. 5 on the Billboard album charts. Along with the hits "Little Sister" and "Burn the Witch," Lullabies to Paralyze features guest appearances by Jack Black, ZZ Top's Billy Gibbons, Shirley Manson of Garbage and Jesse Hughes of the Eagles of Death Metal.

                                                                                                                                                  The new vinyl release of Lullabies to Paralyze features a gatefold jacket with the album's original album art in the U.S. for the first time, and includes the original three vinyl bonus tracks: "Infinity," "Like A Drug" and "Precious And Grace."

                                                                                                                                                  They Say: 'Documentary and industrial underlays for current themes of modern life'. We say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb.

                                                                                                                                                  This is the one. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. "The Now Generation (Percussive Underscores)" is comfortably one of the very best library records full stop.

                                                                                                                                                  The record comes galloping out the gate with a pair of rapid synthy-eurodisco bombs - the title-track and "Panama" - before slowing down to a woozy pace on "Inorganic Matter". "African Nightclub" sounds like it reads, and is a particular favourite of Prins Thomas. Indeed, it was used to great effect on his seminal 'Cosmo Galactic Prism' mix for Eskimo back in 2007. It’s followed by the dark, druggy, slow motion industrial groove of "Grease Plant" before "Southerly" lifts the tempo to close out side A with its Latin funk strut of bells and melancholic keys.

                                                                                                                                                  For us, though, it’s all about the opener to side B: "Mechanical Heart". Seven minutes of building, mid-tempo disco-funk joy, deceptively explosive, club-ready gear for body and soul. The back cover dryly describes the track as 'Guitar and percussion, light industrial underlay'. Hmmm. How about, 'after finally emerging from a particularly heavy week jamming in a sunless, lawless German warehouse, Chic warily press record on a wayward, illicit instrumental for basement gatherings'. Just wait for those drums at the 3 minute mark…

                                                                                                                                                  The beatless ambience and menacing stabs of the proto-electro "Chemical Threat" follows, before the open drums and incredible fills of the metronomic "Steady Going" and fantastically monotonous funk breaks of "Nepal Trek" round out this sensational set.

                                                                                                                                                  This is a library masterpiece in no uncertain terms, full of synth funk, afro beats, exotica, leftfield madness, dance floor dynamite and all-around greatness.

                                                                                                                                                  The audio for The Now Generation comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.


                                                                                                                                                  Various Artists

                                                                                                                                                  Visual Impact (KPM)

                                                                                                                                                  Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. Just too good…

                                                                                                                                                  We say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson.

                                                                                                                                                  For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”.

                                                                                                                                                  The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense "Rock Climb" and the sheer heft of "Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”.

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

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


                                                                                                                                                  Originally released in 1976, "The All American Powerhouse" is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released.

                                                                                                                                                  They Say: 'Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style'.

                                                                                                                                                  We say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans™ (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle and Keith Roberts, this is driving music for only the vibiest cats.

                                                                                                                                                  Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP.

                                                                                                                                                  Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.

                                                                                                                                                  As with all of our other Themes re-issues, the audio for The All American Powerhouse comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


                                                                                                                                                  Various Artists

                                                                                                                                                  Breath Of Danger (Themes)

                                                                                                                                                  "Breath Of Danger" was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

                                                                                                                                                  They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

                                                                                                                                                  We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

                                                                                                                                                  Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

                                                                                                                                                  Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

                                                                                                                                                  Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

                                                                                                                                                  As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


                                                                                                                                                  Various Artists

                                                                                                                                                  The Hunter (Drama Suite) / Adventure Story (KPM)

                                                                                                                                                  "The Hunter (Drama Suite) / Adventure Story" is a real library-head’s library album. We’re treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond and keyboard session giant Steve Gary! Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums.

                                                                                                                                                  They Say: 'Composite themes and incidental cues for dramatic application'.

                                                                                                                                                  We say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of 70s and 80s crime shows. Much like "Beat Incidental", this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk.

                                                                                                                                                  Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting edge Blaxploitation soundtracks.

                                                                                                                                                  Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999.

                                                                                                                                                  The audio for "The Hunter (Drama Suite) / Adventure Story" comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                                                                                                                                  Fred Neil

                                                                                                                                                  Fred Neil

                                                                                                                                                    A moody NYC masterpiece from the Village circa ‘66. New York folk artist Fred Neil’s eponymous second album may not have been a sales smash, but it inspired countless contemporaries, from Jefferson Airplane to Crosby, Stills and Nash, to Harry Nilsson. It was the latter’s cover of ‘Everybody’s Talkin’,’ featured in the Midnight Cowboy soundtrack, that garnered Neil his greatest notoriety, but the album is full of shimmering, surreal gems, like ‘The Dolphins’ and the stunning ‘Faretheewell.’ Neil disappeared into reclusiveness not long after, but his legacy as a thoughtful, complex songwriter lives on.

                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                    Coloured LP Info: Clear Vinyl.

                                                                                                                                                    Leon Thomas' debut solo recording after his tenure with Pharoah Sanders is a fine one. Teaming with a cast of musicians that includes bassist Cecil McBee, flutist James Spaulding, Roy Haynes, Lonnie Liston Smith, Richard Davis, and Sanders (listed here as "Little Rock"), etc. Thomas' patented yodel is in fine shape here, displayed alongside his singular lyric style and scat singing trademark. The set begins with a shorter, more lyrical version of Thomas' signature tune "The Creator Has a Master Plan," with the lyric riding easy and smooth alongside the yodel, which bubbles up only in the refrains. It's a different story on his own "One," with Davis' piano leading the charge and Spaulding blowing through the center of the track, Thomas alternates scatting and his moaning, yodeling, howling, across the lyrics, through them under them and in spite of them. It's an intense ride and one that sets up the glorious "Echoes." This tune is Thomas at his most spiritual and uplifting, carrying the mysterious drift of his tune entwined with Spaulding's flute and a set of Pan pipes, fluttering in and out of the mix before his wail comes to the fore as a solo. The end of side one reaches into Thomas' past (he sang with everyone from Count Basie to Grant Green and Mary Lou Williams) for a highly original read of Horace Silver's classic "Song for My Father." Thomas imbues the tune with so much emotion, it's a wonder he can keep it under wraps. Side two is more free from in nature with "Damn Nam," a near rant, but one possessed with melodic vision and harmonic invention with this band. There's also the deeply moving "Malcolm's Gone," a co-write between Thomas and Sanders that features the latter's gorgeous blowing, hard and true in the middle of the mix, and a wildly spiritual Eastern vibe coming through in the improvisation. It's the longest track on the record, and one of the most criminally ignored in Thomas' long career. The album closes with Bell and Houston's "Let the Rain Fall on Me." It's a shimmering straight jazz number with a beautiful piano solo by Smith. It sends out a visionary album out on a sweet, soulful note. Ultimately, this is among Thomas' finest moments on vinyl, proving his versatility and accessibility to an audience who, for too long already, had associated him too closely with the avant-garde and free jazz.

                                                                                                                                                    The Chameleons

                                                                                                                                                    Script Of The Bridge - Remastered Edition

                                                                                                                                                      The Chameleons seminal debut album ‘Script of the Bridge’ restored and re-mastered for vinyl at Abbey Road Studios, London. The package contains two heavyweight (180g) vinyl discs together with a free digital download code.

                                                                                                                                                      The two 12” discs are in white poly bags inserted into spined LP sleeve, featuring exclusive new artwork by The Chameleons guitarist Reg Smithies. 

                                                                                                                                                      The Chameleons

                                                                                                                                                      What Does Anything Mean Basically? - Remastered Edition

                                                                                                                                                        The Chameleons second studio album ‘What Does Anything Mean? Basically’
                                                                                                                                                        re-mastered for vinyl in Spring 2018.

                                                                                                                                                        The album is presented on heavyweight clear vinyl in a gatefold sleeve with printed inner bag. The iconic cover art has been re-worked and updated by guitarist Reg Smithies.

                                                                                                                                                        This packaging is restricted to one thousand copies, with any future runs only being available in regular sleeve.

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Coloured LP Info: 180 gram clear vinyl in a gatefold sleeve.

                                                                                                                                                        The Chameleons

                                                                                                                                                        Why Call It Anything - Special Edition

                                                                                                                                                          The Chameleons fourth and final studio album receives its first ever outing on vinyl, with the initial pressing on 2 x heavyweight coloured discs presented in a gatefold sleeve.

                                                                                                                                                          Why Call It Anything was produced by David M Allen (Strange Times) and was the band’s first full studio recordings after a fifteen-year break.

                                                                                                                                                          Re-mastered for vinyl, the album was cut at Abbey Road by engineer Geoff Pesche whose impressive CV includes cutting the lacquer for the best selling 12” of all time, New Order’s Blue Monday.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          2xColoured LP Info: Orange and blue coloured vinyl.

                                                                                                                                                          The album is among Fela’s most courageous responses to the Nigerian army’s destruction of Kalakuta on 18 February 1977. During the attack, Fela’s mother, aged 78, a veteran of Nigeria’s struggle for independence from British colonial rule and an early campaigner for Nigerian women’s rights, was thrown out of an upstairs window, fracturing a leg. Fela believed that the assault led to his mother’s death 14 months later

                                                                                                                                                          Throbbing Gristle

                                                                                                                                                          A Souvenir Of Camber Sands

                                                                                                                                                            Throbbing Gristle announce the next phase of their reissues series with the release of ‘Part Two: The Endless Not’ / ‘TG Now’ and ‘A Souvenir Of Camber Sands’. In 2004 Chris Carter, Peter Christopherson, Genesis P- Orridge and Cosey Fanni Tutti reformed - 23 years after their mission was originally terminated - and between 2004 and 2007 the band released 14 new studio tracks and a live album of their appearance at ATP’s Nightmare Before Christmas in Camber Sands.

                                                                                                                                                            ‘A Souvenir Of Camber Sands’ is a live document of Throbbing Gristle’s performance at Jake and Dinos Chapman’s All Tomorrow's Parties Nightmare Before Christmas at Camber Sands in December 2004. Throbbing Gristle are renowned for their documentation of live performances - ‘TG24’ (which was reissued in 2002) and ‘TG+’ (released in 2004) collated their live recordings up until the band disbanded. This release reactivated the band’s live performance documentations that include ‘Thirty Second Annual Report’ (from La Villette, Paris) and the ‘Desertshore Installation’ (from the ICA, London).

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            2xColoured LP Info: Clear vinyl + poster in gatefold sleeve, limited to 2000 copies worldwide.

                                                                                                                                                            2xColoured LP includes MP3 Download Code.

                                                                                                                                                            Throbbing Gristle

                                                                                                                                                            Part Two: The Endless Not / TG Now

                                                                                                                                                              Previously released in 2007, their first full studio album for 25 years, the 12 years that have since past have not diluted it's impact and it stands holding the bands legacy intact and is now part of their classic catalogue. The album has not been available on vinyl for nearly 10 years.


                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              3xLP Box Set Info: Clear vinyl + poster + stickers, limited to 2000 copies worldwide.

                                                                                                                                                              Another absolute gem of a reissue from Light In The Attic.

                                                                                                                                                              Album recorded at the legendary Wally Heider Los Angeles studios and features heavy session players Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley).

                                                                                                                                                              Release sports 32 page CD booklet and 180-gram wax, lovingly re-mastered from the original master tapes and a deluxe Stoughton “Tip-On” old school sleeve with faithfully reproduced original artwork.

                                                                                                                                                              What happens when a musically minded country boy from rural Kentucky heads to the Golden State and makes an album of blue-eyed soul with Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley) as his back-up band? Well, if the stars were aligned, singer songwriter Jim Ford would’ve had a major hit on his hands. As it was, 'Harlan County', released in 1969 on the minor label Sundown Records, simply fell through the cracks between monster selling titles by The Beatles, Led Zeppelin, and Creedence Clearwater Revival. Despite being allied with some of the biggest names in the business and a deft musical touch - Ford wrote songs for Bobby Womack (“Harry Hippie”), Aretha Franklin, P.J. Proby, The Temptations, and even appeared on Sly & the Family Stone’s 'There’s a Riot Goin’ On' - Ford never struck gold as a solo artist and eventually left the often cutthroat music business for a quieter life at the turn of the 1980’s.

                                                                                                                                                              “Jimmy Ford is the baddest white man on the planet,” said Sly Stone of Harlan County’s main man, and listening to the album today who’s to argue? Needless to say, Light In The Attic Records are honored to re-release these ten emotive country-soul songs on CD and LP with Ford’s original cover artwork, beautifully re-mastered audio, extensive liner notes by Kurt Wolff (The Rough Guide to Country Music), and rare photos, all presented with an adult portion of love. Fans of Charlie Rich, Tony Joe White, Lee Hazlewood, and Bobby Charles, please take note. 'Harlan County' is a revelation to deep music heads and for the previously converted, an opportunity to revisit one of the California studio scene’s crowning glories. To quote the title of Wolff’s booklet essay, “Jim Ford’s Music Will Kick Your Ass And Blow Your Mind.”

                                                                                                                                                              Armed with a powerful whiskey fueled voice, down home rhythms, tight horn section, and occasional spectral orchestration from Gene Page (The Righteous Brothers, Barry White, Marvin Gaye), Harlan County is ripe for reappraisal. And though Ford is unfortunately no longer with us - he passed away in 2007 - his musical legacy lives on. With fans and friends including Brinsley Schwarz leader Nick Lowe and actor Marlon Brando it’s safe to say that Jim Ford was the real deal. So head over to your local brick and mortar record shop, hit the liquor store for a bottle or two, and turn up the stereo. Take a country-funk trip to Harlan County. It’s cheaper than a flight and will take you right where you need to be.

                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              Coloured LP Info: Limited blue vinyl version.

                                                                                                                                                              This album digs deeper into the most experimental recordings in the archives of Nelson Records. The label was founded in 1970 by the musicians Maurizio Majorana, Antonello Vannucchi and Roberto Podio (who along with Carlo Pes would be known as I MARC 4), after establishing the Telecinesound studio, right where the New Italian Library Sound was created. They recorded with Armando Trovajoli, Piero Piccioni, Ennio Morricone, Piero Umiliani, Henry Mancini and many others, and created a special sound, mixing jazz, pop, rock and psychedelic music, to produce records aiming to be used by the programmers of the Italian RAI television.

                                                                                                                                                              The music of "Thrilling Mortale" is mostly special effects, drum breaks, fast bongo rhythms and groovy Hammond background sounds inspired by cinema noise experts who did not use any musical instruments and had only a few objects to recreate the noises of the films; from horse rides to closing gates, everything was done in the traditional way. I MARC 4, instead, would recreate those sounds with bass, guitar, drums, piano and Hammond organ.

                                                                                                                                                              Many musicians, record producers and film directors still like, look for, rediscover and re-use for their work, and the music on these albums recorded by I MARC 4 between 1970-1976 have reached cult status among library music collectors.


                                                                                                                                                              Iggy And The Stooges

                                                                                                                                                              Death Trip

                                                                                                                                                                Death Trip by Iggy Pop & The Stooges is a mix of songs recorded in 1973 during rehearsals before the release of the famous and unmissable Raw Power. Here you will find and feel the raw energy of the Detroit’s Iguane and his famous sidemen : the Asheton’s brothers (Ron on bass and Scott on drums), James Williamson (on guitar) and accompanied at this time (1973-74) by Scott Thurston on piano.

                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                Coloured LP Info: Red vinyl.

                                                                                                                                                                Todd Rundgren

                                                                                                                                                                A Wizard, A True Star

                                                                                                                                                                  Todd Rundgren’s masterpiece "A Wizard, A True Star" has everything to offer from the American multi-instrumentalist and singer-songwriter. The studio genius recorded an album which was a significant departure from his previous album "Something / Anything?" With the money from the hit singles of this previous record he had built his own studio in New York, Secret Sound, and began recording "A Wizard, A True Star". It’s pure greatness packed in 19 tracks, which just sporadically clocks above 2 minutes each. Psychedelic drugs had a big influence on the recording process. The beauty and hysteria of the music fits the bill perfectly. Humour and superior recording techniques going together in optima forma. Yes, this is one of those rare recordings which goes into history, and it still stand the test of time.

                                                                                                                                                                  Todd Rundgren is an American multi-instrumentalist, singer-songwriter, and record producer who has performed a diverse range of styles as a solo artist and as a member of the band Utopia. He is known for his stage outfits, experimental music and adopting computer technologies to describe his musical ideas.


                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                  Andy says: Todd's undisputed masterpiece, blends psych, soul and beautiful melody, in an explosive, mind bending manner.

                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                  Coloured LP Info: A Wizard, A True Star is available as a limited edition of 1000 individually numbered copies on coloured (gold & white & transparent green mixed) vinyl.

                                                                                                                                                                  Arab Strap

                                                                                                                                                                  Philophobia

                                                                                                                                                                    Twenty-one years after its initial release, Arab Strap’s second album Philophobia is reissued on vinyl, having been out of print for twenty years. It was recorded on the outskirts of Glasgow in the early incarnation of CHEM19 Studios with engineer/producer Paul Savage & at Cava Studios in Glasgow with engineer Geoff Allan. Initially released in 1998, it was the follow up to the band’s 1996 debut The Week Never Starts Round Here. Instrumentally ambitious, Philophobia is adorned with sepulchral guitar, trumpet, cello & Scottish rainfall, providing a most beautiful backdrop to Aidan Moffat’s bold lyrical presentation as he articulates experiences most of us are too embarrassed to even think about; confessional, intimate, insightful and hilarious, ‘Philophobia’ remains a literate & musical revelation. ‘Philophobia’ - (from Greek "φιλέω-φιλώ" (love) and "φοβία" (phobia)), is the fear of falling in love / emotional attachment.

                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                    2xLP includes MP3 Download Code.

                                                                                                                                                                    Donna McGhee

                                                                                                                                                                    Make It Last Forever

                                                                                                                                                                      When it comes to underground New York Disco, Donna McGhee's highly sought-after 1978 LP, "Make It Last Forever," ranks among the best in the genre, thanks to Donna’s singing and the production skills of legendary producers Greg Carmichael and Patrick Adams. Featuring five songs penned by the producing pair, it's got their quintessential Disco sound of the late 70s topped by Donna McGhee's superb vocals. These have also blessed recordings by The Fatback Band, Phreek, Bumblebee Unlimited and The Universal Robot Band around the same time. The album has been an elusive affair since it first came out in 1978 and this is one the first times in decades it is widely available in its original form with newly remastered audio.

                                                                                                                                                                      Donna McGhee has been one of the key female singers of the New York disco scene, gracing several cult albums with her superb singing. The Brooklyn native began her career singing Gospel in her grandmother's choir from an early age, honing her skills and making a name for herself locally as a talented singer. Her first break in the industry came when she was spotted by bass player Johnny Flippin, who invited her to join his band. The group was none other than The Fatback Band led by drummer Bill Curtis. This was 1975 and the album was "Raising Hell." McGhee's vocals can be heard throughout the album including the dancefloor classic "(Are You Ready) Do The Bus Stop" and after this initial collaboration, she stayed with the group for a another few years recording “Night Fever” in 1976 and touring with them all around the country. Following an encounter with producer Greg Carmichael, Donna McGhee jumped ship and started working with the prolific producer and his partner Patrick Adams.

                                                                                                                                                                      A string of collaborations followed with singles and albums that have become the stuff of legend over the years: Donna can indeed be heard singing with Bumblebee Unlimited, Universal robot Band and on Phreek's classic self-titled album from 1978, singing on the track "May My Love Be With You." In 1978, After Greg Carmichael set up his own label, Red Greg Records, he and Adams decided to get McGhee in the recording studio and produce her first solo album. With the pair playing most of the instruments, they got five tracks out of the session. The result, "Make It Last Forever" is an all-time Adams/Carmichael classic: funky disco arrangements with a touch of synths over a pulsating groove magnified by McGhee's superb sexy singing. All five tracks have become classics in their own right. 

                                                                                                                                                                      Matsuo Ohno

                                                                                                                                                                      Roots Of Electronic Sound

                                                                                                                                                                      Futuristic synthesizer specialist and sound designer Matsuo Ohno was responsible for the sound design of a broad range of film, television and radio soundtracks, most famously the animation series Astro Boy, which he began working on in 1963, together with his assistant, Takehisa Kosugi. Ohno was born in the heavily-populated Kanda district of central Tokyo in 1930 and was heavily affected by the repeated bombing raids on the city enacted in World War II, which took place during his formative years. After the War, deeply motivated by philosophy and Surrealism, he was largely unaffected by popular music, other than the electronic abstractions of Karlheinz Stockhausen; the left-wing filmmaker Fumio Kamei was another early influence. Ohno began immersing himself in the realm of sound effects while working with the Bungaku-za modernist theatre troupe and he performed a similar function at NHK, Japan’s national broadcasting corporation, but became so frustrated by the rigidity of the restrictions imposed on him there that he quit his prestigious post at the broadcaster, although his skills were such that he remained in high demand as a freelancer, which allowed him to refine his sound effects techniques with evolving analogue synthesizers. The five suites of tracks that make up the album Roots of Electronic Sound album were recorded between 1963 and 1966; initially released on the ALM label in 1975, it is comprised of brief tape experiments, the cover artwork fittingly representing Astro Boy, from which many of the audio interludes are taken.

                                                                                                                                                                      Psychedelic Porn Crumpets

                                                                                                                                                                      High Visceral (Part One & Two)

                                                                                                                                                                        Having burst onto the scene in their homeland, releasing their first two LPs to widespread national acclaim, alongside supports with Royal Blood, Dune Rats & Black Mountain, the band have developed a staunch grassroots following with their captivating blend of psychedelia. Ahead of their debut UK tour this September, the quartet have delivered an entrancing video for Cornflake, discussing their ideas in detail: “Existence is a strange concept so we wanted to create an animation that explores the idea of how weird life is. Even after all the soul-searching, religious preaching and spiritual journeys there is not one answer to anything”. “The video salutes to the song perfectly, venting more energy, colour and strangeness that leaves most people perplexed. It’s sometimes hard to grasp we’re one of a billion grains of rice in a huge sushi roll; the video reinstates that awareness, so stop worrying and do something you care about before the aliens invade”. Psychedelic Porn Crumpets is Jack McEwan (lead vocals, guitar), Luke Parish (guitar), Danny Caddy (drums), Luke Reynolds (bass).

                                                                                                                                                                        Anne Briggs

                                                                                                                                                                        Anne Briggs

                                                                                                                                                                          Anne Briggs’ eponymous 1971 debut album, largely unavailable for 48 years, is widely regarded as a pillar of any folk collection. Re-issued here as part of the Topic Treasures series – the label’s classic and notable albums expanded in deluxe format with rare images, new liner notes (by folk aficionado/ journalist, Ken Hunt) – ‘Anne Briggs’ heralds a huge resurgence of interest in this most reclusive of folk doyennes. This debut album contains some of Briggs’ most notable songs, including ‘Blackwater Slide,’ which she famously taught to Bert Jansch, (who recorded it on his ‘Jack Orion’ album) and ‘Go Your Way,’ co-written with Jansch. As with the 1971 original, the sleeve here contains song notes by the highly-regarded English folk singer and collector of folk songs, A.L. Lloyd.

                                                                                                                                                                          Anne Briggs began singing in local folk clubs in her teens. In 1962, she became part of the Centre 42 - a leftist group of artists, writers, actors and musicians whose aim was to make arts and culture accessible to the masses. Ewan MacColl first heard Briggs’ remarkable voice and persuaded her to join the group and tour. There Briggs met MacColl’s comrade, A.L. ‘Bert’ Lloyd who became her mentor, producing her debut EP, ‘The Hazards Of Love,’ and recording Briggs for Topic landmark albums, ‘The Iron Muse’ and ‘The Bird In The Bush.’ Briggs went on to record a follow-up album, ‘The Time Has Come,’ for CBS which, at the time, sold poorly and was rapidly deleted. Two years later, she recorded again but blocked the subsequent album’s release, disheartened as she was by her singing. She retired from the limelight only to resurface in the mid 90’s to perform only momentarily with Bert Jansch for a TV documentary.

                                                                                                                                                                          THE PICCADILLY RECORDS ALBUM OF THE YEAR 2013

                                                                                                                                                                          Formed from the ashes of bands such as Fergus & Geronimo and Teenage Cool Kids, Parquet Courts are a glorious encapsulation of everything NYC punk should be; a frenzied and frantic ramraid on the history of garage rock but with more whip smart intelligence, cutting humour and – crucial to the band – emotional honesty than most other bands muster.

                                                                                                                                                                          Parquet Courts initially released their debut LP “Light Up Gold” on their own label Dull Tools, but the resultant buzz and excitement (with the tastemaking likes of Spin, Pitchfork, Village Voice and many others joining the ranks of the converted) has seen the album get an official release in the US in January and in the UK. From start to finish, this is a full throttle experience which you have no choice but to dive in to headfirst, with ridiculously infectious melodies and propulsive guitars which grab you as Brown and Savage (with assist from Max Savage and Sean Yeaton) spin their short, sharp tales of quarter-life ennui (“Borrowed Time”), weed-induced inertia (“Stoned and Starving”) and job anxiety (“Careers in Combat”) with concise, laserlike precision.


                                                                                                                                                                          Jóhann Jóhannsson makes stately, slow-building and hauntingly melodic music – frequently combining electronic processing with classical orchestrations - that has been bewitching listeners for the last few years. Following "IBM 1401, A User's Manual", "Fordlândia" is the second in a proposed trilogy based on technology and iconic American brand names. "Fordlândia" is Jóhann Jóhannsson's most complete and beautiful piece of music to date, a fascinating, immersive and deeply rewarding web of ideas and melodies, which is sure to win him a legion of new listeners.

                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                          2xLP Info: Vinyl reissue.

                                                                                                                                                                          Blood, Sweat & Tears

                                                                                                                                                                          Child Is Father To The Man

                                                                                                                                                                            Blood, Sweat and Tears’ classic debut! Although they would later achieve mainstream pop success, Blood, Sweat and Tears’ seminal 1968 debut "Child Is Father To The Man" is generally acknowledged as the band’s greatest and most adventurous work. The group’s only album under the leadership of founding keyboardist / singer Al Kooper, this one-of-a-kind classic features a unique psychedelic / jazz / blues / classical fusion, with the FM radio hits "I Can’t Quit Her" and "I Love You More Than You’ll Ever Know", along with unique interpretations of songs by Tim Buckley, Randy Newman, Harry Nilsson and Carole King. Cut by Kevin Gray and pressed at RTI on red vinyl!

                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                            Coloured LP Info: Red vinyl.

                                                                                                                                                                            Various Artists

                                                                                                                                                                            Factory Communications: 1978-92

                                                                                                                                                                              Originally released as a limited edition four CD collection in 2009, Factory Communications: 1978-92 is a tribute to the label as well as a dedication to the founder, the late Tony Wilson.

                                                                                                                                                                              Making its debut on vinyl, the project celebrates arguably the most important label in UK pop history, collating rare and obscure tracks from a diverse range of acts. It features 63 tracks including cuts from New Order, Joy Division, The Durutti Column, Happy Mondays, Electronic, A Certain Ratio, Section 25 and many others and includes sleeve notes written by Paul Morley.

                                                                                                                                                                              Factory records was founded in 1978 when former Granada TV presenter Tony Wilson teamed up with Alan Erasmus, soon to be joined by maverick producer Martin Hannett. The Factory name was first used for a club featuring local bands including The Durutti Column, Cabaret Voltaire and Joy Division. The founding members of the label decided to release an EP of music by the acts who had performed there; “A Factory Sample” - and Factory Records was born.

                                                                                                                                                                              Factory was however much more than just it’s headline acts. “Factory Communications: 1978-92” celebrates the label from the first release through an extremely diverse roster of acts from the cutting edge post punk of A Certain Ratio, Cabaret Voltaire, The Railway Children, OMD, James and Joy Division to obscurities such as Section 25, Biting Tongues, Crispy Ambulance, Miaow and Swamp Children via early dance culture - ESG and 52nd Street, to the full flowering of the ‘Madchester scene’, ending fittingly with the last Factory release, “Sunshine and Love” by Happy Mondays. Sleeve notes written by Paul Morley.


                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              LP Box Set Info: 8 LP black vinyl box set.

                                                                                                                                                                              FREE SHIPPING This item has FREE UK shipping!

                                                                                                                                                                              Prince

                                                                                                                                                                              1999 - Deluxe Editions

                                                                                                                                                                                Considered one of the most iconic and influential double albums in rock history, Prince’s 1999 was released at a major turning point in the artist’s career. After years of being relegated to the R&B charts, he experienced his first true crossover moment with the mega-hits “Little Red Corvette,” “1999,” and “Delirious,“ shattering barriers with his revolutionary blend of rock, funk, R&B and new wave pop, and making history by being one of the first black artists to have their videos in heavy rotation on MTV.

                                                                                                                                                                                This November 29, The Prince Estate, in partnership with Warner Records, will reissue the timeless 1999 album on 2CD & 4LP, remastered for the very first time, along with all the audio material that Prince officially released in and around 1982.


                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                Patrick says: While you were preoccupied with 1981’s royal wedding, the only royal I care about was locked away in his studio, cooking up a staggering amount of music from which the masterful ‘1999’ was taken. These deluxe editions contain a truckload of unreleased tracks, all blessed with the usual Prince genius.

                                                                                                                                                                                Plagued by perceived inaccessibilty and that unfortunate condition of being too pop for the underground, but way too weird for the pop charts, The Blue Nile have never taken up position as Britain's greatest band - and this despite releasing the best single of all time, which you'll find here on their wonderful debut LP. Released by Linn Records (of synth drum fame) and thus recorded with a clarity and quality still unrivalled in music, "A Walk Across The Rooftops" strolls between art rock, synth pop and the avant garde, weaving an appreciation for Reich-style minimalism, downtown experiments and stadium sized melodies into seven masterful tracks. Along with the avant-pop of the titular opener, the A-side features the aforementioned "Tinseltown In The Rain" (AKA greatest single of all time) a soaring, sumptuous bit of 80s wave-pop and the downbeat delicacy of "From Rags To Riches". On the B-side, the emotional pop of "Stay" leads into the eerie "Easter Parade" before drifting fourth world jam and Balearic favourite "Heatwave" offers a "Tin-Drum" style late album masterpiece. The minimal wave "Automobile Noise" closes the set in weird and wistful fashion, and then it's time to play the whole thing through again...

                                                                                                                                                                                "Hats", the second LP from Scotland's foremost synth pop romantics hit the shelves in 1989, a full six years after their debut. In the interim the band had scrapped an album's worth of material, seen personal and professional relationships strain until breaking point and become tormented by the brilliance of their first album. Once again, the subject matter is love, but this time the melancholy is turned up to 11, as we take in the drizzle soaked city through the window of the cab taking us from one relationship to the next. Love, loss and loneliness, rendered in sublime sonic detail by Britain's most unsung heroes. The audio equivalent of film noir, and arguably the most realistic depiction of the arc of an affair, this album's most lasting legacy is that it is somehow better than their first...

                                                                                                                                                                                “The idea of getting together Orquesta De Las Nubes with Glen Velez, Layne Redmond and Miguel Herrero in a recording studio arose when Glen and Layne visited Spain to hold a seminar on frame drums techniques. We had met Glen some years before during an event that took place in the amazing “Aula de Música de la Universidad Complutense de Madrid”. Glen came to Madrid playing with Charlie Morrow as part of an event about Fluxus with Alison Knowles and Philip Corner. On that time Glen played in Steve Reich Ensemble and our mutual love for repetitive music and ethnic music allowed us to build a very good friendship. When Glen visited Madrid we always get together in our rehearsal space and we played, talked and drink for hours. In 1985, during one of those sessions, Miguel Herrero joined us. On that time Miguel and meI used to play together in a club each week, where we made a bizarre fusion between pop and repetitive music. The sessions sounded so good, our ideas flowed so easily that after one session, I called Track Studios to ask if they have free rooms to make a recording during next days and as they told yes, I booked it immediately. The recording was made with an incredible fluency and about 12 hours after, we had recorded Música Esporádica. Fluency, spontaneity, close friendship was the fuel that fed us. After 34 years everything remains the same. Some of them are not with us any more but Música Esporádica keeps the unselfish spirit that encourages to share without objectives. Música Esporádica never step on stage and the 6 never met again altogether.” - Suso Saiz

                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                Patrick says: The latest Music From Memory release comes from an esoteric supergroup, active for one sole studio project in 1985. Rather than a 70s style supergroup, this was the product of the scene's DIY vibe and the joy of sharing music with kindred spirits. Fans of fourth world, ambient and Balearic need to lend this an ear.

                                                                                                                                                                                The music of Chel White is celebrated in "Automaton", a collection of mostly unreleased recordings from 1985 to 1991, by this innovative animator, film maker and visual artist.
                                                                                                                                                                                Having studied music theory in grade school, White taught himself drumming and played in a new wave band until, in 1981, together with Dan Gediman, they formed the minimal wave duo "Process Blue" (Alternative Funk, 1985 / Dark Entries, 2018). Here their experimentation went way beyond playing drums.
                                                                                                                                                                                His interest in industrial music, fostered in the late '70s and early '80s while working in factories as a way to put himself through college, informed his use of electronic instruments, tape manipulation, noise and unconventional percussion.
                                                                                                                                                                                By 1985, as a now solo artist buoyed by newly affordable audio sampling technology, White tapped into his earlier teenage fascination with the art and films of both the Surrealist and Dada movements - in particular their disparate and fragmented imagery and sound - as a means to create striking new sonic palettes.
                                                                                                                                                                                "Science & Industry" - a track largely influenced by Balinese monkey chanting and the consumer excess of American in the 1980's - is a clear example of "music collage". "Photocopy Cha Cha", made for the short animation film Choreography for Copy Machine (Berlin International Film Festival, 1992 / Sundance Film Festival, 2001) moved his music into the realm of early multi-media.
                                                                                                                                                                                Experimenting further, tracks like "Liquid Shadows" and "Pensive" provide minimalist moments, before the drone-like "Dream #630" and "Forest Song" point to a future that included music video works (David Lynch/Thom Yorke).

                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                Patrick says: Mega synthscaping, machine funk and industrial pop action here on this retrospective of animator and musician Chel White. Cool artwork, cooler music...

                                                                                                                                                                                Emotional Rescue presents a collection of works by the founding father of the modern drum movement, Glen Velez. Collated from his first 3 solo albums from 1985 to 1989, "Sweet Season" is a snapshot in to the pioneering composing and performance of this four-time Grammy winner. Born in 1949, of Mexican American ancestry, Velez grew up in Texas before moving to New York in 1967. Playing jazz on the drums he soon gravitated to hand drums from around the world (frame drums in particular), seeking out teachers from many different musical traditions.

                                                                                                                                                                                Among the many instruments Velez favours are the Irish bodhran, the Brazilian pandeiro, the Arabic riq, the North African bendir and the Azerbaijani ghaval. Although these instruments are similar in construction they have their own playing techniques that open new possibilities.

                                                                                                                                                                                "Sweet Season" highlights this vocabulary, mixing and adapting techniques from various cultures to develop new ones. The music, often composed as cross-cultural ensembles, has a particular fondness for polyrhythms - superimposing different meters simultaneously - while incorporating Stepping Split-tone and Central Asian Overtone singing to complete the global horizons.

                                                                                                                                                                                This new genre of contemporary drumming has been hugely influential and seen Velez work with the likes of John Cage and Steve Reich, as well as teaching his virtuosic combinations of hand movements and finger techniques to many emerging players.

                                                                                                                                                                                Fleetwood Mac

                                                                                                                                                                                Rumours - Coloured Vinyl Edition

                                                                                                                                                                                  Released in 1977 and one of the biggest selling albums ever, this still has the easy West Coast groove of their previous effort but lyrically it's full of betrayal, heartache, despair and confusion. And it was all true: inter-band relationships were crumbling, yet out of the darkness came this beautiful record. Each songwriter makes his or her presence known: Nicks for her dreamy, mystical reveries ("Dreams", "Gold Dust Woman:); Christine McVie for her ultra-catchy slogans ("Don't Stop", "You Make Loving Fun"); and Buckingham for his deceptively simple pop songs ("Second Hand News", "Go Your Own Way"). "The Chain", written collectively, is the Mac at their most dramatic. Please don't be put off by the scale of this thing: this is from an era where even the mainstream was for love over money. This LP was massive simply because it was brilliant. Every home should have a copy.

                                                                                                                                                                                  ‘Music Of Many Colours’ is a joint album between Roy Ayers and Fela Kuti, recorded after a three week tour of Nigeria’s major cities in 1979, during which Roy Ayers performed as the opening act for Fela’s band. The two artists decided to record the album as a round-up to the tour.

                                                                                                                                                                                  Roy Ayers described the experience saying, “I met Fela Kuti in Nigeria in 1979, and we fell into a great relationship, good personal and music vibes, and we recorded that album together. Fela also came to USA in the Eighties and we performed at NYC’s Madison Square Garden. Amazingly energetic, Fela Kuti had a very original concept that was called Afro Beat - a genre with a very unique identity and exceptional music. One of Fela Kuti’s most impressive qualities was that he was undeniably a brilliant show man, as a musician and as a huge dancer as well. His African concept was truly original… The tour was about two black men together coming together, one from Africa and other from USA, a very exciting collaboration.”

                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                  LP includes MP3 Download Code.

                                                                                                                                                                                  Rolling Stones

                                                                                                                                                                                  Let It Bleed - 50th Anniversary Edition

                                                                                                                                                                                    'The Rolling Stones’ groundbreaking multi-platinum selling album Let It Bleed was originally issued in late 1969, charting at #1 in the UK and #3 in the US. In celebration of the album’s original release a half-century ago, UMC/ABKCO Records is offering Let It Bleed (50th Anniversary Limited Deluxe Edition).

                                                                                                                                                                                    1LP:The Rolling Stones' groundbreaking multi-platinum selling album 'Let It Bleed' was originally issued in late 1969, charting at #1 in the UK and #3 in the US. The album has been remastered here in stereo by GRAMMY-winning engineer Bob Ludwig to mark the 50th anniversary of its original release. Features three of the band’s greatest songs – Gimmie Shelter, Midnight Rambler & the anthemic You Can’t Always Get What You Want

                                                                                                                                                                                    1CD: This version of Let It Bleed was remastered and released in 2006 but still features the artwork of previous versions. Features three of the band’s greatest songs – Gimmie Shelter, Midnight Rambler & the anthemic You Can’t Always Get What You Want

                                                                                                                                                                                    Cream

                                                                                                                                                                                    BBC Sessions

                                                                                                                                                                                      'Cream – BBC Sessions was originally released in 2003 and until now hasn’t been available on vinyl. This limited edition, numbered, coloured (white & cream) 2LP vinyl set contains 22 tracks and 4 interviews recorded live at the BBC studios in London. Between 21 October 1966 and 9 January 1968, Cream recorded eight sessions for the BBC radio network, selected highlights from seven of which are featured in chronological order on this collection. All housed in a gatefold sleeve.

                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      2xLtd LP Info: Limited edition white and cream coloured vinyl.

                                                                                                                                                                                      Gong

                                                                                                                                                                                      Angels Egg - Remastered "Invisible" Edition

                                                                                                                                                                                        Gong’s quintessential trilogy comprised of the albums ‘Flying Teapot’, ‘Angel’s Egg’ and ‘You’ are reissued worldwide by BYG / Charly Records, remastered in 2015 from the original tapes by Nick Robbins at Soundmastering Studios. ‘Angel’s Egg’ is not your usual progressive rock album. Very quirky, with many, mostly brief compositions, the album is a tad less spacy than ‘Flying Teapot’, with just a few psychedelic-inspired lyrics, and is very technically adept. This eclectic composition travels through several movements and time changes and comes across as a perpetually progressing piece. The album sees the classic Gong line-up in full swing with primo Daevid Allen vocals and lyrics, and Steve Hillage’s first full inclusion to the band bearing fruit with musical quality akin to his solo work.


                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        Coloured LP Info: Clear "invisible" vinyl.

                                                                                                                                                                                        Queens Of The Stone Age

                                                                                                                                                                                        Rated R - Vinyl Reissue

                                                                                                                                                                                          In 2000, Queens of the Stone Age achieved a creative and commercial breakthrough with their major-label debut Rated R, featuring the breakout tracks "The Lost Art of Keeping A Secret" and "Feel Good Hit of the Summer."

                                                                                                                                                                                          This new LP edition marks Rated R's first U.S. vinyl pressing, and is the first vinyl edition worldwide to feature the album's original blue artwork. This LP augments the original album with the international bonus track “Ode To Clarissa," as well as a unique 12"x24" insert.



                                                                                                                                                                                          The Gun Club

                                                                                                                                                                                          Divinity

                                                                                                                                                                                            Finally reissued on vinyl and properly remastered for the occasion, "Divinity" from The Gun Club features and compiles an extended version of the original double EP released in 1991. This record, almost impossible to find nowadays, features the classic line up of The Gun Club including Jeffrey Lee Pierce and Kid Congo Powers (after his time at The Cramps and at Nick Cave And The Bad Seeds). 

                                                                                                                                                                                            During this period of his career, Jeffrey Lee Pierce advanced on the most complex and solid sounds of his music in an evolution of sound where his charismatic melodies were mixing wisely the swamp blues of the Mississippi Delta with the guitar majesty of Jimi Hendrix. 

                                                                                                                                                                                            Another winner from Best Records via this remastered reissue of Francesco Messina's seminal LP from 1983 produced by electronic Italian pioneer Franco Battiato.
                                                                                                                                                                                            Messina and Battiato are considered central figures within the Italian avant-garde. Part of a generation of artists who contributed to a radical rethinking of musical practices and composition, they reveal Minimalism as it's rarely known: delicate melodies, subtle harmonic interplay, incorporating diverse creative traditions and slowly giving way to an ever-expanding open space. This album was recorded at the legendary Polygram Studios in Milan and using the most powerful electronic music synthesizers for that times like the CMI Fairlight and the EMU Emulator.

                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            Patrick says: Francesco Messina and Franco Battiato's inspired fusion of electronic and organic instrumentation, post-minimal composition and wavey pop vocals gets a welcome reissue from Best Records - well Balearic!

                                                                                                                                                                                            19 Gadi Pirms Sakuma

                                                                                                                                                                                            19 Years Before The Beginning

                                                                                                                                                                                            Formed with the intention of playing a single performance at an audio visual exhibition curated by contemporaries NSRD, 19 gadi pirms sākuma developed into one of the most delicate, intriguing groups in Latvia’s 1980s and early 1990s music scene. After their first (and in their minds only) performance, a pair of music journalists from Berlin asked for a copy of their non-existent album, prompting the group to continue their musical journey. 

                                                                                                                                                                                            Part of a totally DIY scene flourishing through the cracks of the Soviet Union, the group chose instruments based on emotion and availability, often borrowing gear from colleauges for recording. 
                                                                                                                                                                                            They laid down four tracks, one of which, "Singapūras Vējš", appears on this compilation. Listening to it now, the frantic synths, percussion and Rubene’s vocal reveal the urgency of the time. The momentum of youth enlivened by the possibilities of the future. Fragility exists in the music, especially in the vocals, yet it is swept up in the energy of the moment.
                                                                                                                                                                                            Things continued to move quickly for the group. Shortly after that first recording session they were invited to play West Berlin’s Transmission Festival, sharing the stage with the likes of Einsturzende Neubauten.
                                                                                                                                                                                            On their next visit to the studio, they laid down five tracks, "Die Wilde Frau", "Ruhig", "Kurmja deja", "Nikni Zvēri", "Pāri upei", all of which are present on this compilation.
                                                                                                                                                                                            When listening to them now, it’s remarkable how unique 19 gadi pirms sākuma’s music sounds. Seemingly disparate acoustic and synthetic sounds orchestrated into swooning, surreal songs. Elements of minimalism combined with synth pop and echoes of folk melodicism. 
                                                                                                                                                                                            Much like their contemporaries and collaborators NSRD, 19 gadi pirms sākuma’s music captures frustration with their own reality, and a playful drive to make up a new one.


                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                            Patrick says: Lovely archival action from Stroom here, detailing the experimental and emotional music of 19 Gadi Pirms Sakuma. Inspired by snatches of Arvo Part, Laurie Anderson and Philip Glass, but isolated from the wider musical world, the Latvian group playfully sought their own sound, a coldwave fusion of organic and electronic elements which still sounds unique.

                                                                                                                                                                                            After a quiet year for Invisible City Editions in 2018, the Canadian diggers storm into 2k19 with a sublime reissue of a private press spiritual jazz LP from D.C's Jeff Majors. Composed on harp, drum machines and synths, "For Us All (Yoka Boka)" follows a similarly transcendent path to Alice Coltrance's later compositions; no surprise since Majors was a student at her Ashram, as well as playing in Brother Ah's band. But where Coltrane opted for the chanted mantra, Majors enlists vocalist to experiment with standard songs, here The Beatles' "Let It Be" and the Gershwins' "Summertime". Set to a propulsive rhythm section of Linn drums and Moog bass, the sweet vocals and atmospheric harps create a unique and otherworldly feeling. Remastered and repressed for the 21st century, this ace Invisible Cities reissue comes with an information booklet and new artwork.

                                                                                                                                                                                            Peter King

                                                                                                                                                                                            Omo Lewa - Reissue

                                                                                                                                                                                            Super-funky business from Nigerian-born multi-instrumentalist, Peter King; fuses funk, jazz and highlife vibrations. ‘Omo Lewa’ follows his ‘Miliki Sound’ album, also available on Mr Bongo. Recorded in London, originally released in 1976 by Orbitone, this is one of his finest records.

                                                                                                                                                                                            There is music that falls right into place, a perfectly articulated expression of a few distinct influences. Then, there is another kind of median music, something more mysterious, the result of time, place, technology, and alchemy. Zambian writer and musician Smokey Haangala’s "Aunka Ma Kwacha (The Money is Gone)" released in 1976 is an example of this more mystical metallurgy, falling somewhere between psychedelic Zamrock, US folk, Kalindula, and Sundown Beat (music played after dark) from Tongaland. The unique mix of languages on the album (Bemba, Tonga, Lozi, and English) also suggest this complex cultural crossroads. Underlying the whole album is the insistent beat of a simple drum machine, which was totally unheard of in Zambia at the time, and parallels pioneering experiments by Francis Bebey, Sly Stone, and Shuggie Otis, utilizing a technology which would later come to define dance music. Then there’s the album’s original artwork by Peter Kependa, done in style similar to the infamous Jamaican dancehall illustrator Wilfred Limonious, interpreting the album’s title and primary theme; the burden of financial inequality.

                                                                                                                                                                                            In this sense the album is political, but the theme is extrapolated and explored through its impact on personal life; love, marriage, social status, and diet. The album is full of cautionary tales, folklore and references to magic, aspects of Zambian culture simultaneously mystifying and alluring to outsiders, part of what attracted Western readers to Nigerian writer Amos Tutuola’s hallucinatory Yoruba folktales. After becoming a household name in Zambia for his music, writing, and television appearances, Smokey Haangala died at the age of 38, the very week his book The Black Eye was published, abruptly ending his brilliant and ascending career. We are lucky to have his inimitable work to remember him by, "Aunka Ma Kwacha" resting comfortably in the pantheon of re-visionary works by Rodriguez, Kissoon Ramasar, TJ Hustler, and William Onyeabor.

                                                                                                                                                                                            The Clash

                                                                                                                                                                                            London Calling: Special Sleeve

                                                                                                                                                                                              When The Clash’s third studio album London Calling was released in the winter of 1979, it was clear that the band had made an instant classic, an era-defining masterpiece that stands as one of rock's all-time greatest albums. The album is a hugely compelling melting pot of musical styles, driven by a passion for action and a fierce desire for social justice, with lyrics which remain completely relevant. 

                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                              Martin says: fter the so-so 'Give 'Em Enough Rope', the Clash came back the following year with a double album bursting with fresh ideas (punk, reggae, jazz, rockabilly, ska!) underpinned by amazing songwriting... there's not a duff track on here. Not just a post-punk classic, a classic full stop. Mind-blowing at the time, this is now simply seen as one of the greatest records ever made. Both LP and CD come in special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                              2xDeluxe CD Info: This edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                                                                                                                                                                                              David Bowie

                                                                                                                                                                                              Space Oddity - 50th Anniversary Edition

                                                                                                                                                                                                50th anniversary edition of Bowie’s seminal album featuring a brand new mix by original producer Tony Visconti, and a new die cut O-card.

                                                                                                                                                                                                The vinyl will be randomly distributed worldwide with a mixture of hand-numbered labels; numbers 1 to 1969 on silver vinyl numbers and 1970 to 2019 on gold vinyl, with the remainder being black vinyl.

                                                                                                                                                                                                Originally released 14th November 1969, the sophomore effort from Bowie was a big turning point from his 1967 debut. The album most famously introduces the character of Major Tom in ‘Space Oddity’ which would go on to be one of his most enduring classics.

                                                                                                                                                                                                The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the track listing in its initially intended position before it was originally dropped due to time constraints of vinyl.


                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                CD Info: CD w/ Die Cut O-card.

                                                                                                                                                                                                The Raconteurs

                                                                                                                                                                                                Broken Boy Soldiers - 180g Vinyl Reissue

                                                                                                                                                                                                  The Raconteurs consist of Jack Lawrence (bass), Patrick Keeler (drums), Brendan Benson (guitars, vocals, keys) and Jack White (guitars, vocals, keys). The seed was sewn in an attic in the middle of a hot summer when friends Jack White and Brendan Benson got together and wrote a song that truly inspired them. This song was ‘Steady, As She Goes’ and the inspiration led to the creation of a full band

                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                  Ltd LP Info: 180gram vinyl with a copper-embossed gatefold tip-on jacket.

                                                                                                                                                                                                  The Roots

                                                                                                                                                                                                  Things Fall Apart - 20th Anniversary Deluxe Edition

                                                                                                                                                                                                    Things Fall Apart (also referred to as When Things Fall Apart) is the fourth studio album by hip hop band The Roots, released 23rd February, 1999 on MCA Records. Recording sessions for the album took place at Electric Lady Studios during 1997 to 1998, coinciding with recording for other projects of the Soulquarians collective, including D’Angelo’s Voodoo (2000), Erykah Badu’s Mama’s Gun (2000), and Common’s Like Water for Chocolate (2000). According to Spin magazine, the album is a landmark moment for The Roots and the collective, as it “swelled the Roots clique into a movement-style posse”.

                                                                                                                                                                                                    The album has been considered by music writers as The Roots’s breakthrough album, earning praise from major publications and critics, while becoming the group’s first record to sell over 500,000 copies. It includes the song “You Got Me”, which won the 2000 Grammy Award for Best Rap Performance by a Duo or Group, while Things Fall Apart was also nominated for the Grammy Award for Best Rap Album of the same year, losing to Eminem for his The Slim Shady LP. Rolling Stone called it a “top-flight record”, while AllMusic cited it as “one of the cornerstone albums of alternative rap.” The album takes its title from Chinua Achebe’s novel of the same name, which in turn took the phrase from William Butler Yeats’s poem “The Second Coming”. On April 5, 1999, Things Fall Apart was certified Gold by the Recording Industry Association of America (RIAA) for shipments of 500,000 units and on April 22, 2013, fourteen years after its release, the album was certified Platinum by the Recording Industry Association of America for shipments of 1,000,000 units.

                                                                                                                                                                                                    Jane Weaver

                                                                                                                                                                                                    Loops In The Secret Society - Deluxe Edition

                                                                                                                                                                                                      This unique package successfully archives the key elements of Jane’s ‘Loops In The Secret Society’ tour. Housed in a concise limited-edition pocket-compendium the new CD version brings Jane’s fully realised ‘Loops Variations’ and sonic installations into your own environment with new illustrations based on the songs by Andy Votel and DVD featuring the experimental film installation featured on the tour by Nick Farrimond. When science fiction turns science fact the effect can be truly momentous. The state demands that no-one wants an unlicensed machine-hum from an outbuilding; no-one wants clever prose mapping the future, no-one wants “music” that is attention-seeking, soul-defining, beneficial, Biblical, baroque and beautiful.

                                                                                                                                                                                                      No-one told Jane Weaver that. Jane Weaver’s multi-layered synthetics evolved into a welcoming slew with 2014’s ‘The Silver Globe’, continuing through to 2017’s ‘Modern Kosmology’. ‘Loops In The Secret Society’ is a re-imagined journey through parts of both albums, with new ambient pieces primed and polished; with new tangents explored in a lab-friendly blossoming of the Weaver vision that travels yet further into the psych of our future. A continuous experience with one-line observations set in glorious sense-stimulating sound. That source material was then united in an expansionist experiment in late 2018. The ‘Loops In The Secret Society’ tour fused unrelated sounds set off against sympathetic new textures, tones and drones; hot-housed into an idealistic soundscape that formed the conducive parts of the imminent album of the same name. Co-conspirators include Henry Broadhead, PJ Phillipson and Andy Votel. Renegades all, headed by the enigmatic Weaver all under surveillance. 

                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                      2xColoured LP Info: 2LP PINK vinyl, in 5mm spine sleeve.

                                                                                                                                                                                                      CD/DVD Info: Deluxe Bookback CD & DVD.

                                                                                                                                                                                                      Dead Meadow

                                                                                                                                                                                                      Feathers - Reissue

                                                                                                                                                                                                        Feathers is the fifth album by the time Washington, D.C. based rock band Dead Meadow. It was released in 2005 by Matador Records on CD and LP now about to reissued by Xemu Records under license by Matador Records. The upcoming release will be an exact copy of the original double vinyl and CD packages with original art and masters. In addition to the reissue this new product will include a "demo rarities CD' that will be included additionally in both the CD and LP releases. This demo CD will include outtakes from the 2004 recording session as well as demos with different song structure/ arrangements and even a couple tunes that were axed off the final album. The fourth full-length studio album by Dead Meadow, was the first to include an additional guitar player with Cory Shane. Previously as well as for the majority of the band's career the DC to LA transplants have been a power-trio at essence. This departure in line up wasn't the only other noticeable difference the band was also shifting from pure 60's-70's heavy psych sounds to a more gentle and layered new-psych sound almost more influenced by dark Brit-pop and early new wave bands like the Cure and Stone Roses but through their own hazy interpretation. The different approach shocked current fans and gained lots of new ones as well as garnering solid underground praise at a much needed and delicate time of Dead Meadow's career. Revered and as equally hated this divisional record would be a landmark in the band's history and important piece of the puzzle that has kept the boys rocking and relevant. 

                                                                                                                                                                                                        Gene Clark

                                                                                                                                                                                                        No Other - Reissue

                                                                                                                                                                                                          Gene Clark’s 1974 masterpiece gets the reappraisal it’s long overdue.

                                                                                                                                                                                                          “One of the greatest albums ever made. Initially celebrated for its obscurity, No Other is now celebrated for its magnificence. It was in every way a magnum opus: epic, sprawling, poetic, choral, rococo.” The Guardian

                                                                                                                                                                                                          On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other. Released in 1974 on Asylum Records, a year after the Byrds shortlived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make. Although received warmly by critics, it flopped and was soon deleted, a failure Gene never came to terms with.

                                                                                                                                                                                                          However, as The New York Times wrote around the record’s 40th anniversary in 2014, “hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star’s Third/Sister Lovers and Lou Reed’s Berlin,” with the album now being increasingly recognised as one of the greatest of its time, if not all time.

                                                                                                                                                                                                          45 years on and recently remastered at Abbey Road, 4AD have given No Other the reappraisal it deserves. 

                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                          Darryl says: Recently remastered at Abbey Road and 45 years on from its original release 4AD are giving Gene Clark’s 1974 masterpiece it’s long overdue reissue. Available on black vinyl, standard CD, a limited deluxe CD edition in a hardbound book cover, and an all encompassing and sumptuous silver box set containing vinyl, three SACD’s, Blu-Ray and an 80 page hardbound book.

                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                          LP Info: The original album Remastered and pressed on black vinyl.

                                                                                                                                                                                                          2xDeluxe CD Info: Hardbound bok cover.
                                                                                                                                                                                                          The original album remastered & bonus disc of new session mixes.

                                                                                                                                                                                                          CD Info: The original album Rremastered.

                                                                                                                                                                                                          Ltd Box Set Info: Beautiful silver box set containing LP, 7”, Three SACDs, Blu-Ray & an 80 page hardbound book.
                                                                                                                                                                                                          Multi-layer SACD version of album housed in exclusive Japanese Ichikudo vinyl replica sleeve.

                                                                                                                                                                                                          FREE SHIPPING This item has FREE UK shipping!

                                                                                                                                                                                                          The only solo album by former Talk Talk frontman Mark Hollis, released January 1998. Despite being released as a solo album by Hollis, it was originally intended to be credited to Talk Talk, under the name ‘Mountains of the Moon’.

                                                                                                                                                                                                          A beautiful and haunting work, this album picks up where he left off with Talk Talk’s’ Laughing Stock’ seven years before, re-emerging with a suite of music that encompassed jazz, ambient, and folk.

                                                                                                                                                                                                          His inspiration came not from ‘pop’ but 20th-century classical music and jazz from the late fifties and sixties (there is a distinct flavour of Miles Davis – ‘In A Silent Way’ here) and is one of the quietest and most intimate records ever made – creating an exceptional atmosphere in which the listener can submerge.

                                                                                                                                                                                                          A Life (1895 – 1915), which has been referred to as “the album’s epic centrepiece” refers to Roland Leighton (1895–1915), a British soldier and poet who was the fiancé of Vera Brittain at the time of his death in World War I. Hollis has stated about the song…“That was someone born before the turn of the century…and dying within one year of the First World War at a young age. It was based on Vera Brittain’s boyfriend. It’s the expectation that must have been in existence at the turn of the century, the patriotism that must’ve existed at the start of the war and the disillusionment that must’ve come immediately afterwards. It’s the very severe mood swings that fascinated me”.

                                                                                                                                                                                                          The understated artistry and minimalist beauty of tracks like The Colour of Spring and Watershed makes ‘Mark Hollis’ a truly unique and indelible listening experience.

                                                                                                                                                                                                          “…open, restful and at times fantastically beautiful”.

                                                                                                                                                                                                          “A sound whose ambience is as natural as breathing” – Melody Maker.

                                                                                                                                                                                                          This genuine ‘lost classic’ is now available again on heavyweight vinyl, with original artwork – printed inner sleeve with lyrics and credits. Remastered at Abbey Road.

                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                          LP Info: Heavyweight black vinyl.

                                                                                                                                                                                                          Ned Doheny’s Hard Candy, originally released in 1976, is widely considered the finest blue-eyed soul album of all time. It has long been a source of great frustration then, that this perfectly-formed Southern California masterpiece has been unavailable on vinyl for almost 40 years.

                                                                                                                                                                                                          * Format Notes: 2019 re-press, 180g vinyl

                                                                                                                                                                                                          * Ned Doheny’s Hard Candy, originally released in 1976, is widely considered the finest blue-eyed soul album of all time. It has long been a source of great frustration then, that this perfectly-formed Southern California masterpiece has been unavailable on vinyl for almost 40 years.

                                                                                                                                                                                                          Be With Records continues apace by marking its third release with the first officially licensed reissue of Doheny’s nautical classic. Perhaps most famously, this impeccably smooth set features the timeless “Get It Up For Love”, a wonderful example of mid-70s mid-tempo white-(hot)-funk.

                                                                                                                                                                                                          Produced by the legendary Steve Cropper, it featured a veritable who’s-who of the Laurel Canyon soft-yacht sound (JD Souther, The Eagles, Linda Ronstadt, the entire horn section for Tower of Power!) yet bombed mysteriously. It’s been a cult record since.

                                                                                                                                                                                                          Pressed on audiophile 180g vinyl and featuring the original artwork for both jacket and full colour inner sleeve, this limited reissue is one not to be missed.


                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                          David says: Essential repress of what might be the greatest blue eyed soul album ever made.

                                                                                                                                                                                                          Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

                                                                                                                                                                                                          Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

                                                                                                                                                                                                          Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

                                                                                                                                                                                                          "Wetlands" is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation "Midday Moon" (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ "Antipodean Anomalies", "Midday Moon" has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                          Patrick says: As you may know, I'm all about this kind of tackle. Archival release (tick), fourth world (tick), new age (tick), Balearic (tick), baths with kelp (err...tick!). Like an Aussie Philip Glass wandering the outback on the best acid trip ever...

                                                                                                                                                                                                          Can

                                                                                                                                                                                                          Ege Bamyasi - Coloured Vinyl Reissue

                                                                                                                                                                                                            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.

                                                                                                                                                                                                            'Ege Bamyasi’ drops the haze and hits with a sharp pang from the get-go. Often described as the "tense" Can album, Ege Bamyasi is actually the band at its most focused, bolstered in part by the surprisingly good performance of the single "Spoon", the proto synth-pop (or synth-rock) song was used as the theme to a popular German television show. The album most famously includes, "Vitamin C", according to Pitchfork it’s “…still the best funk ever to come out of Europe.”

                                                                                                                                                                                                            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 (who sampled ‘Sing Swan Song’) and Radiohead - as well as across other disciplines such as visual art and literature.


                                                                                                                                                                                                            Aural Medium touch down with a debut release, hitting us with a reissue of this 1988 Ambient/industrial album, including a unreleased track. 
                                                                                                                                                                                                            In 1916, in the middle of the First World War, a small town in Ontario changed its name from Berlin to Kitchener. Many mercurial decades later, in 1988, the town now a mid-sized city, a duo called Vernal Equinox released a record that seemed to trace its roots back to Berlin, but this time the shadowy post-war Berlin of the 70s that produced Tangerine Dream, Klaus Schulze and his Innovative Communications family, and Bowie and Eno’s Berlin Trilogy. These inspirations, viewed through a prism of 80s New Age and the autumnal denim-clad rural Ontario, became "New Found World".

                                                                                                                                                                                                            "New Found World" is the inaugural release on Aural Medium, Toronto-based non-musician Linus Booth’s new label focusing on revisionist electronic, industrial and no wave music. Remastered from the reels and pressed on double 45rpm vinyl with an unreleased track from the original sessions.

                                                                                                                                                                                                            "I first encountered the members of Vernal Equinox, Steve Brenner and Timothy Rempel, when I would skip high school with my best friend Todd Nickolas (ADSR) who’d play me electronic records after we lurked in the keyboard shop at Sherwood Music in Kitchener, eyeballing synths and drum machines financially out of our reach. Unbeknownst to me, Steve and Timothy both worked in the shop, and leveraged their employee discount to build up an enviable battalion of gear in their aptly named Sync Studios, in Steve’s basement. It was there, after their shifts at the music shop, that they spent a year working out all the material for the album, and when they had every part sequenced, they saved their settings, unplugged hundreds of cables and lugged everything to Airtight Studios across town and recorded the album. The duo self-released the album, and not knowing exactly how to sell it, decided to try and brand it as New Age. Inspired by the genre’s most successful label Windham Hill, they adorned the album with a photo of a sunset that Brenner had shot. They even decided to record some seagulls to fit the mould, and drove 130 km north to Lake Huron with a bag of day old Tim Hortons doughnuts.

                                                                                                                                                                                                            Fast forward to a few years ago when Todd sent me a copy of Brenner's cassette works reminding me that we knew Steve from the keyboard shop. Shortly after, I met Brenner at his local Tim Hortons where I bought him a large double-double and we starting planning the reissue. Everything about the album reminds me of my youth, the smell of the woods in autumn, underage drinking and smoking on the tracks, the TD soundtracks to Risky Business and Miracle Mile, and my father’s Windham Hill records. Even the chill-out records I became obsessed with, The KLF, Aphex Twin's Selected Ambient Works and Boards of Canada's melancholic NFB inspired electronica. Of course these came out years after the album was released, but somehow Steve and Tim channeled it all back then, creating something simultaneously so grounded in time and place, but years ahead of its time."

                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                            Patrick says: Aural Medium get inaugural with a reissue of this private press new age dream from Canadian duo Vernal Equinox. Originally released in 1988, this sublime synthetic journey channels Tangerine Dream, IC and Windham Hill on its way to enlightenment.

                                                                                                                                                                                                            Everything But The Girl

                                                                                                                                                                                                            Walking Wounded

                                                                                                                                                                                                              Walking Wounded was first released in April 1996 and debuted at #4 on the UK Album Chart and contains four UK Top 40 singles, including the Top 10 hits "Walking Wounded" and "Wrong," and set new a benchmark for the intersection of contemporary electronic music and smart pop songwriting.

                                                                                                                                                                                                              The album was programmed and produced by Watt in 1995 largely in the basement of the duo's north London home demo studio. "Just an Akai sampler, a computer, a synth and guitar, an inexpensive vocal mic, and an 8-track tape machine," he says of the process. "We were writing in reverse - mood first, then songs, learning and we went along. It just felt like a new frontier," adds Thorn. Producer John Coxon of the recently formed drum'n'bass-inspired duo Spring Heel Jack - and with whom the Watt and Thorn had worked on Amplified Heart - was invited to provide a backing track for the album's title song, and beats specialist Howie B worked on the groove for Flipside. The album was then mixed at The Townhouse in west London by Watt and young emerging engineer, Andy Bradfield.

                                                                                                                                                                                                              The new vinyl edition has been mastered by long-time Everything But The Girl mastering engineer, Miles Showell, now at Abbey Road Studios, who is one of only a handful of engineers specialising in half-speed mastering that uses new techniques to more faithfully reproduce the sound of original master tapes.


                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              LP Info: Hi-Fidelity half-speed master on 180g vinyl.

                                                                                                                                                                                                              Matthew Halsall (born September 11, 1983, in Manchester, England) is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ. Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew's music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands. His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.


                                                                                                                                                                                                              Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall's first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall's music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond. But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records. Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It's What We Do and Ai.


                                                                                                                                                                                                              "I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering. So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" Matthew Halsall, Oct 2019



                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Millie says: The first of Mathew Halsall’s original releases ‘Sending My Love’ is a journey back in time to Halsall’s first beginnings with flourishing jazz notes. With the bonus track ‘This Time’ it’s a remastered treasure!

                                                                                                                                                                                                              Matthew Halsall (born September 11, 1983, in Manchester, England) is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ. Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew's music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands. His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.


                                                                                                                                                                                                              Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall's first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall's music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond. But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records. Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It's What We Do and Ai.


                                                                                                                                                                                                              "I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering. So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" Matthew Halsall, Oct 2019

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Millie says: A further look into Matthew Halsall’s previous releases, Colour Yes from 2009 (Ten years ago!!!) is a mixture of soft piano keys and swaying brass. More uncovered gems please Gondwana Records, this is truly beautiful.

                                                                                                                                                                                                              Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock's most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured 10-track statement of intent. "This is the album I needed to make," says Dacus, who views Historian as her definitive statement as a songwriter and musician. "Everything after this is a bonus."

                                                                                                                                                                                                              Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Millie says: Dacus' light Americana leanings of the superb No Burden are sidelined slightly for her grander, more expansive new outing, Historian. Though her smouldering guitar work and unmistakable voice are ever present, they are skillfully woven into an intricate and all-encompassing web of orchestration, grandeur and beauty. This is a stunner, and every bit the successful follow-up.

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: Indies exclusive clear vinyl.

                                                                                                                                                                                                              Originally released in 1983, Madonna is the self-titled album by the Queen of Pop herself. With almost every track on the album composed by Madonna, candidly covering the topics of love and relationships, it sold over 10 million copies worldwide, clearly demonstrating Madonna’s ability as a songwriter and global success. The album includes globally renowned hits such as ‘Holiday’, ‘Lucky Star’ and Borderline. The album received five stars from AllMusic and was described as ‘cleverly incorporating great pop songs with stylish, state-of-the-art beats’ and it was a ‘showcase for a dynamic lead singer’, whilst Entertainment Weekly graded the album with an A. The album is pressed on Crystal Clear vinyl so is not one to miss, both for Madonna fans and pop music genre fans alike.


                                                                                                                                                                                                              Like A Virgin, originally released in 1984, was Madonna’s second studio album and with this, she quashed any theories about the ‘difficult second album’. It was her first number one album on the Billboard 200 and was later certified diamond, as well as setting the record as the first female album in history to sell over five million copies in the US. Like A Virgin remains one of the best-selling albums of all time with over 20 million worldwide sales. Q Magazine stated that Like A Virgin was the album that ‘propelled Madonna into the stratosphere – and rightly so’ and received a grading of A from Entertainment weekly. 


                                                                                                                                                                                                              Originally released in 1986, the eclectic and influential True Blue is the third studio album by Madonna. Incorporating a wider array of musical styles and inspiration whilst directly addressing current social issues, this album shifted the public perspective of Madonna from pop-star to cultural icon. The album received widespread critical acclaim, with Slant Magazine declaring the album as ‘the supreme archetype for late 80’s and early 90’s music, as well as AllMusic describing it as ‘one of the great dance-pop albums’ showcasing Madonna’s ‘true skills as a songwriter, provocateur and entertainer’. The album includes the iconic tracks ‘Papa Don’t Preach’, ‘La Isla Bonita’ and ‘Live To Tell’, amongst others, making it a staple in any pop music fans collection. The album is pressed on Crystal Clear vinyl so is not one to miss, both for Madonna fans and pop music genre fans alike.


                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: 180g crystal clear vinyl.

                                                                                                                                                                                                              Who’s That Girl is the iconic soundtrack, from Madonna, to the original motion picture of the same name. Originally released in 1987, it was the first soundtrack album by Madonna and accomplished great commercial success selling six million copies worldwide. The title track reached the top of the Billboard Hot 100 in its first week and the album reached the number 7 spot shortly after, remaining there for 28 weeks. Noah Robischon from Entertainment Weekly stated that ‘Madonna had pushed synergy over the borderline’ with this release, while Madonna’s biographer, Taraborelli, stated that the soundtrack was ‘once again the reminder of Madonna’s power and status as one of the most important singers of the 80s’. The album is pressed on Crystal Clear vinyl so is not one to miss, both for Madonna fans and pop music genre fans alike.


                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              Coloured LP Info: 180g crystal clear vinyl.

                                                                                                                                                                                                              With the minimum of fuss, one of the UK's (perhaps the World's) foremost electronic musicians releases his tenth LP. No press agency, no media campaign, just a casual tweet and it's here. This immediacy is carried through into the music on offer. The track lengths are shorter than we've become used to, with Hebden getting straight down to the nitty gritty and distilling his complex melodies and rhythms into their most potent form; no ambient preamble or sprawling kosmiche on this one. Instead, Four Tet continues the journey through club music he began on "There Is Love In You" and "Pink", now taking the fire escape out the main room into a strip lit car park. "Beautiful Rewind" acts as part pirate radio jungle assault and part post club come down bliss. Hebden feeds the jungle chatter, polyrhythms and bass wobble through his own experimental and dense production to create an immersive yet raw experience like listening to Rooms 1 and 2 at the same time from the depths of a K-Hole. Album opener "Gong" and recent single "Kool FM" and the murderous "Aerial" and "Buchla" are bold and aggresive, while "Unicorn", "Your Body Feels" and "Ba Teaches Yoga" could sit comfortably with the fragility and beauty found on "There Is Love In You". Always wishing to push forward, Hebden has delivered some of the old, alongside a generous helping of new, casting his net wider and pulling varied influences together to form a complete and unique LP.


                                                                                                                                                                                                              Y is the highly influential and innovative debut album by The Pop Group, released in 1979. In the same year The Pop Group released their single She is Beyond Good & Evil / 3:38.

                                                                                                                                                                                                              The band went on to release 2 further singles, We Are All Prostitutes and Where There Is A Will (Split single with the Slits) and 1 further studio album For How Much Do We Tolerate Mass Murder, before splitting up in 1981.

                                                                                                                                                                                                              Frontman, Mark Stewart embarked on a solo career releasing his pioneering album Learning To Live Cope Cowardice in 1983. Gareth Sager and Bruce Smith went on to form Rip Rig & Panic alongside Neneh Cherry.

                                                                                                                                                                                                              The Pop Group reformed in 2010 to tour and have since released 2 new studio albums.

                                                                                                                                                                                                              The Pop Group’s Y regularly appears in ‘Greatest Album’ lists - such as Pitchfork’s Greatest Albums of the 70’s where it is listed at #35, The Wire’s 100 Most Important Records Ever Made and Uncut Magazine’s 100 Greatest Debut Albums.

                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              Laura says: "She Is Beyond Good And Evil" was my first introduction to the Pop Group in the late 80s at indie night The Wilde Club. On the strength of that track I bought this LP and played it to death and it remains one of my favourite albums. Now remastered it also includes a 12” of the track that made me fall for them them in the first place. Totally uncompromising post-punk genius!

                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              2xLP Info: Cut using half speed mastering at Abbey Road
                                                                                                                                                                                                              + Bonus 12” + original artwork + high definition audio download

                                                                                                                                                                                                              Charlie Megira

                                                                                                                                                                                                              Tomorrow’s Gone

                                                                                                                                                                                                                The bastard love child of Elvis and Lux Interior, Israeli guitarist Charlie Megira brewed a heady amalgam of ’50s trash rock, surf-y tremolo, and reverb-drenched goth during his all-too-brief 44 trips around the sun. He recorded seven albums worth of material in 15 years, primarily issued on CD-R, most of which is now unreadable or in a landfill. Tomorrow’s Gone is the first collection of Megira’s work; a 24-track double album accompanied by a lavish booklet that documents his tragic existence. Armed with only an Eko guitar, a black tuxedo, and his signature wrap-around shades, Charlie Megira was a mold-breaking artist who disintegrated while we were all staring at our phones.

                                                                                                                                                                                                                King Crimson

                                                                                                                                                                                                                In The Court Of The Crimson King - 50th Anniversary Edition

                                                                                                                                                                                                                  “…an uncanny masterpiece” – Pete Townshend, 1969

                                                                                                                                                                                                                  It’s a quote that’s forever associated with the album. It was used in advertising at the time of release. Unlike many claims made in advertising it has, like the album it heralded, stood the test of time. It’s easy to forget how quickly things moved for the first incarnation of King Crimson: Formed January 13th 1969; by April they were regulars on stage at the likes of The Marquee and The Speakeasy clubs & performed with Tyrannosaurus Rex at The Lyceum, by May recorded the first of two BBC sessions, initial (abandoned) album recording sessions in June & then, in early July – the big breakthrough – played to 650,000 people in Hyde Park supporting The Rolling Stones, the album recorded in August, signed to Island Records (& Atlantic in the USA) Atlantic, missed the Isle of Wight festival due to illness/exhaustion, more gigs & a second BBC session in September, a Top 5 charting, unanimously lauded album in the UK, followed by a Top 30 debut in the USA weeks later, then toured the USA – with concert appearances at legendary venues such as the Boston Tea Party, Chicago’s Kinetic Playground, New York’s Fillmore East & another appearance on a bill with the Rolling Stones – this time at a Miami festival & then, following a series of December appearances at the Fillmore West in San Francisco, it was over, as quickly as it had begun – the arc for the band from formation to dissolution had taken barely more than 11 months, leaving behind an iconic – both musically and in terms of cover art - self-produced debut album, a fearsome live reputation & the sense of a band that, in its brief period of existence, set its own agenda.

                                                                                                                                                                                                                  King Crimson would return in many different line-ups over the years – each different from its predecessor and, with two concerts at The Palladium in late 2018 & three shows at The Royal Albert Hall in June, 2019, the current line-up has played to more people in in London, the city in which it began, than at any point since 1969 & in the process, played more of the material from 1969 than any line-up since the original. The current line-up has, on more than one occasion, been described as “the best live band in the world” – something that also used to be said of the original band.

                                                                                                                                                                                                                  This 50th anniversary edition features a new 2019 mix by Steven Wilson & and album of alternate mixes and studio takes by Steven Wilson & David Singleton - all mixes approved by Robert Fripp.

                                                                                                                                                                                                                  50 years on, the studio recordings of that first King Crimson remain, uncanny masterpieces. 

                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                  2xLtd LP Info: 50th anniversary edition of one of rock music’s seminal debut albums. 2LP’s on 200gm super heavyweight vinyl.

                                                                                                                                                                                                                  Huerco S

                                                                                                                                                                                                                  For Those Of You Who Have Never (And Also Those Who Have)

                                                                                                                                                                                                                  Now, most of us here at Piccadilly HQ already have a large proportion of our heart (and our record shelves) devoted to Huerco S. The Proibito / Future Times star has carved out a truly unique, idiosyncratic sound all of his own. More stoned than Snoop Dogg in a weed dispensary on May 4th, yet with a futuristic vision that puts him alongside luminaries such as Brian Eno and Vangelis, Huerco S is the real deal. His twelves have possessed a blurred, hazy hue yet move through mindscape exploration to murky dancefloor contortions with ease. Here we get his second long player to date. Nine of the most densest and meditative tracks of the 21st century! As mentioned, Huerco's vision is non-linear, and the record is hard to place in time yet almost remains elusively futuristic. Monolithic and stark but extremely warm, intensely personal, and strangely accessible for everyone in every which way. When experimental music is this moving you know you're onto something special. 

                                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                                  Matt says: Repress of this now cult artefact from Huerco S. One of the best electronic-ambient pieces the year it was released (2016) its serene simplicity and radioactive warmth is still as arresting as it ever was. Every home deserves a copy of this to see them thru the Winter!

                                                                                                                                                                                                                  Cornelius

                                                                                                                                                                                                                  Point

                                                                                                                                                                                                                    Cornelius "Point" was a definitive moment in 90s indie as it almost single handedly evolved the genre beyond American "college rock" to something global, MTV playable pop. Originally released on Matador, Cornelius "Point" has gone on to sell hundreds of thousands of records and create too many to count devotees from Beck to The Strokes to Phoenix and beyond.

                                                                                                                                                                                                                    Originally released in 2002 on Matador Records, now for the first time ever receiving a deluxe reissue with 3 never before heard remixes by Kings of Convenience, Herbert, and Yann Tornita. 

                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                    2xColoured LP Info: This deluxe blue vinyl reissue comes with 3 additional remixes, custom Cornelius slipmat and lenticular cover. It is limited and once gone, most likely never to be reissued again.

                                                                                                                                                                                                                    Richard Hawley

                                                                                                                                                                                                                    Coles Corner - Coloured Vinyl Reissue

                                                                                                                                                                                                                      Critics were almost unanimous in their praise for Coles Corner, originally released on 5 September 2005.

                                                                                                                                                                                                                      Richard's third solo album (his fourth if you include the self titled mini album). It was recorded at Yellowarch Studio in his hometown of Sheffield and is a beautiful album, filled with nostalgia, emotion and romance. Its orchestral splendour sits alongside earthy rock and roll, with songs that are by turns intimate and soaring.

                                                                                                                                                                                                                      The title immortalises the legendary Sheffield landmark Coles Corner, a popular meeting place of old and new lovers.

                                                                                                                                                                                                                      The album was nominated for the 2006 Mercury Music Prize for best album.

                                                                                                                                                                                                                      Nirvana

                                                                                                                                                                                                                      MTV Unplugged - 25th Anniversary Edition

                                                                                                                                                                                                                        Named one of the 10 best live albums of all time by Rolling Stone, MTV Unplugged in New York was recorded live at Sony Music Studios in New York City on November 18, 1993. The show was directed by Beth McCarthy and first aired on the cable television network MTV on December 14, 1993. As opposed to traditional practice on the television series, Nirvana played a setlist composed of mainly lesser-known material and cover versions of songs by The Vaselines, David Bowie, Meat Puppets (during which they were joined by two members of the group onstage), and Leadbelly.

                                                                                                                                                                                                                        Expanded to include 5 rehearsal performances previously only available on DVD, the anniversary release also features an exclusive gatefold jacket including anniversary silver foil detail on the front and back cover.

                                                                                                                                                                                                                        180gm black vinyl.

                                                                                                                                                                                                                        Grouper

                                                                                                                                                                                                                        A I A : Alien Observer - Reissue

                                                                                                                                                                                                                          “This sound / synapse transposition is as haunting as it is beautiful—surely Grouper’s best.”—Tiny Mix Tapes.

                                                                                                                                                                                                                          “If past Grouper releases have inhabited abyssal trenches and damp backwoods, here Harris takes us journeying across constellations and stars. Two of the most beguiling albums of the year, exquisitely realized and singularly evocative.” —The Quietus.

                                                                                                                                                                                                                          “This music feels both spacey and expansive and also oddly intimate and grounded, the work of someone who has mastered her tools and knows how to get the most out of them.”—Pitchfork “Harris nds a way to dive deeper in simple and unassuming ways.”—NPR.

                                                                                                                                                                                                                          Grouper

                                                                                                                                                                                                                          A I A : Dream Loss - Reissue

                                                                                                                                                                                                                            “This sound / synapse transposition is as haunting as it is beautiful—surely Grouper’s best.”—Tiny Mix Tapes. 

                                                                                                                                                                                                                            “If past Grouper releases have inhabited abyssal trenches and damp backwoods, here Harris takes us journeying across constellations and stars. Two of the most beguiling albums of the year, exquisitely realized and singularly evocative.” —The Quietus. 

                                                                                                                                                                                                                            “This music feels both spacey and expansive and also oddly intimate and grounded, the work of someone who has mastered her tools and knows how to get the most out of them.”—Pitchfork “Harris nds a way to dive deeper in simple and unassuming ways.”—NPR.


                                                                                                                                                                                                                            Caravan

                                                                                                                                                                                                                            In The Land Of Grey And Pink

                                                                                                                                                                                                                              'Active since the late 1960s, Caravan signed to the Decca/Deram label during the early 1970s. To celebrate Decca’s 90th anniversary, these Caravan classics will be reissued on 180gm vinyl with DL codes. 

                                                                                                                                                                                                                              In The Land Of Grey And Pink - 1LP vinyl repress of this progressive rock classic from Caravan described by Mojo magazine as “the quintessential Canterbury album”.Caravan are one of the UK’s most acclaimed UK progressive rock bands, active since the late 1960s. This is their third studio album released in 1971 when they were signed to the Decca/Deram label and is considered a high-point of the band’s career. Rolling Stone listed the album as No. 34 on their list of “50 Greatest Prog Rock Albums of All Time” saying it evoked “a Middle Earth sunset, with the music wavering between medieval folk melodies and jazz-savvy musos”. According to AllMusic, the album is “one of the most beloved, and eccentric prog albums of them all” and “probably Caravan’s finest hour”.

                                                                                                                                                                                                                              Caravan

                                                                                                                                                                                                                              If I Could Do It All Over Again, I’d Do It All Over You

                                                                                                                                                                                                                                'Active since the late 1960s, Caravan signed to the Decca/Deram label during the early 1970s. To celebrate Decca’s 90th anniversary, these Caravan classics will be reissued on 180gm vinyl with DL codes. 

                                                                                                                                                                                                                                If I Could Do It All Over Again, I’d Do It All Over You - 1LP vinyl repress of this progressive rock classic from Caravan, one of the UK’s most acclaimed UK progressive rock bands. Their sophomore disc, it saw the band advance their sound, moving easily between acoustic folk and electric progressive rock on both complicated, psychedelic medleys and accessible ‘pop’ songs such as the title track which gained significant radio airplay and resulted in a guest appearance on BBC TV’s Top of the Pops. Active since the late 1960s, Caravan signed to the Decca/Deram label during the early 1970s and this album is considered a high-point of the band’s career.

                                                                                                                                                                                                                                Caravan

                                                                                                                                                                                                                                For Girls Who Grow Plump In The Night

                                                                                                                                                                                                                                  'Active since the late 1960s, Caravan signed to the Decca/Deram label during the early 1970s. To celebrate Decca’s 90th anniversary, these Caravan classics will be reissued on 180gm vinyl with DL codes.

                                                                                                                                                                                                                                   For Girls Who Grow Plump In The Night - 1LP vinyl repress of the fifth album by progressive rock stalwarts Caravan, one of the UK’s most acclaimed UK progressive rock outfits. Active since the late 1960s, this album is considered one of their best with Allmusic claiming: “it is several steps ahead in terms of fresh musical ideas that wholly incorporate the band’s trademark humour within the otherwise serious and challenging sonic structures”

                                                                                                                                                                                                                                  Caravan

                                                                                                                                                                                                                                  Waterloo Lily

                                                                                                                                                                                                                                    'Active since the late 1960s, Caravan signed to the Decca/Deram label during the early 1970s. To celebrate Decca’s 90th anniversary, these Caravan classics will be reissued on 180gm vinyl with DL codes. 

                                                                                                                                                                                                                                    Waterloo Lily - 1LP vinyl repress of the fourth album from Caravan, one of the UK’s most acclaimed UK progressive rock bands.With founding member and keyboardist David Sinclair having left the band, Waterloo Lily has a jazzier feel than previous Caravan albums due to Sinclair’s replacement Steve Miller. The progressive rock and folk elements are still prevalent though and work well with the jazz on tracks such as The Love in Your Eye suite. Active since the late 1960s, Caravan signed to the Decca/Deram label during the early 1970s and this album is considered a high-point of the band’s career.

                                                                                                                                                                                                                                    Happy Mondays

                                                                                                                                                                                                                                    The Early EP's

                                                                                                                                                                                                                                      This collection of EPs features very early, rare Happy Mondays tracks originally released on limited vinyl in the late 1980s by Factory Records. Included is the original version of ‘24 Hour Party People’ and feature track ‘The Egg’ - with atmospheric eerie slide guitar and driving bass this is a stand out gem from the band’s back catalogue and transports you in time to late 1980s Manchester.

                                                                                                                                                                                                                                      All tracks remastered from original master tapes.

                                                                                                                                                                                                                                      ‘Forty Five’ pressed on translucent green vinyl in sleeve with 3mm spine.

                                                                                                                                                                                                                                      ‘Freaky Dancin’ / The Egg’ appears on translucent orange vinyl in sleeve with 3mm spine.

                                                                                                                                                                                                                                      ’Tart Tart’ is on translucent blue vinyl in 3mm spine sleeve.

                                                                                                                                                                                                                                      ‘24 Hour Party People’ on translucent yellow vinyl in sleeve with 3mm spine.

                                                                                                                                                                                                                                      All 4 EPs are gathered in a 300gsm carton slipcase.

                                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                                      Andy says: Happy Mondays lit up the late 80s with their barely contained, shambolic but groovey take on punk-funk and god knows what else! They were, in short, totally original. In frontman Shaun Ryder they had a complete one-off who label boss Tony Wilson famously compared to W.B.Yeats! These early twelves (85-88) are presented here as four different coloured vinyl, remastered from the original analogue tapes and housed in a 300 gram carton slipcase.

                                                                                                                                                                                                                                      The Jam

                                                                                                                                                                                                                                      Snap! - Vinyl Reissue

                                                                                                                                                                                                                                        Originally released in 1983, Snap! was the first ‘greatest hits’ collection from The Jam and appeared just after Paul Weller took the shock decision to split up the band at the height of their popularity and success.

                                                                                                                                                                                                                                        The title Snap! originates from the production, the A&R team and the band in the studio listening back to recording sessions and deciding if the track had the necessary distinctive Jam ‘snap’ sound to make the cut…!!

                                                                                                                                                                                                                                        The original 29-track album with chronological sequencing clearly illustrates their brief but stunning story, from explosive debut on the embryonic English punk scene and their meteoric rise to become one of the greatest and best-loved British bands.

                                                                                                                                                                                                                                        From their thrilling debut single – In The City to their farewell – Beat Surrender the collection features 16 top-30 singles – 4 number ones!

                                                                                                                                                                                                                                        Features hit singles – Down In The Tube Station At Midnight, Strange Town, When You’re Young, Going Underground, That’s Entertainment, Start!, Town Called Malice , The Eton Rifles and many more. Also includes remarkable B-side tracks such as The Butterfly Collector and Tales from the Riverbank.

                                                                                                                                                                                                                                        “One of the greatest ‘greatest-hits’ albums of all time”.

                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                        Deluxe LP Info: Heavyweight vinyl in a gatefold sleeve, with original artwork – printed inner sleeves and original ‘free’ live 7” EP.

                                                                                                                                                                                                                                        The Fall

                                                                                                                                                                                                                                        Hex Enduction Hour - Triple Splatter Coloured Vinyl + 7" Edition

                                                                                                                                                                                                                                          1982 was a decisive year for The Fall. Their critically acclaimed album “Hex Enduction Hour” was released in March on Kamera Records, closely followed by “Room To Live” in September of that year.

                                                                                                                                                                                                                                          This triple LP includes the full classic album plus John Peel Sessions and live recordings in Manchester and New Zealand.

                                                                                                                                                                                                                                          The bonus 7” single is a replica of their 1982 Kamera single ‘Look, Know’, b/w ‘I’m Into C.B.’

                                                                                                                                                                                                                                          This release is a triple gatefold on green & white splatter vinyl – the 7” is black vinyl.

                                                                                                                                                                                                                                          Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics.

                                                                                                                                                                                                                                          “They are always different; they are always the same.” John Peel.

                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                          3xLtd LP Info: Triple gatefold on green & white splatter vinyl and bonus 7".

                                                                                                                                                                                                                                          Prefab Sprout

                                                                                                                                                                                                                                          Steve McQueen - Half Speed Master Edition

                                                                                                                                                                                                                                            Off the back of the incredible latest album ‘I Trawl The Megahertz‘, and following last month’s first hit of remastered vinyl, Prefab Sprout have announced an exciting next batch, featuring four of the band’s classic albums - out October 25th - all overseen by Paddy and Martin McAloon. The releases include Prefab Sprout’s renowned hit album ‘Steve McQueen’ - this time arriving as a ½ speed remaster from the original tapes and follows its 2007 ‘legacy edition’ release. An album that frequently graces critics’ “all time best” lists, it’s a record that is highly-revered. The BBC labelled it as “one of the greats. What really matters is the music. Really. If you have never listened to this album then I urge, no, demand that you do.” The releases include Prefab Sprout’s fourth studio album ‘Protest Songs’ - an essential release for the band that secured them a UK Top 20 record, as well as their sixth album ‘Andromeda Heights’, that spawned singles ‘A Prisoner Of The Past’ & ‘Electric Guitars’ and comes on 180g black vinyl for the very first time. Finally, the fourth part in the latest batch is the band’s newly mastered and remastered release of 2009’s ‘Let’s Change The World With Music’ - seen widely as the band’s comeback album, which received critical acclaim. Promo & marketing activity.

                                                                                                                                                                                                                                            Pulp

                                                                                                                                                                                                                                            His 'N' Hers - Vinyl Reissue

                                                                                                                                                                                                                                              'His ‘n’ Hers is the fourth studio album by Pulp and was the first to be released on a major label. It was originally released in 1994 and together with its follow-up Different Class, it is one of the highlights of 90’s ‘Britpop’.
                                                                                                                                                                                                                                              Its influences emanate from old glam and post-punk records, with the hooks and immediacy of perfect pop — it was sensual yet intellectual, cheap yet sophisticated, retro yet modern — with each seeming paradox giving the music weight instead of weighing it down: with Jarvis Cocker’s wry comments on life in Sheffield, where desperation, sex, and crime are always on the surface, creating evocative images with an appropriate amount of drama and a surplus of flair! The album contains their first top 40 hit in the UK – Do You Remember the First Time? and Lipgloss.

                                                                                                                                                                                                                                              This deluxe 25th anniversary reissue edition is pressed on 180-gram heavyweight 2-disc set for extra audio quality! Includes enhanced packaging – housed in sumptuous gatefold sleeve with printed inner bags and was remastered at Abbey Road – supervised by Steve Mackey (Pulp bass player and producer). Steve later went on to produce for MIA, Florence + The Machine, Arcade Fire etc.

                                                                                                                                                                                                                                              Jim Sullivan

                                                                                                                                                                                                                                              Jim Sullivan

                                                                                                                                                                                                                                                On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

                                                                                                                                                                                                                                                By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

                                                                                                                                                                                                                                                Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won him, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish reissue of Jim’s 1972 sophomore album, Jim Sullivan.

                                                                                                                                                                                                                                                The self-titled LP was originally released on Playboy mogul Hugh Hefner’s short-lived Playboy imprint. Horns sweeten this funky and bombastic session driven by Jim’s unmistakably larger-than-life voice and exceptional song-writing chops, alongside a cast of legendary session musicians including Jim Hughart. Another LP you’ll rarely see in the wild, it is by no means the poor relation of U.F.O., but rather a big stride into country, folk rock, and swampy blues, mesmerically finger-picked, brass-bedecked, and with that uniqueness of phrasing–part crooner, part jazz singer–that makes Sullivan such a rare performer.

                                                                                                                                                                                                                                                Each song could have been a bonafide radio hit, but with spotty promotion and negative connotations surrounding the Playboy name, the self-titled album suffered a fate known all too well and fizzled out. While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue.


                                                                                                                                                                                                                                                Jim Sullivan

                                                                                                                                                                                                                                                If The Evening Were Dawn

                                                                                                                                                                                                                                                  On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

                                                                                                                                                                                                                                                  By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

                                                                                                                                                                                                                                                  Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

                                                                                                                                                                                                                                                  If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.

                                                                                                                                                                                                                                                  According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

                                                                                                                                                                                                                                                  While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.


                                                                                                                                                                                                                                                  This hugely popular mid-eighties Exotika album was originally released in 1987 by Play It Again Sam. It includes such Chris & Cosey classics as the crowd-pleasing 'BeatBeatBeat', the haunting ballad 'Dr. John (Sleeping Stephen)' and the original version of their seminal title track 'Exotika', which was adopted as an electronica anthem, most notably on the GOA scene and in the US West and East Coast gay clubs of the later 1980s’. "Chris & Cosey beat most of 87's mainstream dance-floor contenders on their own territory of sheer pleasure, urged joy. 'BeatBeatBeat' is extreme, a revelation." By Ian Gittins - Melody Maker 1987 "Chris & Cosey have made a great dance record, but it's their kind of dancing. No junk here. They're crazy enough to be sincere about their musical Pleasureland and they want to share their discovery. Come and feel the sound as though your life depends on it: if it were up to them, it would depend on it." From Rockpool 1987. 

                                                                                                                                                                                                                                                  Chris & Cosey

                                                                                                                                                                                                                                                  Heartbeat - Coloured Vinyl Reissue

                                                                                                                                                                                                                                                  Originally released to much acclaim in 1981 by Rough Trade 'Heartbeat' was the first in a long line of groundbreaking albums by Chris Carter & Cosey Fanni Tutti. This early example of Chris & Cosey features cut-up sampled voices, Cosey's disto-guitar, Industrial sequences, melodious synths and cinematic sweeps. “There are moments of great beauty like ‘Moorby’ and, equally, many moments of sheer depravity all performed with Kraftwerk’s cultured class and the hypnotic charm and deadly grace of a synthesised cobra.” Steve Sutherland Melody Maker 1982. "All the world loves a love story… but 'Heartbeat' still has an edge of evil among the extensions of the pair's established scenarios.” Sandy Robertson - Sounds 1981

                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                  Coloured LP Info: Purple vinyl.

                                                                                                                                                                                                                                                  Chris & Cosey

                                                                                                                                                                                                                                                  Trance - Coloured Vinyl Reissue

                                                                                                                                                                                                                                                  This seminal album and a long time favourites with DJs and fans alike. ‘Trance' is often cited by electronic musicians as being highly influential in contemporary electronic music. Primarily an instrumental album 'Trance' covers everything from minimal electro and polyrhythmic sequences to rhythm heavy industrial dance tracks. "High-tech sequencer dazzles mix with heavy stews of sound, teasing atmospheric pieces with abrasive disco forgeriesʼ” John Gill - Time Out 1982 "No one else currently turning out commercial music has anywhere near Chris and Coseyʼs intuitive grasp of the stimulating possibilities of electronic rhythm. Trance is just what it claims to be: a mesmerising chance to reassess the suggestive potential of sound, which in turn, attempts to intoxicate the listener into a reinvestigation of surrounding environments.” Steve Sutherland - Melody Maker 1982. 

                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                  Coloured LP Info: Gold vinyl.

                                                                                                                                                                                                                                                  Songs of Love & Lust was originally released by Rough Trade Records in 1984 and at the time was considered to be quite a departure for both Chris & Cosey and Rough Trade. The album contains Chris & Cosey’s trademark infectious rhythms, melodic tunes, edgy guitar, wailing cornet and of course Cosey's unique vocals - which give a dark and sensual edge to the production. "A vice-like turn of the screw that is at once dreamy, hard and compelling. A gathering of all those forces which give electronic music a heart of its own. This is seduction!" Adrian Jones - City Limits 1984 "Chris & Cosey's alluring invitation is to try another world: their promise is that the possibilities should be endless." 

                                                                                                                                                                                                                                                  A Produce

                                                                                                                                                                                                                                                  The Clearing

                                                                                                                                                                                                                                                    The Clearing is the debut album by the late Los Angeles-based musician Barry Craig aka A Produce. As co-founder of the underground cassette imprint Trance Port Tapes, Craig managed to assemble local artists who were working within the realms of DIY electronics and rhythmic, spacious sound. Incubated over a three year period, '88 release The Clearing draws on the roster of TPT associates such as Scott Fraser (Kronos Quartet), Daniel Voznick (Afterimage) and guitarist Scott Marc Becker resulting an 'an album of conceptual space', owing equally to the guitar-based new-wave releases of the imprint prior as to the later, and deeper ambient trance sound that would follow. Coming at this intersection of styles, there are moments of deep introspection and sulking, minimal drum machines followed by pieces of more outward expression only to be plunged back into tense, oppressive atmospheres. Yet despite these shifts in style, the sense of mood and cohesion throughout is ever-present, giving a true sense of inhabiting a unique space - or 'The Clearing'. Stockport-based store All Night Flight Records is proud to present this official reissue, with the blessing of Craig's estate and artwork replicated by the original artist - renown designer Bruce Licher of Independent Project Recordings. Distributed by Low Company.

                                                                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                                                                    Patrick says: Microdosing man Tom Houghton launches the label arm of his vinyl empire All Night Flight this week, with a meticulous reissue of esoteric LA rarity "The Clearing" by A Produce. Fusing post punk, tribal, minimalist and ambient into a surprisingly accessible LP, Trance Port boss Barry Craig came up with a sublime LP, which we now get the chance to enjoy!

                                                                                                                                                                                                                                                    Dwight Druick was born in Montreal to a professional gambler and an ex-Radio City Rockette. One of five children, he grew up in a family buoyed by music and beleaguered by the vagaries of miscalculated risk. After attaining a McGill University bachelor’s degree in Art History, Dwight fully embraced both music and risk by traveling to London, where he signed a contract with Pye Records and Joe Cocker’s management company. The ensuing record, "Druick & Lorange" was released to critical acclaim and relative success. After returning to Canada, Dwight recorded two albums with Phil Vyvial: "Midnight" and "Minuit". Recorded with the Muscle Shoals Rhythm Section in Alabama, the duo’s work achieved airplay success in Quebec and across Canada. Dwight subsequently released his first French language solo album, "Tanger", released in 1980 by the Canadian label, Bobinason.

                                                                                                                                                                                                                                                    Today quite hard to find in its original version, "Tanger" is first of all an incredibly solid album, clearly underrated and deserving more credit. Mostly known by collectors and DJs for the stunning cover of Toto’s classic hit, “Georgy Porgy”, which was produced and arranged with the help of George Thurston (Boule Noire), it includes many other tasty titles, with amongst them another fine rendition of “Open Your Eyes” by The Doobie Brothers. In fact, with its brilliant mix of Modern-Soul, Disco and AOR styles, the whole album is already considered by many connoisseurs as a classic, and clearly a must have for anyone enjoying this musical blend.

                                                                                                                                                                                                                                                    Never reissued on vinyl until now, here's a chance for blue eyed soulboys, yacht rock obsessives and the Balearic crowd to grab their copy.

                                                                                                                                                                                                                                                    Jungle Brothers

                                                                                                                                                                                                                                                    Straight Out The Jungle - Vinyl Reissue

                                                                                                                                                                                                                                                    De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers. Their debut full length “Straight Out the Jungle” opened up many doors that are walked through by artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was oneof the first. Plus, the group’s groundbreaking collaboration with legendary house producer Todd Terry, “I’ll House You,” paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years and appeared to be a staple on every East Coast Rap Album from ‘88 until ‘92. The opening track “Straight Out the Jungle” samples the classic Bill Withers drum break as the JB’s tell you where they are coming from. “Black Is Black” (featuring a young Q-Tip) and “Sounds Of The Safari” introduces the pro-black edge, while the sexually subtle classics “Jimbrowski” and “I’m Gonna Do You” are funny, clever and timely. Hard, smart, fun, clever and brilliant, Mike G., Africa Baby Bam and Sammy G may not have realized it but they crafted a classic rap album that stands the test of time. Available here on high grade, loud pressed, double vinyl!

                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                    2xColoured LP Info: Limited edition indie stores exclusive, pressed on red & green opaque vinyl.

                                                                                                                                                                                                                                                    It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut "Return to the 36 Chambers". The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark "Enter the Wu-Tang" album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”).

                                                                                                                                                                                                                                                    Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol’ Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality. 

                                                                                                                                                                                                                                                    Nas

                                                                                                                                                                                                                                                    It Was Written

                                                                                                                                                                                                                                                      Illmatic, the 1994 studio debut of Nasir "Nas" Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G.,it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. What came next threw critics and fans for a loop, but was no less influential than Illmatic, and would become the most commercially successful album in the entirety of Nas' discography.

                                                                                                                                                                                                                                                      The 1996 sophomore follow-up was titled It Was Written, and in contrast to the urban bleakness of his debut, had Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written was not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel "JoJo" Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur.

                                                                                                                                                                                                                                                      Not only was It Was Written received warmly by critics, but became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking "Street Dreams", and the Grammy-nominated "If I Ruled The World (Imagine That)", and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more

                                                                                                                                                                                                                                                      The Caribbean has long been an incubator for the sounds that will animate and shape the culture of the rest of the world for decades to come: From the rhythms of Cuba helping to shape American jazz, blues and rock n’ roll, to Trinidadian calypso introducing a bouncy lightness and gaiety to American party music, to Jamaica’s reggae showing a new way to rebel against convention. But what about the music of Belize, the Caribbean nation that holds the odd position of being a former British colony on the coat of Spanish-speaking Central America? Most people don’t know about the country at all, let alone about the rich sounds it has to offer.

                                                                                                                                                                                                                                                      Bredda David Obi set out to change that in 1984 with the release of his debut LP "No Fear", and the introduction of a new Belizean groove he called kungo (or cungo). A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae he had played in various bands during his years as a journeyman musician in the United States. He would further develop this modern tropical sound on subsequent albums, integrating more and more elements from Belizean niche genres like sambai and paranda. Cultures of Soul now documents Bredda David’s journey into the soul of Belize with an anthology of his early recordings including tracks from "No Fear", "Cungo Musik" (1987) and "We No Wa No Kimba Ya" (1990) albums.

                                                                                                                                                                                                                                                      Bredda David’s kungo is hard to describe exactly—its various ingredients make it feel somewhat familiar, but the recipe with which he blends them is slightly strange, fresh and intriguing. But one thing is for certain, it is sure to electrify the dance floor and make everybody jump up and bruk down! Housed in a gatefold jacket with extensive liner notes by Uchenna Ikonne. 

                                                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                                                      Patrick says: Cultures Of Soul put the spotlight on Bredda David and his Belizean Kungo sound with this seven track retrospective. Now, I'd never heard of Kungo going into this, but after a very enjoyable listen I can report that reggae, disco, sunkissed rock and proto house flavour this uplifting music.

                                                                                                                                                                                                                                                      Pharoah Sanders

                                                                                                                                                                                                                                                      Izipho Zam(My Gifts)

                                                                                                                                                                                                                                                      Two years after the death of his mentor and boss, John Coltrane, and just before signing his own contract with Impulse!, Pharoah Sanders finally got around to releasing an album as a leader apart from the Impulse! family. Enlisting a cast of characters no less than 13 in number, Sanders proved that his time with Coltrane and his Impulse! debut, Tauhid, was not a fluke. Though hated by many of the jazz musicians at the time -- and more jazz critics who felt Coltrane had lost his way musically the minute he put together the final quintet -- Sanders followed his own muse to the edges of Eastern music and sometimes completely outside the borderlines of what could be called jazz. That said, Izipho Zam is a wonderful recording, full of the depth of vision and heartfelt soul that has informed every recording of Sanders since. Guests include Sonny Sharrock, Lonnie Liston Smith, Chief Bey, Cecil McBee, Sirone, Sonny Fortune, Billy Hart, Howard Johnson, and others. The set begins with a gorgeous soul tune in "Prince of Peace," with Leon Thomas doing his trademark yodel, croon, and wail as Smith, McBee, and Hart back him and Sanders fills the gaps. Next is "Balance," the first blowing tune on the set, with the African drums, the modal horns, and Sanders' microtonal investigations of sonic polarity contrasted with Johnson's tuba, leaving the rhythm section to join him as Sharrock and Smith trade drone lines and Sanders turns it into a Latin dance from outer space about halfway through to the end -- it's astonishing. Finally, on the 28-minute title track, the band members -- all of them -- begin a slow tonal inquiry, a textured traipse into the abyss of dissonance and harmonic integration, with Thomas as the bridge through which all sounds must travel on their way to the ensemble. From here, percussion, bells, whistles, Sharrock's heavily chorded guitar -- all provide rhythm upon interval upon tonal figure until the horns enter at about 12 minutes. They move slowly at first and gather force until they blast it right open at 20 minutes and the last eight are all free blowing and an endurance ride for the listener because, with four minutes left, Sanders leads the band in a gorgeous lyric ride that brings together all disparate elements in his world and ours, making this track -- and album -- an exhilarating, indispensable out jazz experience.



                                                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                                                      Millie says: Spiritual jazz legend Pharoah Sanders, Izipho Zam(My Gifts) is a literal gift to all jazz fans out there, full of rhythm and fantastic percussion. Joined by big names, Sonny Sharrock, Lonnie Liston Smith, Chief Bey, Cecil McBee to name a few, full on talent and style!

                                                                                                                                                                                                                                                      So far so far out for Stroom, who continue their journey through the lesser thumbed pages of the Belgian underground with this sublime retrospective of art-house hero and ambient music weirdo Jan Van Den Broeke. Famed for his wavy, sample heavy synth compositions as Absent Music, The Misz and June 11, Van Den Broeke made an appearance on Alain Neffe's Insane Music imprint, with the lo-fi tropicalia of "The Desert" (included here folks). Falling somewhere between Spike, Marc Barreca, Eno's poppier moments and the bedsit anxiety of a Flying Nun band, the music collected on "11000 Dreams" beguiles, intrigues and transfixes us with its introverted magic. Working with a minimalist set up of drum machines, guitar, synth and spoken vocal, Van Den Broeke pursues his own unique musical path to create a sound which falls into a flawless musical no man's land - Absent Music indeed! So, if you dig on Balearic, minimal wave or ambient sounds, you NEED this in your life.

                                                                                                                                                                                                                                                      Mr Scruff

                                                                                                                                                                                                                                                      Keep It Unreal - 20th Anniversary Green Vinyl Edition

                                                                                                                                                                                                                                                      Scruff's debut for Ninja Tune was quite literally, legendary. Bootlegged feverishly amongst my set through high school and college, the battered C90 tapes became somewhat of a status symbol for the musically inclined. If hip-hop culture seemed too overtly masculine and aggressive, then Scruff's quirky, jazzy, upbeat-downbeat grooves shunned aggression for playfulness; decorating the album with some hilarious spoken word facets and samples, giving birth to what would become Andy's unique sonic (and visual) world throughout his career.

                                                                                                                                                                                                                                                      A product of post-acid house Manchester, Mr Scruff is a legitimately celebrated one-off. A cheeky innovator who had more than paid his dues and served his time both as a musical apprentice, a performer, a DJ and a producer. Deliberate, thoughtful and patient; I remember seeing a young Andy spinning 45s at the Cellar Bar over in Blackburn back in about 2001 thinking 'this guy's destined for big things').

                                                                                                                                                                                                                                                      This album set his stall out wonderfully: in one moment delivering deep, downtempo dinner jazz while the next, he's chopping up breaks and scratches with all the finesse of Coldcut. There's a maverick spirit throughout which sticks two fingers up at music elitism, yet Scruff is so well musically educated that no-one could pick holes in his argument either! A breath of fresh air for people stifled by dance music's overly serious, alpha-male-dominated program, the wacko humour of "Spandex Man" and the nigh-on-ridiculous "Shanty Town" and "Fish" must have pissed off the beard strokers but it made us fall in love with him even more!

                                                                                                                                                                                                                                                      I like that Scruff's been named the Salvador Dali of beats and breaks, it kinda suits him. Every home needs this LP on its shelves and this 20th anniversary edition, on green vinyl is a superb addition to the catalogue. 


                                                                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                                                                      2xColoured LP Info: Translucent green vinyl housed in green paper inners.

                                                                                                                                                                                                                                                      Mogwai

                                                                                                                                                                                                                                                      Ten Rapid (Collected Recordings 1996-1997)

                                                                                                                                                                                                                                                        After the success of the limited edition coloured vinyl for 2018's Record Store Day, Mogwai's sell-out 1997 compilation album of singles, b-sides and rarities from 1996-1997 is getting a limited coloured repress. After this, it goes back to black!

                                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                                        Coloured LP Info: Limited run of green heavyweight vinyl.

                                                                                                                                                                                                                                                        Stiff Little Fingers

                                                                                                                                                                                                                                                        Inflammable Material - Vinyl Reissue

                                                                                                                                                                                                                                                          Stiff Little Fingers are proud to release Inflammable Material. Originally released in 1979, this seminal record, printed on black vinyl, explores themes of teenage boredom and sectarian violence with an underlying insight into Northern Irish life during the peak of the tensions.

                                                                                                                                                                                                                                                          Their punk rock aesthetic is authentic, with raw lyricism and harsh instrumentation. Containing the anthemic track ‘Alternative Ulster’, Stiff Little Fingers promote the ‘grab it and change it’ narrative. 


                                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                                          Ltd LP Info: 180 gram black vinyl edition.

                                                                                                                                                                                                                                                          A winsome and dizzying spin on disco pop, recorded in westernized Iran during last moments before the 1979 revolution. All but criminalized in the wake of Ayatollah Khomeni’s theocratic repression, Hamlet Minassian’s solo masterpiece is a testament to the Middle East’s forgotten dance music culture. This six-song, 44-minute LP hybridizes Euro attitude and Armenian traditional songs to create long, hypnotic proto-house, seemingly beamed in from another dimension.

                                                                                                                                                                                                                                                          Malaria!

                                                                                                                                                                                                                                                          Compiled 2.0

                                                                                                                                                                                                                                                            Founded in Berlin in January of 1981, Malaria! has a legacy that goes way beyond being Germany's very first all-female post-punk outfit. Motorik beats and dark synth flourishes underscore nearly gothic vocals on songs that range from New Order-esque pop to the grimmest of bad-trip-inducing experimentalism.

                                                                                                                                                                                                                                                            With 20 tracks from the group's influential early years, Compiled 2.0 gathers together all of the debut album, 1982's Emotion, as well as the first single and various other EP and compilation cuts. This is the definitive collection of a pioneering group that has been woefully underrepresented on vinyl for decades.

                                                                                                                                                                                                                                                            January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke's Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen's O.U.T. project and Susanne Kuhnke completed the Line-Up. Malaria! started touring intensively soon after the release of their 12", commencing with a concert with New Order at Brussel's Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einsturzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7", Weisses Wasser 12", New York Passage 12", Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session. Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12". Elation was followed by Cheerio, Album, which again was recorded in Berlin.Chicks on Speed did their own version of Malaria's song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10. Malaria has been an instrumental part of Berlin Music History

                                                                                                                                                                                                                                                            Thee Oh Sees

                                                                                                                                                                                                                                                            Dog Poison - Vinyl Reissue

                                                                                                                                                                                                                                                              REISSUED!!! The beloved Dog Poison full-length record by THEE OH SEES, and boy, is this one a monster. More layered and textural than the previous Oh Sees releases while keeping all the typical JOHN DWYER punch, oomph and weirdness. Ten fantastic songs originally released by Captured Tracks in 2009. "If it were approached from a different angle, a song like album opener "The River Rushes (To Screw MD Over)" might not have sounded out of place on Dog Poison's predecessor. But by switching to an acoustic guitar and letting the flute player channel Ian Anderson, Thee Oh Sees give their sound a new wrinkle. Indeed, with Dwyer copping a few vocal moves from Mark E. Smith, "River" ends up sounding a little like the Fall covering the Kinks. There's another, purer, Kinks-like turn on Dog Poison, with the loping high-pitched tra-la-las of "The Sun Goes All Around" sounding like something left on the cutting room floor from Village Green Preservation Society. Elsewhere on the album, the group emulates the cavernous, smoky gait of Deerhunter ("Head of State"), shambles in a folkier fashion ("Fake Song"), spaces out a bit ("Dead Energy"), and mostly just lets it all hang out over the course of this LP's 24 minutes."—Pitchfork

                                                                                                                                                                                                                                                              The Wedding Present

                                                                                                                                                                                                                                                              George Best

                                                                                                                                                                                                                                                                'George Best' is the debut album by The Wedding Present, originally released in 1987. Hugely anticipated, 'George Best' saw indie heroes The Wedding Present refine the blitzkrieg pop brilliance of the band's early singles into a nuanced styled that was distinctively theirs: heartbreak at the bus stop, set to the soundtrack of a million jangling guitars. 

                                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                                Coloured LP Info: Limited edition green vinyl.

                                                                                                                                                                                                                                                                Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                                                                CD Info: The 'Plus Edition' CD includes an additional 11 non-album tracks from the same era.

                                                                                                                                                                                                                                                                The Wedding Present

                                                                                                                                                                                                                                                                Tommy

                                                                                                                                                                                                                                                                  'Tommy' is a compilation album by The Wedding Present, originally released in 1988, collecting songs from the band’s first four singles, plus four tracks recorded for BBC Radio sessions. Bringing together material written in the band’s first two years of existence, 'Tommy' proved that The Wedding Present’s essence was in place from the start. These kinetic blasts of homespun high-velocity bedsit drama presaged the more finessed 'George Best', but represented the band’s definitive portrayal.

                                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                                  Coloured LP Info: Limited edition white vinyl.

                                                                                                                                                                                                                                                                  Beth Gibbons & Rustin Man

                                                                                                                                                                                                                                                                  Out Of Season - Vinyl Reissue

                                                                                                                                                                                                                                                                    Out of Season is the extraordinary album recorded by Portishead singer Beth Gibbons & former Talk Talk bassist Paul Webb (under the pseudonym Rustin Man). The album also features contributions from Gibbons’ fellow Portishead bandmate Adrian Utley.

                                                                                                                                                                                                                                                                    A departure from both previous bands, it is a distinctive mix of folk and jazz styles with a very contemporary twist, with influences ranging from Billie Holiday, and Nick Drake: to Burt Bacharach and the dark and tragic presence of Dusty Springfield. The atmospheric material lent itself to soundtrack qualities – the track Mysteries appears on the original soundtrack of the French movie ‘Les Poupées Russes’ and in Wim Wenders’ ‘Palermo Shooting’.

                                                                                                                                                                                                                                                                    Rustin’ Man (Paul Webb) released his critically-acclaimed new album in February 2019. Originally released in October 2002, Out of Season has been out of print on LP for many years. Now available again, remastered at Abbey Road with original artwork, pressed on heavyweight vinyl.

                                                                                                                                                                                                                                                                    David Bowie

                                                                                                                                                                                                                                                                    VH1 Storytellers

                                                                                                                                                                                                                                                                      On the 23rd of August 1999, David Bowie played an intimate set for invited guests at The Manhattan Centre’s Grand Ballroom in New York for the VH1 Storytellers series. Ten years later in 2009 a CD/DVD/Download of the evening was released, and now 20 years on the most complete version available will be released as a strictly limited-edition double vinyl LP.

                                                                                                                                                                                                                                                                      The Bowie set has long been regarded as one of the most memorable episodes in VH1 Storytellers history, with David delving deep in to his catalogue to perform tracks such as ‘Can’t Help Thinking About Me’ for the first time in 33 years, Aladdin Sane’s ‘Drive-In Saturday' which he had not performed since 1974 and ‘Word On A Wing’ which received its first outing in 23 years.

                                                                                                                                                                                                                                                                      Bill Flanagan, Executive Producer of the VH1 Storytellers “We were used to dealing with legendary musicians. Still, landing David Bowie was more than a big booking. There's no way to say this without being corny: it was an honour. Bowie has a unique place in rock & roll. He is not only one of the most influential musicians of the era, he does nothing unless he is fully committed”.

                                                                                                                                                                                                                                                                      Kurt Vile

                                                                                                                                                                                                                                                                      Childish Prodigy - 10th Anniversary Edition

                                                                                                                                                                                                                                                                        Reissued with the original 7” for the first time since its original pressing, and printed on coloured vinyl for the first time ever, Kurt Vile’s Matador debut Childish Prodigy is back this October.

                                                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                                                        Coloured LP Info: Coloured vinyl LP and 7".
                                                                                                                                                                                                                                                                        LP on light blue vinyl, 7” on purple.

                                                                                                                                                                                                                                                                        One of the key Japanese albums of the 70s, Yukihiro Takahashi's debut solo album 'Saravah!' was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world.

                                                                                                                                                                                                                                                                        The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and HaruomiHosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.

                                                                                                                                                                                                                                                                        'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid-tempo ambient funk featuring Takahashi's beat backed by HaruomiHosono's bumping bassline, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar. The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist TsunehideMatsuki. The album then moves on to the ambient synth-pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class production.

                                                                                                                                                                                                                                                                        Richard Hawley

                                                                                                                                                                                                                                                                        Lady's Bridge - Coloured Vinyl Reissue

                                                                                                                                                                                                                                                                          Lady's Bridge is the fifth studio album from Richard Hawley, originally released on 20 August 2007.

                                                                                                                                                                                                                                                                          "Lady's Bridge" is filled with enough classics to last you a lifetime. Great music doesn't need hype, it makes its own friends. And "Lady's Bridge" will find plenty. As they did in "Coles Corner", ghosts haunt "Lady's Bridge" – the dying embers of past romances in "Valentine", the 16-piece string orchestral lush opener, there are the victims of the Great Sheffield Flood remembered in "Roll River Roll" and the glorious "The Sun Refused To Shine", the lonesome wanderlust of "The Sea Calls" and "Dark Road". There is tenderness (the lovely "Our Darkness" which finds our hero returning to the sanctuary of home) and grit too, the first single – "Tonight The Streets Are Ours" is quite possibly the most beautiful song about the brutality of the British government's anti-social behaviour policy you are ever likely to hear. The album's title "Lady's Bridge" is a Sheffield landmark and the oldest bridge to cross the river Don. 'I used to walk across it nearly every day, it was a gateway from the poor bit of town to the rich bit' - Richard Hawley. The album was recorded at Yellow Arch Studio in Neepsend, Sheffield in the dilapidated building that Hawley had helped out with the restoration of almost four years ago. Yellow Arch gives Hawley what he calls 'that Sun Studio red light factor' and the pressure of turning up with the bones of an idea and leaving with a masterpiece.

                                                                                                                                                                                                                                                                          The album was certified gold for sales of 100,000 copies in the UK on 11 June 2010.

                                                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                                                          Coloured LP Info: 700 copies on transparent green vinyl.

                                                                                                                                                                                                                                                                          Derided as one-hit wonders, estranged from their original producer and record label, and in self-imposed exile in Los Angeles, the Beastie Boys were written off by most observers before even beginning to record their second album - an embarrassing commercial flop that should have ruined the group's career. But not only did 'Paul's Boutique' eventually transform the Beasties from a fratboy novelty to hip hop giants, its sample-happy, retro aesthetic changed popular culture forever.

                                                                                                                                                                                                                                                                          With the considerable help of Los Angeles-based production duo the Dust Brothers, the Beastie Boys helped redefine what sampling could be with this record. Snatches of familiar music are scattered throughout the record - anything from Curtis Mayfield's "Superfly" and Sly Stone's "Loose Booty" to Loggins & Messina's "Your Mama Don't Dance" and the Ramones' "Suzy Is a Headbanger" - but never once are they presented in lazy, predictable ways. the Dust Brothers and Beasties weave a crazy-quilt of samples, beats, loops, and tricks, which creates a hyper-surreal alternate reality, evolving into a wholly unique record, unlike anything that came before or after. It very well could be that its density is what alienated listeners and critics at the time; there is so much information in the music and words that it can seem impenetrable at first, but upon repeated spins it opens up slowly, assuredly, revealing more every listen. Musically, few hip-hop records have ever been so rich; it's not just the recontextulations of familiar music via samples, it's the flow of each song and the album as a whole, culminating in the widescreen suite that closes the record.

                                                                                                                                                                                                                                                                          The Raincoats

                                                                                                                                                                                                                                                                          The Raincoats - 40th Anniversary Edition

                                                                                                                                                                                                                                                                            Re-mastered from original masters. November 2019 marks the 40th Anniversary of the release of The Raincoats’ self-titled debut album and the band plan to celebrate with a series of live performances in the UK and at Le Guess Who? Festival in Utrecht. In 1979, The Raincoats helped shape the timeless notion that punk is what you make it to be - an act of raw expression, not any one sound. Their anarchy was poetic. The group’s debut album ‘The Raincoats’, which Kurt Cobain called “wonderfully classic scripture”, was released 40 years ago by Rough Trade Records at its radical beginnings, setting a crucial precedent for feminist work within a DIY context. To celebrate the 40th anniversary of this album, We ThRee announce a special limited edition of 1000 copies. Includes a Limited edition print by Ana da Silva, founder member and songwriter and a Limited edition print by Gina Birch, founder member and songwriter. Additional song "Fairytale in the Supermarket" included. Press campaign by Stone Immaculate Press.

                                                                                                                                                                                                                                                                            The Raincoats have offered creative and spiritual inspiration for several generations of artists such as John Lydon, Kim Gordon, Kurt Cobain, Carrie Brownstein, Bikini Kill, Angel Olsen... “I really don’t know much about The Raincoats except that they recorded some music that has affected me so much that whenever I hear it I’m reminded of a particular time in my life when I was (shall we say) extremely unhappy, lonely and bored. If it weren’t for the luxury of putting on that scratchy copy of The Raincoats’ first record, I would have had very few moments of peace” Kurt Cobain // “It was The Raincoats I related to most. They seemed like ordinary people playing extraordinary music. Music that was natural that made room for cohesion of personalities. They had enough confidence to be vulnerable and to be themselves without having to take on the mantle of male rock/punk rock aggression…or the typical female as sex symbol avec irony or sensationalism”. Kim Gordon 

                                                                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                                                                            LP Info: Limited edition of 1000 x special marble 180 gram vinyl, plus download code.
                                                                                                                                                                                                                                                                            LP also includes 2 limited edition prints by Gina Birch and Ana da Silva.

                                                                                                                                                                                                                                                                            Root Down is an EP by legendary hip hop group Beastie Boys, released in 1995. The first three tracks are variations of the track “Root Down,” from the Beastie Boys’ 1994 album Ill Communication. The remaining seven tracks were recorded “live in Europe, winter 1995.” This bad boy has been out of press for, like, forever, so now you can get all kinds of Beastie realness.



                                                                                                                                                                                                                                                                            The Raincoats

                                                                                                                                                                                                                                                                            Odyshape - Blue Marble Vinyl Edition

                                                                                                                                                                                                                                                                              "Odyshape" the second album by The Raincoats originally released on Rough Trade Records in 1981.Re-mastered from original masters. It was The Raincoats I related to most. They seemed like ordinary people playing extraordinary music. Music that was natural that made room for cohesion of personalities. They had enough confidence to be vulnerable and to be themselves without having to take on the mantle of male rock/punk rock aggression…or the typical female as sex symbol avec irony or sensationalism. (Kim Gordon, Sonic Youth,1993). // We just really loved what The Raincoats were doing - they were a really exciting band. I think the thing that was good about The Raincoats simply was that the tradition that they were playing in was their own and so they had an original voice. You couldn’t ignore them - they were undeniably fascinating - the interplay between the two voices and the sound of the group was something original and that was what was exciting about them. 

                                                                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                                                                              Coloured LP Info: Limited edition of 500 special blue marble 180 gm vinyl with download code

                                                                                                                                                                                                                                                                              Dinosaur Jr

                                                                                                                                                                                                                                                                              Green Mind - Deluxe Expanded Edition

                                                                                                                                                                                                                                                                                Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s, issuing three highly influential albums in the process before finding a home with Sire Records, who issued ‘Green Mind’ in 1991 as the alternative American rock scene the band had long been part of exploded globally.

                                                                                                                                                                                                                                                                                Produced by a stripped down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire’s international reach took Dinosaur Jr’s reputation to a new level, aided by the singles ‘The Wagon’ and ‘Whatever’s Cool With Me’, a non-album EP of new material and live recordings, all of which are included here.

                                                                                                                                                                                                                                                                                Critically lauded on release, ‘Green Mind’ remains one of the band’s strongest collections, and a firm fan favourite.

                                                                                                                                                                                                                                                                                Collected together here for the first time with related singles, B-sides and live recordings, and accompanied by indepth sleevenotes from Mojo’s Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a thorough snapshot of the band at a period when all eyes were on American guitar groups, many of whom owed their existence to Dinosaur Jr.

                                                                                                                                                                                                                                                                                Dinosaur Jr

                                                                                                                                                                                                                                                                                Where You Been - Deluxe Expanded Edition

                                                                                                                                                                                                                                                                                  Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. ‘Where You Been’, their fifth record, emerged in 1993, at the height of enthusiasm for grunge and the alternative American rock scene the band had long been part of.

                                                                                                                                                                                                                                                                                  Produced by a new line-up of the group (longtime drummer Murph and new bassist Mike Johnson completing the three-piece), the album became the band’s most successful up to that point, reaching #50 in the US (where it sold over a quarter of a million copies) and #10 in the UK album charts, and spawning the hit single ‘Start Choppin’.

                                                                                                                                                                                                                                                                                  Released to unanimously positive reviews, and containing many tracks that would become staples and fan favourites, ‘Where You Been’ continued Dinosaur Jr’s global ascent, being issued simultaneously across the US, Europe, Australasia, Asia and South America.

                                                                                                                                                                                                                                                                                  Collected together here on vinyl for the first time with related singles, B-sides and John Peel session recordings, and accompanied by in-depth sleevenotes from Mojo’s Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a glimpse of a band in rampant form riding a hard-earned wave of popularity and credibility.

                                                                                                                                                                                                                                                                                  Dinosaur Jr

                                                                                                                                                                                                                                                                                  Without A Sound - Deluxe Expanded Edition

                                                                                                                                                                                                                                                                                    Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. “Without A Sound”, their sixth record, emerged in the summer of 1994, in the wake of personal bereavement and the departure of longtime drummer and founder member Murph.

                                                                                                                                                                                                                                                                                    Performed primarily by J Mascis, “Without A Sound” continued the band’s growth in popularity and commercial achievement, reaching #44 in the US (their highest ever album placing there) and featuring the hit singles ‘Feel The Pain’ and ‘I Don’t Think So’.

                                                                                                                                                                                                                                                                                    Released to positive reviews, “Without A Sound” also took Dinosaur Jr around the world, including dates in Australia, New Zealand and Japan, and into the mainstream as the group contributed ‘Blah’ to the hit US TV show Melrose Place.

                                                                                                                                                                                                                                                                                    Collected together with related B-sides, unreleased mixes and a complete live recording made in London in 1994, and accompanied by in-depth sleevenotes from Mojo’s Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a glimpse of a band at the height of their international appeal and accessibility.

                                                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                                                    2xColoured LP Info: Yellow coloured double vinyl housed in a gatefold sleeve.

                                                                                                                                                                                                                                                                                    Dinosaur Jr

                                                                                                                                                                                                                                                                                    Hand It Over - Deluxe Expanded Edition

                                                                                                                                                                                                                                                                                      Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and first half of the 1990s, issuing a number of highly influential albums in the process. ‘Hand It Over, their seventh record, appeared in the spring of 1997 following a lengthy absence, and would prove to be the band’s final album-length offering for a decade.

                                                                                                                                                                                                                                                                                      Performed primarily by J Mascis, ‘Hand It Over’ appeared at a time of declining international interest in American alternative rock, but nevertheless received widespread approval and appreciation amongst critics and reviewers. The album was accompanied, unusually, by an EP of nonalbum songs recorded for the Matt Dillon movie ‘Grace Of My Heart’ and, later, a vinyl only ‘I’m Insane’ 7” single, all of which are collected here alongside previously unreleased recordings made on stage in Stockholm and on TV in Australia.

                                                                                                                                                                                                                                                                                      Presented here on purple vinyl, and accompanied by indepth sleevenotes from Mojo’s Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a final view of a band about to disappear from the limelight but still as engaging and powerful as ever.

                                                                                                                                                                                                                                                                                      The Beatles

                                                                                                                                                                                                                                                                                      Abbey Road - 50th Anniversary Edition

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

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

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


                                                                                                                                                                                                                                                                                        STAFF COMMENTS

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

                                                                                                                                                                                                                                                                                        Interpol

                                                                                                                                                                                                                                                                                        Antics - 15th Anniversary Edition

                                                                                                                                                                                                                                                                                          The classic sophomore LP, available in a limited white vinyl pressing and available for the first time ever as a coloured LP.

                                                                                                                                                                                                                                                                                          After two years of seemingly endless tours, the quartet returned in early 2004 to Peter Katis’s Tarquin Studios in Bridgeport, Conn., to record their second album. They had already debuted a handful of songs earmarked for Antics on the road: “Length of Love,” “Narc,” “C’mere.” Meanwhile, having revisited – and reinvented– the material from Bright Lights night after night, they discovered new strengths. There was more room for experimentation in these songs, for toying with arrangements and intricacies of individual parts, than on their debut.

                                                                                                                                                                                                                                                                                          With Antics, Interpol has delivered a disc even more engaging than its celebrated predecessor, without sacrificing any of the depth that has made them such an important band for so many. The songs are at once catchier and more variegated, revealing themselves over time to a degree heard on few current releases, and nothing is ever obvious. Frontman Paul Banks describes, “A lot of time, there are specific topics or events that that inspire the songs, but it’s not explicit in my lyrics.“ Indeed, with Interpol, things are rarely what they seem.

                                                                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                                                                          Coloured LP Info: Limited white vinyl.

                                                                                                                                                                                                                                                                                          Goldfrapp

                                                                                                                                                                                                                                                                                          Black Cherry - 2019 Reissue

                                                                                                                                                                                                                                                                                            Originally released in April 2003, Mute/BMG announce the long awaited vinyl reissue of the much sought after ‘Black Cherry’. Unavailable for many years, the album will be pressed on 140g Purple vinyl with an exclusive 12” x 12” art print.

                                                                                                                                                                                                                                                                                            ‘Black Cherry’ will be the first of a series of limited edition Goldfrapp vinyl releases.

                                                                                                                                                                                                                                                                                            'Black Cherry’ still builds on their trademark experimental edges from their debut ‘Felt Mountain’ and that force is every bit as evident and not a shred less relevant. On first hearing, the driving basslines of 'Train' or 'Strict Machine', or the playfully, joyously sexual 'Twist' seem a world away from some of ‘Felt Mountain’s’ atmospherics. From the heartbroken beauty of the title track and the inordinately sensual, disturbed purr of 'Deep Honey' to the sonic whirlpools of 'Tiptoe', ‘Black Cherry’ reinforces Goldfrapp’s siren–like ability to suck you into other realms.


                                                                                                                                                                                                                                                                                            Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

                                                                                                                                                                                                                                                                                            Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

                                                                                                                                                                                                                                                                                            For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

                                                                                                                                                                                                                                                                                            A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

                                                                                                                                                                                                                                                                                            In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

                                                                                                                                                                                                                                                                                            Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence.


                                                                                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                                                                                            Patrick says: An underground favourite amongst Balearic and Ambient collectors, original copies of this cool and contemplative LP from Steve Hiett dried up recently, making this reissue a must have. Hiett's soundscapes and reflective guitars are every bit as beautiful as his cover photo.

                                                                                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                                                                                            Ltd LP Info: First re-issue since its original release in Japan in 1983, remastered from the original masters, 140g vinyl, gatefold sleeve, 16 page photography book with liner notes.

                                                                                                                                                                                                                                                                                            CD Info: First time on CD, remastered from the original masters, digipack, 6 page photography book with liner notes.

                                                                                                                                                                                                                                                                                            Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).

                                                                                                                                                                                                                                                                                            Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.

                                                                                                                                                                                                                                                                                            While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.

                                                                                                                                                                                                                                                                                            Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.

                                                                                                                                                                                                                                                                                            Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.


                                                                                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                                                                                            Ltd LP Info: Previously unreleased material from Steve’s private recordings, remastered from the original masters, 140g vinyl, 4 page photography insert with liner notes.

                                                                                                                                                                                                                                                                                            CD Info: CD is INDIES ONLY with previously unreleased material from Steve’s private recordings, remastered from the original masters, digipack, 6 page photography book with liner notes, 2 bonus tracks not on the vinyl version.

                                                                                                                                                                                                                                                                                            The Beatles

                                                                                                                                                                                                                                                                                            Abbey Road - 50th Anniversary Box Set Editions

                                                                                                                                                                                                                                                                                              London – August 8, 2019 – It was 50 years ago today, on August 8, 1969, that the world’s most famous band stepped out from London’s EMI Recording Studios to stride, single-file, across the black and white stripes of Abbey Road’s nearby zebra crossing. With photographer Iain Macmillan balanced on a stepladder and one policeman stopping the street’s light traffic, The Beatles crossed back and forth three times, led by John Lennon, followed by Ringo Starr, Paul McCartney, and George Harrison. Just six photos were taken, with the fifth selected as the cover shot for The Beatles’ penultimate studio album, Abbey Road, named after the tree-lined street in which the studios are located. Released September 26, 1969, Abbey Road was not The Beatles’ final album, as Let It Be followed in 1970, but it was the last one John, Paul, George, and Ringo recorded together as a band. The Beatles will celebrate Abbey Road’s anniversary with a suite of beautifully presented packages to be released worldwide on September 27 by Apple Corps Ltd./Capitol/UMe. Now available for preorder, the album’s 17 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo, high res stereo, 5.1 surround, and Dolby Atmos, accompanied by 23 session recordings and demos, most of which are previously unreleased.

                                                                                                                                                                                                                                                                                              “The Beatles recording journey had gone through many twists and turns, learning curves and thrilling rides. Here we were – still wondering at the magic of it all,” McCartney recalls in his written foreword for Abbey Road’s anniversary edition packages.

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

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

                                                                                                                                                                                                                                                                                              Abbey Road’s Super Deluxe box set presents 40 tracks – including “The Long One” Trial Edit & Mix for the album’s epic Side 2 medley – on three CDs (stereo) and one Blu-ray disc (Dolby Atmos, 96kHz/24 bit high resolution stereo, and 96 kHz/24 bit DTS-HD Master Audio 5.1). The four discs are housed in a slip-sleeved 12” by 12” 100-page hardbound book with McCartney’s foreword; Martin’s introduction; insightful, in-depth chapters written by Beatles historian, author, and radio producer Kevin Howlett covering the months preceding The Beatles’ Abbey Road sessions, track-by-track details and session notes, the cover art and photo shoot, and the album’s reception upon its release; plus an essay by music journalist and author David Hepworth looking at the album’s influence through 50 years. The gorgeous book is illustrated with rare and previously unpublished photographs, including many taken by Linda McCartney; never before published images of handwritten lyrics, sketches, and a George Martin score; Beatles correspondence, recording sheets, and tape boxes; and reproduced original print ads. The Super Deluxe digital audio collection presents all 40 tracks for download purchase and streaming in standard and MFiT formats, as well as in high resolution audio (96kHz/24 bit) for download.

                                                                                                                                                                                                                                                                                              Abbey Road’s limited edition Deluxe vinyl box set features all 40 tracks from the Super Deluxe collection on three 180-gram vinyl LPs. The album’s new stereo mix LP is packaged in a faithfully replicated sleeve, with the two Sessions LPs paired in their own jacket, presented with a four-page insert in a lift-top box. 

                                                                                                                                                                                                                                                                                              Abbey Road’s Super Deluxe and Deluxe vinyl box sets’ 23 session and demo recordings are presented in chronological order of their first recording dates. “I Want You (She’s So Heavy)” leads the charge:

                                                                                                                                                                                                                                                                                              For an overnight session on February 22, 1969, The Beatles were joined at London’s Trident Studios by producer George Martin and engineer Glyn Johns to record “I Want You (She’s So Heavy).” Abbey Road’s new edition combines a take from that session with the concluding part of the Trident master’s eight-track reduction mix made later at the EMI studios, revealing for the first time Billy Preston’s thrilling overdubbed organ solo. With their amps turned up high, The Beatles received a noise complaint from one of the studio’s neighbors in the Soho area of the city. The take starts with Lennon exclaiming, “My boys are ready to go!,” before the band is told about the complaint. Lennon replies, “What are they doing here at this time of night?,” then lays it down: “Well, we’ll try it once more very loud. And then if we don’t get it, we’ll try it quiet, like it might do it the other way. OK. The loud one, last go. Last chance to be loud!”

                                                                                                                                                                                                                                                                                              In the same month that the raucous Trident session took place, McCartney recorded a home demo of “Goodbye” for the Apple-signed singer Mary Hopkin and Harrison recorded a solo demo of “Something” at EMI Recording Studios. Both demos are featured on Abbey Road’s new edition. “Goodbye” makes its release debut. Although previously released on Anthology 3 in a version featuring guitar and vocal, the new anniversary mix of George’s “Something” demo features for the first time vocal, guitar and piano.

                                                                                                                                                                                                                                                                                              The Beatles reconvened at EMI’s studios and Olympic Sound Studios for sessions spanning mid-April to early May. On April 14, Lennon and McCartney recorded the single “The Ballad Of John And Yoko” in EMI’s Studio Three, with Geoff Emerick as the balance engineer. Two days later, the single’s B-side, “Old Brown Shoe” was recorded. Session recordings for these tracks, as well as three more songs started during this period, “Oh! Darling,” “Octopus’s Garden,” and “You Never Give Me Your Money,” are featured in Abbey Road’s anniversary edition.

                                                                                                                                                                                                                                                                                              The remainder of Abbey Road’s sessions took place in July and in August with George Martin producing, and with principal engineers Geoff Emerick and Phil McDonald taking turns at EMI’s groundbreaking new mixing console, the TG12345. On July 2, 3, and 4, McCartney, Harrison, and Starr recorded “Golden Slumbers”/“Carry That Weight” as a medley (Lennon was hospitalized in Scotland, recuperating after a car accident). A sequence of Takes 1-3 from the first day’s session is featured in the anniversary edition. Take 9 from McCartney, Harrison, and Starr’s backing track session for “Here Comes The Sun” on Starr’s July 7 birthday is also included.

                                                                                                                                                                                                                                                                                              On July 21, 22, and 23, The Beatles were in-studio to record “Come Together,