Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. 

TRACK LISTING

SIDE A
Know Your Rights
Car Jamming
Should I Stay Or Should I Go
Rock The Casbah
Red Angel Dragnet
Straight To Hell
SIDE B
Overpowered By Funk
Atom Tan
Sean Flynn
Ghetto Defendant
Inoculated City
Death Is A Star

Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now re-released as a 180g 3LP special edition and a 2CD special edition, with an additional 12-tracks compiled by The Clash.

Having returned to London following their pivotal 17-show residency at New York’s Bond’s Casino in 1981, the band rehearsed and recorded at The People’s Hall in the squatted Republic of Frestonia near Latimer Road in London and from there they embarked on a tour of the East and South East Asia, during which the album sleeve image was captured by Pennie Smith in Thailand.

The tracks on ‘The People’s Hall’ chart the period from what was their last single Radio Clash right up to the release of Combat Rock, including unheard, rare and early versions of tracks.

TRACK LISTING

Combat Rock - SIDE A
Know Your Rights
Car Jamming
Should I Stay Or Should I Go
Rock The Casbah
Red Angel Dragnet
Straight To Hell
Combat Rock - SIDE B
Overpowered By Funk
Atom Tan
Sean Flynn
Ghetto Defendant
Inoculated City
Death Is A Star
The People’s Hall - SIDE A
Outside Bonds
Radio Clash
Futura 2000
The People’s Hall - SIDE B
First Night Back In London
Radio One - Mikey Dread
He Who Dares Or Is Tired*
Long Time Jerk
The Fulham Connection [aka The Beautiful People Are Ugly Too]
The People’s Hall - SIDE C
Midnight To Stevens
Sean Flynn
Idle In Kangaroo Court
Know Your Rights*
NB: SIDE D IS BLANK

*Previously Unreleased

Released in 1961, My Favorite Things made John Coltrane a star with box-office pulling power previously preserved for the likes of Dave Brubeck, Stan Getz, the MJQ, and Miles Davis. The dazzling quartet treatment of the Richard Rodgers hit song, features Coltrane on soprano saxophone for the first time on record, exercised a hypnotic effect on all sorts of music lovers and trend-spotters. The title track was a hit single, and the album became a major commercial success. In 1998, the album received the Grammy Hall of Fame award. It attained gold record status in 2018, having sold 500,000 copies. The mono version of this album, believed lost, was recently found, and is included in this deluxe package, as well as the stereo version, both mastered from the original tapes.

The packaging includes liner notes by award-winning writer Ben Ratliff, as well as photos and Atlantic Records ephemera.

TRACK LISTING

Disc 1 (Mono)
Side 1:
1. My Favorite Things (13:41)
2. Everytime We Say Goodbye (5:39)
Side 2:
1. Summertime (11:31)
2. But Not For Me (9:34)

Disc 2 (Stereo)
Side 1:
3. My Favorite Things (13:41)
4. Everytime We Say Goodbye (5:39)
Side 2:
3. Summertime (11:31)
4. But Not For Me (9:34)

Vacant Gardens is Glenn Donaldson (of The Reds, Pinks and Purples and a hundred others) and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics. The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies.

So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in 2020 and 2021 in swiftly-disappearing micro editions on the secretive Tall Texan label. With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs on May 20th, alongside a 7" containing two previously unheard songs recorded at the same time as the albums. The albums are pressed in editions of 500, and the 7" 300, and all on transparent vinyl.

TRACK LISTING

1. World Inside The Ocean
2. Obscene
3. Whorl
4. Crimson Crush
5. Three Herons
6. Loose
7. As Horses
8. Untombed

Vacant Gardens is Glenn Donaldson (of The Reds, Pinks and Purples and a hundred others) and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics. The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies.

So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in 2020 and 2021 in swiftly-disappearing micro editions on the secretive Tall Texan label. With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs on May 20th, alongside a 7" containing two previously unheard songs recorded at the same time as the albums. The albums are pressed in editions of 500, and the 7" 300, and all on transparent vinyl.

TRACK LISTING

1. Waves On Waves
2. Slow Diamonds
3. Sunlight On Dry Grass
4. Night Bloom
5. Shorebirds
6. Open Air
7. Under The Bloom
8. Eucalyptus

Much in demand album from 1986. Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters.

Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the covers offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.

That same year Vumani would release two Singles, "Black Mampatile" and "Guy Fawkes". Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.

Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own.

STAFF COMMENTS

Matt says: Much needed repress of this highly sought after bubblegum centric release from Vumani. One of only four release by the South African cult star, original copies can fetch up to £400! Stick this in yer pipe discogs!

TRACK LISTING

Isiqedakoma
Guy Fawkes
Banana Kar
I Can Play
Midnight Express
Cheater
Black Mampatile

Drawing from post-punk and industrial acts like; Swans, Big Black, Killing Joke and Throbbing Gristle as much as the more metallic and punk influences that informed guitarist/ vocalist Justin Broadrick's previous band Napalm Death, the pounding, drum-machine powered sonic assault of 'Streetcleaner' sounded like nothing else at the time, breaking down people's perceptions of what a metal band could sound like. You can still feel the album's broad influence everywhere from the dense atmospheres of post-metal to the abrasive beats of modern industrial and techno outfits, but despite its many imitators, there's still nothing else that quite captures the feelings of paranoia, anxiety and urban decay that 'Streetcleaner' so deftly articulates.

TRACK LISTING

1. Like Rats 
2. Christbait Rising 
3. Pulp 
4. Dream Long Dead 
5. Head Dirt 
6. Devastator 
7. Mighty Trust Krusher 
8. Life Is Easy 
9. Streetcleaner

World Circuit Records has made its reputation by producing some of the finest albums of the past three decades. The label is best known for the Grammy-winning Buena Vista Social Club album (and associated solo artists Ibrahim Ferrer, Omara Portuondo and Rubén González), which is the biggest selling world music album of all time and has contributed to the phenomenal rise in popularity of Cuban, as well as Latin American, music.

World Circuit is also home to a number of revered African artists including the late Tony Allen (whose Afrobeat-jazz collaboration with Hugh Masekela ‘Rejoice’ was released to great critical acclaim in March 2020), iconic blues pioneer Ali Farka Touré (whose classic Grammy-winning ‘Talking Timbuktu’ album, recorded with Ry Cooder, brought the label early international acclaim), Malian divas and social activists Oumou Sangaré and Fatoumata Diawara, master kora player Toumani Diabaté, the illustrious Orchestra Baobab and musical iconoclast Cheikh Lô. 

TRACK LISTING

A1 Secret Agent
A2 Ijo
A3 Switch
B1 Celebrate
B2 Ayenlo
B3 Busybody
C1 Pariwo
C2 Nina Lowo
C3 Atuwaba
D1 Alutere
D2 Elewon Po

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

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

Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue their second album as a standalone release. “A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret” Edd Gibson, Friendly Fires. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a sub-category in the lexicon of record dealers and music critics alike. Released just months after their debut second album, ‘On The Shore’ sees a shift from the first record into something darker and more ambivalent with an arcane Englishness. The product of an era characterised by clunky polemic, arcadian sentimentality or English fuzzy-felt surrealism, the album, like all classic records, is so much greater than the sum of its parts. Opening with ‘Soldiers Three’, learned from Dave Swarbrick, the album includes another traditional tune and one of the definitive moments in English folk rock ‘Polly On The Shore’ alongside ’Sally Free and Easy’ and ‘Streets of Derry’. 

TRACK LISTING

Soldiers Three
Murdoch
Streets Of Derry
Sally Free And Easy
Fool
Adam's Toon
Geordie
While The Iron Is Hot
Little Sadie
Polly On The Shore

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

TRACK LISTING

Nothing Special
The Great Silkie
The Garden Of Jane Delawney
Lady Margaret
Glasgerion
She Moved Thro' The Fair
Road
Epitaph
Snail's Lament

The album has been Half-Speed Remastered and cut to lacquers at 33RPM, across 2x heavyweight black vinyl LPs, to deliver maximum dynamic range in the sound.

Vinyl cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis. The album is true to the original LP design with a wide-spine jacket and printed inner sleeves, but now utilises colour photographs from The Last Temptation of Christ film. All images are newly re-scanned.

The album comes with a download card with a choice of digital download (Hi-Res 24bit or 16bit).

Passion – Music for The Last Temptation of Christ was released a year after Martin Scorsese’s controversy-laden film first hit the big screen in 1988. Passion tends to be regarded as a work in its own right rather than just being a movie soundtrack. It features additional music to that which was included in the film; this extra material was the result of Peter continuing to record and to resolve “unfinished ideas”. Built on a foundation of Middle Eastern and North African rhythms and melodies, Passion is unsurprisingly Peter’s most spiritual work, no more so than when the alternately ascending voices of Nusrat Fateh Ali Khan, Youssou N’Dour and Peter himself interweave on the title track. Nusrat Fateh Ali Khan and Youssou N’Dour are far from the only notable guests; the cross-continental gathering of musicians also includes Senegalese griot Baaba Maal, jazz drummer Bill Cobham and avant-garde trumpeter Jon Hassell among many others.

TRACK LISTING

LP 1
A1 The Feeling Begins
A2 Gethsemane
A3 Of These, Hope
A4 Lazarus Raised
A5 Of These, Hope - Reprise
A6 In Doubt
A7 A Different Drum
B1 Zaar
B2 Troubled
B3 Open
B4 Before Night Falls
B5 With This Love

LP 2
C1 Sandstorm
C2 Stigmata
C3 Passion
C4 With This Love – Choir
D1 Wall Of Breath
D2 The Promise Of Shadows
D3 Disturbed
D4 It Is Accomplished
D5 Bread And Wine

The album has been Half-Speed Remastered and cut to lacquers at 33RPM, on 1x heavyweight black LP, to deliver maximum dynamic range in the sound.

Vinyl cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis. The album is true to the original LP design, but all images are newly re-scanned.

The album comes with a download card with a choice of digital download (Hi-Res 24bit or 16bit)

Recorded in 1984, and originally released in March 1985, Birdy marks the first occasion that Peter worked with French-Canadian producer and multi-instrumentalist Daniel Lanois who went onto co-produce both Peter’s So and US albums. The soundtrack to the Alan Parker movie of the same name – the tale of a Vietnam vet who harbours Icarus-like ambitions to fly – it finds Peter flexing his creative muscles free of any commercial pressures and has a number of tracks build out of elements of existing tracks from Peter’s third and fourth solo albums.

TRACK LISTING

SIDE A
A1 At Night
A2 Floating Dogs
A3 Quiet And Alone
A4 Close Up (from Family Snapshot)
A5 Slow Water
A6 Dressing The Wound
SIDE B
B1 Birdy's Flight (from Not One Of Us)
B2 Slow Marimbas
B3 The Heat (from The Rhythm Of The Heat)
B4 Sketchpad With Trumpet And Voice
B5 Under Lock And Key (from Wallflower)
B6 Powerhouse At The Foot Of The Mountain (from San Jacinto)

Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers. Includes the song 'If The Moon Turns Green' from the same session but not included on the original LP. BILLIE HOLIDAY, vocals; CHARLIE SHAVERS, trumpet; FLIP PHILLIPS, tenor sax; OSCAR PETERSON, piano; BARNEY KESSEL, guitar; RAY BROWN, bass; ALVIN STOLLER, drums; HEARD, drums (alternating with Alvin Stoller). Recorded Los Angeles, May 1952. Produced by Norman Granz

TRACK LISTING

East Of The Sun
Blue Moon
You Go To My Head
You Turned The Tables On Me
Easy To Love
These Foolish Things
I Only Have Eyes For You
Solitude
Everything I Have Is Yours
Ove For Sale
Moonglow
Tenderly
If The Moon Turns Green

Remastered pressing of Ann Peebles wonderful debut album.

TRACK LISTING

1. Give Me Some Credit
2. Crazy About You Baby
3. Make Me Yours
4. My Man - He's A Lovin' Man
5. Solid Foundation
6. Chain Of Fools
7. It's Your Thing
8. Walk Away
9. Rescue Me
10. Won't. You Try Me
11. Steal Away
12. Respect

Unissued recordings by this very loud power trio from San Francisco, modeled after Cream, Blue Cheer or The Jimi Hendrix Experience. Including their fantastic studio demo from 1968 plus raw & wild live tracks from 1969.

Boogie (or The Boogie) was probably the first hard-blues / proto-metal group that emerged from the San Francisco scene. Comrades of Moby Grape (who even let Boogie use their rehearsal space) and the Sons Of Champlin. Hard cardboard sleeve. Insert with rare photos and detailed liner notes by San Fran rock historian Bruno Ceriotti. Download card with the full album plus three bonus tracks.

A Swedish funk / psych / jazz rarity, it attracted little attention upon its initial release and seemed doomed to obscurity, but thanks to crate-digging DJs and a Mr Bongo 1996 reissue, it has since seen a new lease of life as a highly prized cult classic amongst record collectors. The album presents a unique blend of pop, jazz, funk and soul, containing more than a hint of Joni Mitchell, Led Zeppelin and the like. Backed by her husband Lukas Lindholm on bass Doris was able to lay down some seriously funky bass lines on tracks like 'Don't' and 'Beatmaker'.

On 'You Never Come Closer', an experimental track that was way ahead of its time, Janne Carlsson unleashes a fearsome sound on drums helped by Bernot Egerladh on organ. 'You Never Come Closer' was sampled on 'Closer' by infuential hip-hop producer Madlib for Quasimoto. This has led to Doris' work becoming increasingly popular amongst underground hip-hop fans. 'Did You Give The World Some Love Today, Baby' is more than just a curiosity, it's an overlooked gem, showcasing a singer with a distinctive voice, great range and charm.

TRACK LISTING

Did You Give The World Some Love Today, Baby
I Wish I Knew
Grey Rain Of Sweden
Waiting At The Station
Don't
Daisies
You Never Come Closer
Whispering Pine
I'm Pushing You Out
Won't You Take Me To The
Theater
Beatmaker
Bath

This release features the much talked about radio show of summer of 1984 that featured Lux Interior playing his favorites and obscure-sets 7" records while howling, buzzing and raving about them.

It includes such classic and influential stuff like The Frantics, Sparkles, Link Wray, Billy Strange, Mad Mike And The Maniacs, Vic Mizzy, One Way Streets, Swamp Rats... Deadly Ones, The Troggs and many more (up to a total of 28 tracks!)...

Absolutely entertaining and instructional especially by Lux' comments/noises between tracks.

1968 Debut Record, this is the Original MONO mix. The first time this has been reissued and its on Limited Green Vinyl. 1968 Debut album from the king of the psychedelic bayou – the hypnotic, mystical and powerful sound of the swamp coming to life. As he became Dr. John (real name Mac Rebennack), it was his LA session work with musicians like Sonny & Cher, Canned Heat, and Zappa that allowed him to start conjuring up his visions of guitar psych-pop to walk alongside his authentic New Orleans upbringing.

While “Gris Gris” contains moments that make it a type stamped symbol of its era, it might have well been made in outer space. Recorded in its own psychic and stylistic vacuum, the album borrows as heavily from the New Orleans’ musical culture in which he grew up as it does the looming continuous pulse of war, heavy drugs, and the end of the free love/hippie movement. The album was taken under the wing of a small percentage of the “underground” upon its release in 1968 and did not find a true following for years. 

TRACK LISTING

1. Gris-Gris Gumbo Ya Ya
2. Danse Kalinda Ba Doom
3. Mama Roux
4. Danse Fambeaux
5. Croker Courtbullion
6. Jump Sturdy
7. I Walk On Guilded Splinters

Critically” Country Life’ is deemed to be Roxy Music’s most consistent and sophisticated album, the albums artwork is still to this day considered controversial in certain countries but is non the less iconic around the World. Musically and lyrically “Country Life” has been considered more cynical and hard rocking than previous Roxy Music albums, “Country Life” is an album that is ever present on top 100 Album charts of all time of forever will be.

Each Roxy Music album has been Re-Issued with a fresh Half-Speed cut by Miles Showell at Abbey Road Studios. London. To reflect the audio, all eight of the Roxy Music studio albums have had their artwork revised and with a gloss laminated finish so that each album is not just a record it’s a piece of art.

TRACK LISTING

Side A
The Thrill Of It
Three And Nine
All I Want Is You
Out Of The Blue
If It Takes
All Night
Side B
Bitter Sweet
Triptych
Casanova
A Really Good Time
Prairie Rose

Stranded gave Roxy Music their first UK No’1 album and brought with it an undeniable presence that would eventually see Roxy Music’s American audience take note! It was becoming all too clear that Roxy Music were indeed a band ahead of their time. Each Roxy Music album has been Re-Issued with a fresh Half-Speed cut by Miles Showell at Abbey Road Studios. London. To reflect the audio, all eight of the Roxy Music studio albums have had their artwork revised and with a gloss laminated finish so that each album is not just a record it’s a piece of art.

TRACK LISTING

Side A
Street Life
Just Like You
Amazona
Psalm
Side B
Serenade
A Song For Europe
Mother Of Pearl
Sunset

The now classic album that started the renaissance, available via Rough Trade on double vinyl with four page insert.

Calling Out Of Context features 12 previously unreleased tracks of Buddhist Bubblegum Disco Electro Pop including the anthemic "That's Us/Wild Combination", "The Platform On The Ocean", “Make 1, 2” and "Arm Around You", all recorded during Arthur's prime years 1985-90. Collaborators include Mustafa Ahmed, Walter Gibbons, Steven Hall, Jennifer Warnes, and Peter Zummo.

30 years have passed since Arthur Russell left us, in relative obscurity, from AIDS complications in 1992. Yet his work—as composer, songwriter and dance music innovator—is better known now than ever before. Since Audika Records and Arthur’s partner Tom Lee began excavating and curating Arthur’s vast archive beginning in 2003, critics worldwide have hailed Russell as a visionary. Countless younger artists cite him as an influence. There has been an internationally acclaimed documentary film (Matt Wolf’s Wild Combination) and biography (Tim Lawrence’s Hold onto Your Dreams), a critical study (Matt Marble’s Buddhist Bubblegum) along with various tribute albums, concerts and events. In 2016 Arthur Russell’s archive was acquired by The New York Public Library for the Performing Arts at Lincoln Center as part of their American Music Collection.

If Arthur Russell isn’t quite the pop star he imagined he would be, he is at least widely considered one of the most significant figures in late 20th century American music.

The majority of the material selected for “Calling Out Of Context” comes from two sources. The first was a completed album which dates from 1985, entitled “Corn” of which three very different test pressings remain (complied and reissued in 2015). The second source was material earmarked for Rough Trade recorded between 1986 -1990.

Both “Make 1,2” and “Hop On Down” (originally titled “Hop On Down To Petland”) are two songs that Arthur wrote specifically with the plan of releasing as singles. Sadly, Arthur was faced with an unsympathetic market which viewed his material as uncommercial or too eccentric. In the case of the abandoned Rough Trade recordings, Arthur had become ill due to complications from HIV. He simply could not let go of his material. Nonetheless, he worked and reworked songs into an infinite labyrinth of possibilities, working incessantly with confidence and optimism until the last years of his life.

As a cellist, songwriter, composer, and disco visionary Arthur Russell consistently blurred the lines of our expectations of what pop music could be. Contrary by nature, Arthur’s spontaneous reaction to and altered perception of his environment produced music that remains challenging and contemporary. Arthur’s open hearted attitude to music was far ahead of its time, and now that time is ours.

TRACK LISTING

The Deer In The Forest Part 1
The Platform On The Ocean
You And Me Both
Calling Out Of Context
Arm Around You
That's Us/Wild Combination
Make 1,2
Hop On Down
Get Around You
 I Like You!
You Can Make Me Feel Bad
Calling All Kids

Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell.

Before Disco, and before the transcendent echoes, Arthur studied to be a composer.

His journey began in 1972, running away from his home in Oskaloosa, Iowa.

Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music.

Traversing the popular and the serious, Arthur composed “Instrumentals” in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, “I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music”.

Initially intended to be performed in one 48 hour cycle, “Instrumentals” was in fact only performed a handful of times as a work in progress.

The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo.

Pitchfork lauded “Instrumentals” Vol. 1 as a masterpiece and one of Arthur’s “greatest achievements”. Americana touching on Copeland, Ives, and maybe even Brian Wilson. “Instrumentals” Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur’s most elusive compositions, Reach One, and Sketch For “Face Of Helen”. Recorded live in 1975 at Phill Niblock’s Experimental Intermedia Foundation, Reach One is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. Sketch For “Face Of Helen” was inspired by Arthur’s work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River.

TRACK LISTING

"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 1
"Instrumentals" Volume 2
"Instrumentals" Volume 2
"Instrumentals" Volume 2
"Instrumentals" Volume 2
"Instrumentals" Volume 2
Sketch For The Face Of Helen
Reach One

‘Comfort To Me’ is the sophomore album from Amyl and The Sniffers, described by Pitchfork as “bigger, heavier, and more meaningful” than anything they’ve done before. MOJO Magazine raved: "Skin-shedding, lethal, self-sufficient, cool: no wonder Amy Taylor digs snakes. With Comfort To Me, she proves she can be whoever she wants, while the Sniffers confound preconceptions of how great a rude and righteous rock’n’roll band can still be."

TRACK LISTING

DISC 1
A1 Guided By Angels
A2 Freaks To The Front
A3 Choices
A4 Security
A5 Hertz
A6 No More Tears
A7 Maggot
B1 Capitol
B2 Don't Fence Me In
B3 Knifey
B4 Don't Need A Cunt (Like You To Love Me)
B5 Laughing
B6 Snakes

DISC 2
Comfort To Me - Live From Williamstown

They say that you spend your entire life writing your first album, piecing every formative moment, scribbled turn of phrase, and thematic epiphany into a fantastical collage. Multi-instrumentalist K. Ishibashi (aka Kishi Bashi) disproves that old adage. The title of Kishi Bashi’s 2011 debut album,‑151a, is a riff on the Japanese phrase‑“ichi-go ichi-e,” roughly translating to “one time, one place.” That’s exactly what this debut is: A singular time, an inimitable place, a launchpad for bigger and better things to come. “It’s a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can,” Ishibashi‑told NPR at the time of the album’s release.

“The saying reminds me to embrace my mistakes and move forward.” From the deconstructed Beach Boys-esque doo-wop of “Wonder Woman” to the menacing marriage of Eastern Hues and Western operatics of “Beat the Bright out of Me,”‑151a‑is a mediation between opposing drives, offering possible reconciliation but never promising it. The album’s emotional wellspring, “I Am The Antichrist To You” was reimagined in 2021 when it was featured on the animated sci-fi sitcom‑Rick and Morty, introducing Kishi Bashi to a new generation of awestruck fans.

Kishi Bashi uses‑151a‑as a vehicle to explore his cultural background. Using Japanese refrains as a compositional and textural device (the polyrhythmic grandeur of “Bright Whites”; the gleeful surrealism of “It All Began With a Burst”), Kishi Bashi celebrates his heritage with earnestness. Japanese phrases and couplets are sung as the response to Kishi Bashi’s resplendent calls, offering listeners a conversation that dovetails with the album’s themes of love, sentimentality, and self-discovery.

Today, the “one time” and “one place” that­151a‑inhabited seems further than ever, almost broaching celestial realms of time and space. But, rest assured, with each listen, the world that Kishi Bashi built springs back to life. The world of‑151a‑never left—it was just waiting to be rediscovered.

TRACK LISTING

LP1 / CD1

1 Intro / Pathos, Pathos
2 Manchester
3 Bright Whites
4 It All Began With A Burst
5 Wonder Woman, Wonder Me
6 Chester's Burst Over The Hamptons
7 Atticus, In The Desert
8 I Am The Antichrist To You
9 Beat The Bright Out Of Me..

LP2 / CD2

1 Intro / Pathos, Pathos (Demo-arigato Version)
2 Manchester (Demo-arigato Version)
3 Bright Whites (Demo-arigato Version)
4 It All Began With A Burst (Demo-arigato Version)
5 Wonder Woman, Wonder Me (Demo-arigato Version)
6 Unicorns Die When You Leave (Demo-arigato Version)
7 Chester’s Burst Over The Hamptons (Demo-arigato Version)
8 Atticus, In The Desert (Demo-arigato Version)
9 I Am The Antichrist To You (Demo-arigato Version)
10 Beat The Bright Out Of Me (Demo-arigato Version)
11 Winter From Shiki (Demo-arigato Version)

El-P (Company Flow / Def Jux co-founder) and Killer Mike (Grind Time Official) release their collaborative and acclaimed ‘Run The Jewels’ album via Big Dada.

The record features new, previously unreleased material, available in Europe for the first time on CD and as a deluxe vinyl edition complete with a new track featuring DJ Q-Bert (Invisibl Skratch Piklz), remixes by Dave Sitek (TV On The Radio) and Blue Sky Black Death, as well as remix instrumentals.

Big Dada: “We're incredibly excited to be releasing Run The Jewels. El-P was one of the early inspirations behind Big Dada, and is one of the all-time great driving forces of forward-thinking rap music. His partnership with one of the most intelligent, fluent and ferocious MCs out there, Killer Mike, is hugely exciting and we think 'Run The Jewels' is the rap record of 2014 and then some."

TRACK LISTING

Run The Jewels
Banana Clipper (Feat. Big Boi)
36" Chain
DDFH
Sea Legs
Job Well Done (Feat. Until The Ribbon Breaks)
No Come Down
Get It
Twin Hype Back (Feat. Prince Paul As Chest Rockwell)
A Christmas Fucking Miracle

Two years on from the audio fire of "RTJ2" and the audio fur of "Meow The Jewels", rap's most turnt up duo El-P and Killer Mike are back on wax, ready to smash the set all over again. Since we last heard from them, the duo have transformed from underground stalwarts to a global rap juggernaut, spawning an international art movement, radio show, several Marvel comic cover variants, characters in a video game, their own Virtual Reality initiative (VRTJ) and a whole host of critical acclaim. But don't get it twisted, our heroes are still as hot and hungry as ever, devouring rhymes and defecating beats in non-stop beast mode on "RTJ3". Working alongside Danny Brown, TV On The Radio's Tunde, Kamasi Washington and more, El-P and Mike trade hard hitting bars at headspinning pace over the nastiest, bass blasting beats you're gonna hear all year. Featuring the recently released singles “2100 (ft. BOOTS)” and “Talk To Me”, the duo's third album proper may well be their best. Play this shit LOUD!

STAFF COMMENTS

Patrick says: El-P & Killer Mike are back in the house with their finest release to date. Spitting pure gangsta shit over heavyweight bass and neck snapping beats, the duo keep the vibe feisty throughout. So howbow dah?

TRACK LISTING

1. Down (featuring Joi Gilliam)
2. Talk To Me
3. Legend Has It
4. Call Ticketron
5. Hey Kids (Bumaye) (featuring Danny Brown)
6. Stay Gold
7. Don't Get Captured
8. Thieves! (Screamed The Ghost) (featuring Tunde Adebimpe)
9. 2100 (featuring BOOTS)
10. Panther Like A Panther (Miracle Mix) (featuring Trina)
11. Everybody Stay Calm
12. Oh Mama
13. Thursday In The Danger Room (featuring Kamasi Washington)
14. Report To The Shareholders / Kill Your Masters

Originally released in 2017 on the band’s own label Artificial Plastic and now being reissued by Fuzz Club Records, ‘Damage And Joy’ is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998’s ‘Munki’, ‘Damage And Joy’ was the band’s first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain’s 1999 break-up and 2007 reunion. Coproduced by Youth (Killing Joke) and featuring the lead singles ‘Amputation’ and ‘All Things Pass’, ‘Damage & Joy’ also featured guest appearances from Scottish singer-songwriter Isobel Campbell (‘The Two of Us’, ‘Song For A Secret’) and American alt-pop star Sky Ferreira (‘Black And Blues’).

Included in this reissue and available on vinyl for the very first time is ‘Ono Yoko’ (originally only available on the Japanese CD version of the album), as well as alternative versions of ‘The Two Of Us’ featuring Sky Ferreira and ‘Black And Blues’ featuring Isobel Campbell.

As Pitchfork wrote at the time of the album's release: “It will take more than a nearly twodecade recording hiatus to diminish the band’s intrinsic ultraviolet vibe. ‘Damage And Joy’ carries the reassurance that now, more than ever, The Jesus and Mary Chain are united in holy acrimony.”

TRACK LISTING

1. Amputation
2. The Two Of Us (feat Sky Ferreira)
3. All Things Pass
4. Always Sad
5. Song For A Secret (feat. Isobel Campbell)
6. War On Peace
7. Black And Blues (feat. Isobel Campbell)
8. Los Feliz (Blues And Greens)
9. Mood Rider
10. Presidici (Et Chapaquiditch)
11. Get On Home
12. Facing Up To The Facts
13. Simian Split
14. Black And Blues (feat. Sky Ferreira)
15. Ono Yoko
16. The Two Of Us (feat Isobel Campbell)
17. Can't Stop The Rock

Released in 1965 My Generation was the debut album by The Who. The album peaked at no 5 in the UK charts and launched the band onto worldwide acclaim

The album contains songs such as My Generation, The Kids are Alright and The Ox, and has been mastered by long time Who engineer Jon Astley from the original tapes and is packaged in original sleeve with obi and certificate of authenticity.

This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

TRACK LISTING

SIDE 1
Out In The Street
I Don't Mind
The Good's Gone
La-La-La-Lies
Much Too Much
My Generation
SIDE 2
The Kids Are Alright
Please, Please, Please
It's Not True
I'm A Man
A Legal Matter
The Ox

The follow up to My Generation, A Quick One was released in 1966, it contains the experimental music Suite (a nod to Rock Operas that were to follow) A Quick One While He’s Away, famous for being performed at the Rolling Stones Rock N Roll Circus.

The album contains songs such as Boris the Spider, are Don’t Look Away and has been mastered by long time Who engineer Jon Astley from the original tapes and is packaged in original sleeve with obi and certificate of authenticity.

This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

TRACK LISTING

SIDE 1
Run Run Run
Boris The Spider
I Need You
Whiskey Man
Heatwave
Cobwebs And Strange
SIDE 2
Don't Look Away
See My Way
So, Sad About Us
A Quick One, While He's Away

Released as a limited edition for Record Store Day in 2019, the original mono mix of Pink Floyd’s A Saucerful of Secrets has been remastered by James Guthrie, Joel Plante, and Bernie Grundman from the 1968 analog tapes. Pressed on 180 gram vinyl, it will be presented inside a reproduction of the original LP sleeve.

With classics like "Set the Controls For The Heart Of The Sun", "Remember a Day" and "Jugband Blues", A Saucerful Of Secrets is the only album to feature the five band members: Roger Waters on bass and vocals, Richard Wright on keyboards and vocals, Nick Mason on drums, Syd Barrett and David Gilmour on guitar and vocals.

TRACK LISTING

Side 1:
Let There Be More Light
Remember A Day
Set The Controls For The Heart Of The Sun
Corporal Clegg
Side 2:
A Saucerful Of Secrets
See-Saw
Jugband Blues

After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter “Sleazy” Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group’s heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one.

Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed “moon music” – post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group’s limitless insular synergy.

Opener “Something” is stark and incantational, a spoken word experiment for windswept voids. “Tiny Golden Books” unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. “Ether” is an exercise in funeral procession piano and intoxicated wordplay (“It's either ether or the other”), while “Where Are You?” and “Batwings – A Liminal Hymn” lurk like liturgical murmurings heard on one’s death bed, framed in granular FX and flickering candlelight.

As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination “Paranoid Inlay” captures the group’s oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. “It seems concussion suits you,” he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: “On a clear day I can see forever / that the underworld is my oyster.”

TRACK LISTING

A1. Something
A2. Tiny Golden Books
B1. Ether
B2. Paranoid Inlay
C1. An Emergency
C2. Where Are You?
C3. Batwings (A Limnal Hymn)

Remastered for vinyl and re-released by Daniel's own label Eternal Yip Eye Music. This is a limited pressing.

‘Hi, How Are You’ is best known for its artwork - from a mural in Austin and on to a T-shirt worn by Kurt Cobain.

‘Yip/Jump Music’ was amongst Kurt Cobain’s most beloved albums of all time.

TRACK LISTING

1. Poor You
2. Big Business Monkey
3. Walking The Cow
4. I Picture Myself With A Guitar
5. Despair Came Knocking
6. I Am A Baby (In My Universe)
7. Nervous Love
8. I'll Never Marry
9. Get Yourself Together
10. Running Water
11. Desperate Man Blues
12. Hey Joe
13. She Called Pest Control
14. Keep Punching Joe
15. No More Pushing Joe Around

Penguin Cafe are back with a lovingly produced 10th anniversary reissue of their debut album, titled A Matter of Life… 2021. Besides being completely remastered and pressed on vinyl for the very first time, the record also features a brand new 2021 recording of lead single Harry Piers, a song commemorating Arthur Jeffes’ late father and Penguin Cafe Orchestra founder Simon Jeffes.

“I originally wrote Harry Piers to play at my dad‘s memorial service 24 years ago, and I played it at the end of pretty much every gig (and soundcheck) we’ve done since, so I’ve probably played it hundreds if not thousands of times since we originally released A Matter of Life... So when we decided to reissue the album, Robert and I both felt it would be fun to record an up-to-date version of this song, because it has changed over time and it continues to evolve. So while this is still very much the same tune, I think it has a lot more nuance and detail that reflect the years that have passed since 2011,” Arthur explains.

A Matter of Life… 2021 is a chance for a classic example of the beauty that’s found in collaboration to reach fresh ears, and an opportunity to breathe new life into fan favourites. The album, performed by a mix of personalities — including Neil Codling of Suede and, on percussion, Cass Browne of Gorillaz — incorporates the aesthetics of the original PCO, seasoned into a confident and redefined style, maintaining that quintessentially English sound, but adding a fresh direction and a sense that they are evolving into something new and very much their own.

Arthur says “it’s been really lovely to come back to these old friends — and with this re-issue we’ll be bringing them all out to play live again. Now four albums on, and with our new home at Erased Tapes, it makes a lot of sense for us to go back and pull this record out and brush it off for today”.

The cover artwork also received an update in the shape of a beautiful photograph taken by the UK photographer and long-time collaborator Alex Kozobolis, who was sent to visit Arthur in his second home in Tuscany. Raths’ concept for this was to not only reenact the original painting by Emily Young, but to express the generational change by putting Arthur and his daughter in place of the little boy and the emperor penguin figure that suggest father and son.

TRACK LISTING

1. That, Not That
2. Landau
3. Sundog
4. The Fox And The Leopard
5. Finland
6. Pale Peach Jukebox
7. Harry Piers 2021
8. Two Beans Shaker
9. From A Blue Temple
10. Ghost In The Pond
11. Coriolis

2005 debut studio album from San Diego psychedelic instrumental rockers.

TRACK LISTING

Side A:1.Flower Travelin’ Man (20:47)
Side B:1.Lost In The Cold Sun (21:00)

Travelling beyond the tropical waters of the South Pacific, Afro-Desia showcases Martin Denny’s foremost foray into the sounds and rhythms of the African continent. Pressed on flame-orange color vinyl, Afro-Desia’s twelve tracks burn bright and bring the groove with a chorus of marimbas, timbales, congas, and the sounds of the safari itself. Featuring eclectic and atmospheric tracks like “Simba”, “Aku Aku”, and “Jungle Drums”, this record, originally released in 1959, marks the end of Martin Denny’s ’50s experimentalism before his move into more conventional cocktail jazz.

TRACK LISTING

Side 1:
1 Tsetse Fly
2 Ma'Chumba
3 Jungle Drums
4 Cubano Chant
5 Baia
6 Swamp Fire.
Side 2:
1 Temptation
2 Simba
3 Mumba
4 Aku Aku
5 Raftero
6 Siboney

Coming hot off the heels of his iconic debut, Martin Denny’s follow-up to the original Exotica is the ultimate companion piece. Originally released in mono in 1957 mere weeks after the first Exotica album kick-started the new lounge craze. Exotica Volume II further demonstrated Denny’s unique imagination as both a musician and an entertainer. Jackpot Records’ limited edition reissue of Exotica Volume II is pressed on tropical green color vinyl, and brings Denny’s unique space age twist on Pan-Asian and Polynesian music direct to your stereo. With featured tracks like “Singing Bamboos”, “Rush Hour in Hong Kong”, and “Soshu Night Serenade”, Exotica Volume II is equally fitting as a breezy lounge listen or to set the mood for your very own tiki bar cocktail hour.

TRACK LISTING

Side 1:

1 Soshu Night Serenade
2 Island Of Dreams
3 Japanese Farewell Song (Sayonara)
4 Singing Bamboos
5 The Queen Chant (E Lili Ua E)
6 Wedding Song (Ke Kali Ne Au).

Side 2:

1 Escales
2 When First I Love
3 August Bells
4 Bacoa
5 Ebb Tide
6 Rush Hour In Hong Kong

Originally released in 1958, Primitiva is a rhythmically rich and inimitably exotic Martin Denny experience. Reissued by Jackpot Records on limited edition ocean blue color vinyl, Primitiva highlights the burgeoning sound of ’50s exotica music, with Denny’s diverse soundscape ranging from vibraphones and marimbas, to Burmese gongs and Buddhist prayer bowls. This third outing from the father of exotica shines in style with stand-out tracks like “Burma Train”, “M'Gambo Mambo”, and “Jamaica Farewell” spanning from the Caribbean coast, to the South Pacific islands, and beyond. Pairing perfectly with beachside Mai Tais and ornamental umbrellas, Primitiva is a hallmark of the mid-century’s lounge music fascination, and is replete with animal cries, pulsing percussion, and enough groovy goodness to keep it a mainstay of your rotation. 

TRACK LISTING

Side 1:
1 Burma Train
2 Kalua
3 M'Gambo Mambo
4 Buddhist Bells
5 M'Bira
6 Flamingo
Side 2:
1 Llama Serenade (Peruvian Llama Song)
2 Akaka Falls
3 Bangkok Cockfight
4 Mau Mau
5 Dites Moi
6 Jamaica Farewell

Vinyl reissue of Frightened Rabbit’s Pedestrian Verse.

Pedestrian Verse is the fourth studio album by the Scottish indie rock band Frightened Rabbit, originally released on 4 February 2013 on Atlantic Records. Produced by Leo Abrahams and the band itself, it is the only studio album to feature guitarist and keyboardist Gordon Skene, who departed from Frightened Rabbit following the album's accompanying tour. Partly inspired by a break-up, the album features increased song writing contributions from each member of the band.

TRACK LISTING

Acts Of Man
Backyard Skulls
Holy
The Woodpile
Late March, Death March
December’s Traditions
Housing (In)
Dead Now
State Hospital
Nitrous Gas
Housing (Out)
The Oil Slick

Tortoise have spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet have nodded to dub, rock, jazz, electronica and minimalism throughout their revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. One of the throughlines that create that distinctive sound is what might be called a pervasive element of group play, or ensemble-mindedness, as opposed to emphasis on a virtuoso soloist or frontman.

‘Rhythms, Resolutions & Clusters’ follows in this line, asTortoise turned their iconic early songs over to their friends to play with. The remixes by other legends including Bundy K.Brown, Steve Albini, Jim O’Rourke, Brad Wood (Liz Phair),Casey Rice, Mike Watt (Minute Men) and Rick Brown (75 DollarBill) create a sense of community, and unlimited creativity. It’s been out of print since 1995.

TRACK LISTING

Alcohall (Remixed By John McEntire)
Your New Rod (Remixed By Rick Brown)
Cobwebbed (Remixed By Casey Rice)
The Match Incident (Remixed By Steve Albini)
Tin Cans (The Puerto Rican Mix) (Remixed By Brad Wood)
Not Quite East Of The Ryan (Remixed By Bundy K. Brown - Deep Space Mischief By John Herndon / Also On Board: McEntire, Wood & Bitney)
Initial Gesture Protraction (Remixed By Jim O’Rourke)
Cornpone Brunch (Remixed By Mike Watt)

Nils Frahm has announced the release of three albums of rare early recordings, many of which have been unobtainable for years, some of which have never been released at all, and none of which have ever appeared on streaming services. ‘Streichelfisch’ will return to vinyl for the first time since its original 2005 pressing, and Durton, pairs tracks from 2006’s digital only My First EP with five previously unheard compositions, while Electric Piano contains seven tracks originally released by LEITER – the label set up by Frahm and his manager, Felix Grimm – and will be available for purchase as separate LPs or for streaming on all DSPs from 22 April, 2022.

Recorded almost two decades ago, Durton – a pun on ‘Dur Ton’ (German for the impractical concept of a ‘major note’) – takes its name, as did Frahm’s original Berlin studio, from the first piece of music he ever released.

TRACK LISTING

1. Now Fast Be Slow
2. Neuse
3. Durton
4. My Childhood Was Short
5. But Nice
6. Vacuum
7. Rarely Happens
8. Last Call
9. Tango TNT
10. Personal Lift

Nils Frahm is one of the most exciting sound explorers of our time. When defining the space between classical and electronic music, hardly any other name is mentioned as often as that of the Berlin-based pianist, composer, and producer. His unconventional approach to an age-old instrument played contemplatively and intimately and on a mesmerizing scale through his vast stage shows has won him many fans worldwide. Now Nils Frahm has announced the release of three albums of rare early recordings, many of which have been unobtainable for years, some of which have never been released at all. Streichelfisch will return to vinyl for the first time since its original 2005 pressing, and Durton pairs tracks from 2006’s digital only My First EP with five previously unheard compositions, while Electric Piano contains seven tracks originally released as a download in 2008.

The album features seven fragile, graceful compositions which provide a clear signpost towards his future. “Now I’ve rediscovered it,” Nils Frahm concludes, “I feel grateful this exists, because it truly sounds like someone different I can’t ever bring back. I’m happy I play differently now, but hearing this side of me makes me sentimental...”

TRACK LISTING

1. PART I
2. PART II
3. PART III
4. PART V
5. PART VI
6. PART VII
7. PART X

Nils Frahm is one of the most exciting sound explorers of our time. When defining the space between classical and electronic music, hardly any other name is mentioned as often as that of the Berlin-based pianist, composer, and producer. His unconventional approach to an age-old instrument played contemplatively and intimately and on a mesmerizing scale through his vast stage shows has won him many fans worldwide. Now Nils Frahm has announced the release of three albums of rare early recordings, many of which have been unobtainable for years, some of which have never been released at all. Streichelfisch will return to vinyl for the first time since its original 2005 pressing, and Durton pairs tracks from 2006’s digital only My First EP with five previously unheard compositions, while Electric Piano contains seven tracks originally released as a download in 2008. The collections will be released by Leiter.

Frahm’s first physical release, Streichelfisch was originally pressed in a limited edition of 500 vinyl copies. Though it he showcased his blossoming talents as a creator of intricate, exquisite soundscapes. 

TRACK LISTING

1. Anfangatstisch
2. Lagrimagua
3. Morning Bliss
4. Streichelfisch
5. Lieb Erlassen
6. Halm
7. 7x1/88
8. No-w-here
9. Aparaquasynthe

In the heady days prior to the pandemic, on October 23, 2019, Pye Corner Audio headlined Sonic Cathedral’s 15th birthday bash at The Social in London (on a bill that also included bdrmm and Andy Bell). Now, following a limited cassette release in 2020, the incendiary performance – which mixes improvisations with reworked material from across his career – has been remastered by Antony Ryan (ISAN) and is to be made available on vinyl for the first time.

Wryly titled ‘Social Dissonance’, it comes on green and blue swirl vinyl in a striking fluoro green and neon blue sleeve by designer Marc Jones. “This is a recording of a gig in a small space with a big heart,” says Pye Corner Audio, aka Martin Jenkins. “A memory of a night before the world changed completely. However, new alliances were formed and friendships made in that basement in Little Portland Street.” Indeed, Pye Corner Audio went on to collaborate with Andy Bell on an acclaimed series of remixes and the Ride guitarist returned the favour by playing on some new recordings that will be coming out on Sonic Cathedral later this year.

TRACK LISTING

1. Untitled
2. Untitled

This release sees ‘Revenge of the Goldfish’ re-issued on vinyl for the first time since its original release, housed in a standard 12” sleeve on limited edition 140g orange vinyl.

Originally released on 5th October 1992, ‘Revenge of the Goldfish’ was Inspiral Carpets’ third studio record and reached #17 in the UK album charts, featuring the singles ‘Dragging Me Down’, ‘Bitches Brew’, ‘Generations’ and ‘Two Worlds Collide’. Regarded as one of the main components of the Madchester movement in the early 90s, the Inspirals released a further three albums on Cow Records (via Mute Records) before disbanding in 1995.

This release sees ‘Devil Hopping’ re-issued on vinyl for the first time since its original release, housed in a standard 12” sleeve on limited edition 140g red vinyl.

Originally released on 22nd March 1994, ‘Devil Hopping’ was Inspiral Carpets’ fourth studio record and reached #10 in the UK album charts, featuring the singles ‘Saturn 5’, ‘I Want You’ and ‘Uniform’. Regarded as one of the main components of the Madchester movement in the early 90s, the Inspirals released a further three albums on Cow Records (via Mute Records) before disbanding in 1995.

REPRESSED AT LAST - Legendary US hardcore band from 1982-83 featuring J Mascis. J Mascis lived in Amherst. There was one punk at his high school and it wasn't Uma Thurman, it was Charlie. They were fortunate to have Ken Reed's great store, Main Street Records, in nearby Northampton. And they could get almost any American or UK punk stuff they needed from the racks or by special order. One day in early '82, J met a Dee Dee Ramone lookalike at the Oi! singles bin. This was bassist Scott Helland. Scott posted a flier soon after looking for musicians into Anti-Pasti, Discharge and the like. J called to audition and had his dad drive him and his drums over to guitarist Lou Barlow's place in Westfield.

They had a singer already, but J got them to replace him with Charlie, and Deep Wound was there. They made a cassette, got a few gigs in Boston with the X-Claim bands (SSD, FU's, Jerry's Kids, etc.) and became the Western Mass band most likely to open for Hardcore visitors. They cut an EP, had tracks on Gerard Colsoy's Bands That Would Be God comp and even did a late-period session with Gerard singing that has disappeared into nada. And every day they vowed to play faster. And they did, eventually developing a blur that could verge on experimental noise. Finally they burned as fast as they could, and realizing that was the case, they stopped. It was 1984.

The rest of the story is well known: Dinosaur, the Outpatients, Sebadoh, Gobblehoof, etc. Most of what Deep Wound recorded is on this disk, and it still sounds pretty choice the hundredth time through (believe me, I know). Like many of their suburban kith, there are huge swathes of Xeroxed style and content, but these patches are obliterated by an underlying fascination with the reckless potential of absolute speed, and an intellectual overlay (albeit in a nascent state) that would blossom more fully in the bands that would follow. But y'know, Hardcore was a really fucking good scene. And Deep Wound were a really fucking good Hardcore band. Living in this society has left a DEEP WOUND. Get used to it

TRACK LISTING

1 - I Saw It
2 - Sisters
3 - In My Room
4 - Don't Need
5 - Lou's Anxiety Song
6 - Video Prick
7 - Sick Of Fun
8 - Deep Wound
9 - Dead Babies
10 - You're False
11 - Time To Stand
12 - Pressure
13 - Training Ground
14 - Deep Wound
15 - You're False
16 - Your Head In In Your Crouch
17 - Psyched To Die
18 - Sister
19 - Patriots
20 - Never Let You In
21 - Adult
22 - Don't Need
23 - Video Prick
24 - Let's Go To The Mall

Terror Twilight: Farewell Horizontal is an exhaustive 45-track reissue of the band’s much-loved fifth and final album. The new special edition compiles the remastered original album, B-sides, home demos, rehearsal tapes, era-appropriate live recordings, and even the rough tracks from Pavement’s scrapped session at Sonic Youth’s Echo Canyon studio. Altogether, it features 28 unreleased tracks.

Originally released in 1999, Terror Twilight marked a departure from Pavement’s established operating methods. Which is to say that it was recorded with a big-time producer in an expensive studio. However, for all the talk of “polish” and “precision” it’s still very much a Pavement record. And a great one. Like every Pavement album that preceded it, Terror Twilight thrills and confounds. Often at the same time. Twenty-two years on, the songs remain moody, strange, and eminently deserving of re-celebration.

The 4xLP and 2xCD editions include a book with never-before-seen photos and commentary/context from band members Mark Ibold, Stephen Malkmus, Bob Nastanovich, Spiral Stairs, and Steve West as well as producer Nigel Godrich (Radiohead, Beck).

TRACK LISTING

LP Tracklisting

Side A
1) Platform Blues
2) The Hexx
3) You Are A Light
4) Cream Of Gold
5) Ann Don’t Cry

Side B
1) Billie
2) Folk Jam
3) Major Leagues
4) Carrot Rope
5) Shagbag #
6) Speak, See, Remember
7) Spit On A Stranger

Side C
1) The Porpoise And The Hand Grenade
2) Rooftop Gambler
3) Your Time To Change
4) Stub Your Toe
5) Major Leagues (Demo Version)
6) Decouvert De Soleil

Side D
1) Carrot Rope (SM Demo) #
2) Folk Jam Moog (SM Demo) #
3) Billy (SM Demo) #
4) Terror Twilight [Speak, See, Remember] (SM Demo) #
5) You Are A Light (SM Demo) #
6) Cream Of Gold Intro (Jessamine) #
7) Cream Of Gold (SM Demo) #

Side E
1) Spit On A Stranger (SM Demo) #
2) Folk Jam Guitar (SM Demo) #
3) You Are A Light (Echo Canyon) #
4) Ground Beefheart [Platform Blues] (Echo Canyon) #
5) Folk Jam (Echo Canyon) #

Side F
1) Ann Don’t Cry (Echo Canyon) #
2) Jesus In Harlem [Cream Of Gold] (Echo Canyon) #
3) The Porpoise And The Hand Grenade (Echo Canyon) #
4) Spit On A Stranger (Echo Canyon) #
5) Be The Hook #

Side G
1) You Are A Light (Jackpot!) #
2) Terror Twilight [Speak, See, Remember] (RPM) #
3) Rooftop Gambler (Jessamine) #
4) For Sale! The Preston School Of Industry (Jessamine) #
5) Frontwards (Live) #

Side H
1) Platform Blues (Live) #
2) The Hexx (Live) #
3) You Are A Light (Live) #
4) Folk Jam (Live) #
5) Sinister Purpose (Live) #

#= Previously Unreleased

2xCD Features 1999 Album Sequence

Zero 7’s 4th album Yeah Ghost from 2009, spans everything from dance pop to acoustic folk and everything in between it's an idea-splattered work of genius that even includes a quartet of instrumental tracks derived from their experimental side projects and sampled, overdubbed and rebuilt from scratch. From the evocative intro 'Count Me Out' to the album's shuffling, twitchy closer 'All Of Us' - via the haunting 'Solastalgia' and 'Ghost sYMbOL' avant-garde electronic and distorted vocals - it's Zero 7 as you've never heard them before. 'Destiny' this aint. One thing that remains consistent though is the roll call of up-and-coming talent on vocal duties, including singer ESKA Mtungwazi. The Londoner, whose collaboration credits include Matthew Herbert and Bugs In The Attic, appears on 'Mr McGee', 'Medicine Man', 'Sleeper' and 'The Road' & folk singer songwriter/ painter / filmmaker Martha Tilson for Pop Art Blue.

TRACK LISTING

LP Tracks:
Disc 1
1. Count Me Out
2. Mr McGee
3. Swing
1. Everything Up (Zizou)
2. Pop Art Blue
3. Medicine Man

Disc 2
1. Ghost SYMbOL
2. Sleeper
3. Solastalgia
1. The Road
2. All Of Us

CD Tracks:
1. Count Me Out
2. Mr McGee
3. Swing
4. Everything Up [Zizou]
5. Pop Art Blue
6. Medicine Man
7. Ghost SYMbOL
8. Sleeper
9. Solastalgia
10. The Road
11. All Of Us
12. E Sgwers (demo Version)
13. Methods
14. Ghost SYMbOL (Klang Version)

To celebrate the tenth anniversary of the iconic HELP album a new generation of artists came together to create, at the time, the fastest album ever. They recorded Help! A Day In The Life on Thursday 8th September 2005 which the record available for download just 32 hours later.

Bands delivered tracks from all around the world, Damon Albarn cancelled a flight to China so Gorillaz could record their track, Hong Kong. The Kaiser Chiefs recorded a cover version of I Heard It Through the Grapevine whilst on tour in Berlin, Damien Rice delivered Cross-Eyed Bear in a break recording his second album in Dublin and the Manic Street Preachers sent in their third contribution to a War Child album, Leviathan, from South Wales. In a late addition to the tracklisting Chris Martin recorded a new vocal and lyrics for How You See The World No. 2 from New York and Tuarweg musicians Tinawiren sent in Cler Achel from Paris.

Elbow recorded a new song called Snowball, which lead singer Guy Garvey described as dealing with his outrage at the UK involvement in the Iraq conflict. Its first line: "The biggest mistakes will be forgiven but the snowball of white lies will crush our hearts.” And a significant contribution came from Emmanuel Jal, a former child soldier and refugee from Sudan who donated the track Gua.

Alongside The Manic Street Preachers and Radiohead, John Squire also returned from the original HELP album to design the cover of Help! A Day which also features illustrations from Paul Smith and Duncan Lloyd of Maximo Park.

Help! A Day In The Life is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

TRACK LISTING

Side A
Coldplay – How You See The World No. 2
Razorlight – Kirby’s House
Radiohead – I Want None Of This
Keane And Faultline – Goodbye Yellow Brick Road
Emmanuel Jal – Gua
Side B
Gorillaz – Hong Kong
Manic Street Preachers – Leviathan
Kaiser Chiefs – I Heard It Through The Grapevine
Damien Rice – Cross-Eyed Bear
Side C
The Magic Numbers – Gone Are The Days
Tinariwen – Cler Achel
The Coral – It Was Nothing
Mylo – Mars Needs Women
Maximo Park – Wasteland
Side D
Elbow – Snowball
Bloc Party – The Present
Hard Fi – Help Me Please
The Go! Team – Phantom Broadcast
Babyshambles – From Bollywood To Battersea

War Child Presents Heroes is the ultimate covers album - an unprecedented coming together of music’s greatest ever legends and with their favourite artists of the time to support children whose lives have been torn apart by war. The album concept sees the biggest heroes in music history select a personal favourite track from their own back catalogue and nominate an act from the next generation to create a modern reworking of that classic song.

Legends supporting the album include David Bowie, Bob Dylan, Brian Wilson, The Kinks, Roxy Music, Joy Division, The Clash, The Ramones, Blondie and Iggy Pop. And the artists taking on those covers includes Scissor Sisters, Elbow, Beck, The Kooks, Rufus Wainwright, Estelle, Hot Chip, The Hold Steady and Lily Allen.

Some legends selected one of their all-time classic standards like Stevie Wonder’s ‘Superstition’, covered by Estelle, and Blondie’s ‘Call Me’, covered by Franz Ferdinand. Others selected favourite tracks that deserve to be rediscovered as with Scissor Sister’s exhilarating version of Roxy Music’s ‘Do The Strand’ (not originally released as a single in the UK) and Lily Allen’s stunning take on The Clash’s ‘Straight To Hell’ featuring backing vocals and guitar from Mick Jones (originally the B-side of ‘Should I Stay, Or Should I Go’).

The album was recorded over six months in studios in London, Manchester, Paris, Berlin, New York and Los Angeles. It was mastered at Abbey Road studios in London.

Estelle got to record her track in the original studio where Stevie Wonder recorded Supersititon and used the exact same keyboards whilst The Kooks recorded their version of Victoria in The Kinks’ original studios Konk. TV On The Radio’s version of Heroes features Karen O from YYYs on backing vocals.

War Child Presents Heroes is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

TRACK LISTING

Side A
Beck – Leopard Skin Pillbox Hat
Scissor Sisters – Do The Strand
Lily Allen Ft Mick Jones – Straight To Hell
Side B
Elbow – Running To Stand Still
TV On The Radio – Heroes
Hot Chip – Transmission
Side C
The Kooks – Victoria
Estelle – Superstition
Rufus Wainwright – Medley From Brian Wilson’s Smile
Peaches – Search And Destroy
Side D
The Hold Steady – Atlantic City
The Like – You Belong To Me
Yeah Yeah Yeahs – Sheena Is A Punk Rocker
Franz Ferdinand – Call Me

Following the release of the first two parts of CAN’s live series, Mute and Spoon Records reissue a limited edition run of Monster Movie on blue vinyl.

With the sounds of Jimi Hendrix, Captain Beefheart and The Velvet Underground ringing in their ears, Holger Czukay and Irmin Schmidt left behind their careers in academia to form the influential group in the late 60s. Together with Michael Karoli, Jaki Liebezeit and American singer Malcolm Mooney, they recorded their debut album Monster Movie in a castle near Cologne in 1968. The record was then remastered in 2004 from the original master tape for a CD release. It was overseen by Holger, Irmin and Jono Podmore to refine it to how it was always intended to be heard.

“Monster Movie is an amazing debut” Pitchfork

“Monster Movie, sounds like nothing else released in 1969 - and still acts as a template for the future” Sound Affects

“Had Can’s debut album, Monster Movie, been their only one, it would have assured their place in the history of German music and of rock as a whole” Shindig Magazine

TRACK LISTING

A1 Father Cannot Yell
A2 Mary, Mary So Contrary
A3 Outside My Door
B1 You Doo Right

Following the release of the first two parts of CAN's live series, Mute and Spoon Records reissue a limited edition run of Soundtracks on clear purple vinyl.

Soundtracks, a compilation of songs Can had composed for different movies, was released in 1970 before the band started work on their second album. This record said goodbye to the band's original vocalist Malcolm Mooney, who features on ‘Soul Desert’ and ‘She Brings The Rain’, to be replaced by Japanese singer Damo Suzuki. Bridging the gap between the improvisatory rock jams of their earlier recordings, Monster Movie and Delay 1968, Soundtracks also laid the foundations for their more electronic and experimental sounding work, such as Tago Mago and Ege Bamyasi.

“Intricate and subtle” All Music

“Often overlooked… A good sampling of their more straightforward experiments” Pitchfork

TRACK LISTING

A1 Deadlock
A2 Tango Whiskyman
A3 Deadlock
A4 Don't Turn The Light On, Leave Me Alone
A5 Soul Desert
B1 Mother Sky
B2 She Brings The Rain

Michael George Henry (aka Ras Michael and, for this lone release, Dadawah) was born in 1943 in Saint Mary Parish, in northeastern Jamaica. Henry was raised in a Rastafari community when the religious movement was still in its infancy and marginalized within Jamaica. It was there that he began performing Nyahbinghi, the Rastafarian devotional music that combines the influences of African drumming and Black gospel.

Henry found himself in Kingston in the late 1950s where he worked for Coxsone Dodd at the legendary Studio One. By 1968, he had formed the group Sons of Negus and the first overtly Rasta record label, Zion Disc. As Rasta filtered into the mainstream, Henry released more music including albums for Trojan, Dynamic and Grounation labels.

Originally released in 1974, Peace And Love - Wadadasow is Dadawah’s magnum opus. Produced by Lloyd Charmers, the album features slinky basslines, wah-wah guitar, hypnotic keyboards, dubbed-out studio trickery and, of course, the propulsive drumming and rhythmic chanting characteristic of Nyahbinghi.

Antarctica Starts Here presents the first widely available domestic release of Peace and Love - Wadadasow. This reissue is part of an archival series that focuses on Trojan’s essential ’60s and ’70s catalogue. Liner notes by JR Gonne.

In 1973 Roxy Music followed up their debut album with ‘For Your Pleasure’. This time the band were able to spend more time in the studio, resulting in the production values being more elaborate and experimental, Brian Eno’s blend of tape loop effects abundantly apparent on “The Bogus Man” and “Do the Strand” has been called the archetypal Roxy Music anthem. Ascending the charts “For Your Pleasure” would earn Roxy Music a UK No 4 position. Each Roxy Music album has been Re-Issued with a fresh Half-Speed cut by Miles Showell at Abbey Road Studios. London. To reflect the audio, all eight of the Roxy Music studio albums have had their artwork revised and with a gloss laminated finish so that each album is not just a record it’s a piece of art.

TRACK LISTING

Side A
Do The Strand
Beauty Queen
Strictly Confidential
Editions Of You
In Every Dream Home A Heartache
Side B
The Bogus Man
Grey Lagoons
For Your Pleasure

Back in 1968, a pair of Germanic behind-the-scenes sound librarians called Horst Ackermann and Heribert Thusek left a tiny but indelible pinprick on the history of German Pop in the misshaped form of a sexy horror cash-in concept album called ‘Dracula’s Music Cabinet’. Shelved at a micro-cosmic axis where Krautrock meets lesbian vampire Horrortica and easy listening meets psychedelia, the delayed reaction of this mutant concoction eventually exploded in the mid-1990s in the hands of a generation of ‘record diggers’ sending currency-crushing tremors through the wallets of mods, rockers, hip hoppers and psych nuts around the plastic-pillaging planet. The vinyl junkies had resurrected a monster but, like addicts do, they ravenously sucked it dry and moved on looking for the next fix to feed their habit.

Luckily for some, Ackermann and Thusek were also creatures of habit. And it wouldn’t take a genius to figure out that they were holding the next dose, but by the turn of the millennium the mad scientists had been given a thirty-five-year head start on the pop archaeologists and their mythical sequel was literally light-years ahead of their previous draconian instalment. Encouragingly, the unclosed cabinet left a shiny white clue in the form of its closing track ‘Frankenstein Meets Alpha 7’.

The Ackermann and Thusek duo were far from dynamic. They were undercover agents hiding behind user-friendly mock-rock monikers and, like most B-Musicians, the only way to sniff them out would be to read the small print. But when an unidentified record on an unknown label with a title like ‘Science Fiction Dance Party’ crops up in the Eins Deutschmark crates it’s not exactly rocket science - although the track titles might suggest otherwise. ‘The End Of A Robot’, ‘Monster On Saturn 1’, ‘Galactic Adventures Of The Outer Space Fleet’, ‘The Whistling Astronauts’, ‘Death Rays Out Of The Universe’… The tell-tale signs are all there and if that doesn’t clench the deal then what will?

Even rarer than its horror counterpart, this ultra-rare record regularly reaches sums in excess of €400 plus online.

TRACK LISTING

The End Of A Robot
Monster On Saturn 1
Visitors Of A.D 2022
Galactic Adventures Of The Outer Space Fleet “Hope”
Hit Parade In The Light Year 25
The Whistling Astronaut
Murder In The Space Station
Flirtation On Venus
Dance On Mars
Man Out Of A Test Tube
Just Walking On The Moon
Death Rays Out Of The Universe

Devil Between My Toes was the debut album by Guided By Voices, originally self-released by the group in February 1987 in an edition of 300 copies. Disillusioned by the lukewarm reception to the band’s debut EP the previous year, Robert Pollard resolved that this record would be conceived for an audience of one: “(it) is strictly for me and me only. Because no one’s going to buy it, no one gives a fuck, but I’m still gonna do it. So I might as well put only what I want on it, for me. An album for me.”

Even amongst the 30-odd proper GBV albums, Devil Between My Toes remains unique, and not simply because it was the first to be released. Much like its out-of-focus cover photo of the mean rooster next door (Big Daddy), the album’s vibe is dark, minimalist, and mysterious. Most of the album was recorded as a trio, and it contains more instrumentals than any other GBV album, but like the best LPs in their catalog, the sequencing renders these tracks essential to the flow and mood of the LP. While there are the expected Brit Invasion hookfests sprinkled throughout, we’re also treated to career highlights like the monolithic “A Portrait Destroyed by Fire” (Tobin Sprout’s first GBV appearance) and “Cyclops,” a track that would be right at home on Vampire On Titus had it been recorded more crudely.

TRACK LISTING

1. Old Battery
2. Discussing Wallace Chambers
3. Cyclops
4. Crux
5. A Portrait Destroyed By Fire
6. 3 Year Old Man
7. Dog's Out
8. A Proud And Booming Industry
9. Hank's Little Fingers
10. Artboat
11. Hey Hey, Spaceman
12. The Tumblers
13. Bread Alone
14. Captain's Dead

The Pop Group’s seminal 1979 album Y has been given a new dub mix by British reggae legend Dennis “Blackbeard” Bovell, who has produced for a wide variety of artists including Fela Kuti, Bananarama and Linton Kwesi Johnson. This new version of the album features reimagined arrangements of the original album’s tracks with mind-bending space echoes and a plethora of other studio effects. Y is ranked by The Wire as one of the 100 Most Important Records Ever Made and by Pitchfork as one of the Best Albums of the ‘70s.

STAFF COMMENTS

Laura says: One of my favourite albums of all time reworked by the legendary Dennis Bovell. Channelling heavy On-U Sound vibes. This is awesome!

TRACK LISTING

1 Thief Of Fire (Dennis Bovell Dub Version)
2 Snowgirl (Dennis Bovell Dub Version)
3 Blood Money (Dennis Bovell Dub Version)
4 Savage Sea (Dennis Bovell Dub Version)
5 We Are Time (Dennis Bovell Dub Version)
6 Words Disobey Me (Dennis Bovell Dub Version)
7 Don't Call Me Pain (Dennis Bovell Dub Version)
8 Boys From Brazil (Dennis Bovell Dub Version)
9 Don't Sell Your Dreams (Dennis Bovell Dub Version)
10 She Is Beyond Good And Evil (Dennis Bovell Dub Version)
11 338 (Dennis Bovell Dub Version)

June 2021 marked the tenth anniversary of the worldwide release of Bon Iver's highly acclaimed sophomore release Bon Iver, Bon Iver.

This edition also includes five songs from Bon Iver’s beautiful AIR Studios session, which captures the grand spirit of Bon Iver, Bon Iver and distils it into sharper focus, as Justin Vernon and Sean Carey perform the songs as a duo, on grand pianos and vocals only. Bon Iver, Bon Iver (10th Anniversary Edition) features a blind embossed version of the original cover art and an intimate personal essay from long-time fan Phoebe Bridgers recalling how the “massive, sprawling, unbelievably complex” album brings about both yearning for yesterday, contentment for the present, and collective hope for the future. The album’s iconic cover art has been reimagined to a minimal white-on-white, with a white LP to match.

TRACK LISTING

Perth
Minnesota, W
Holocene
Towers
Michicant
Hinnom, TX
Wash.
Calgary
Lisbon, OH
Beth/Rest
Hinnom, TX (AIR Studios - 4AD/Jagjaguwar Session)
Wash. (AIR Studios - 4AD/Jagjaguwar Session)
I Can't Make You Love Me (AIR Studios - 4AD/Jagjaguwar Session)
Babys (AIR Studios - 4AD/Jagjaguwar Session)
Beth/Rest (AIR Studios - 4AD/Jagjaguwar Session)

"For countless fans listening to this day and for those involved in its creation still feeling its magic, Felt Mountain retains every ounce of meaning and depth.” Lior Phillips

Mute/BMG announce the reissue iconic debut album from Alison Goldfrapp & Will Gregory, Felt Mountain. Originally released on 11th September 2000, the Mercury Prize nominated album has amassed over 250,000 sales in the UK alone.

TRACK LISTING

Lovely Head
Paper Bag
Human
Pilots
Deer Stop
Felt Mountain
Oompah Radar
Utopia
Horse Tears

Named after the Dutch art movement and magazine of the same name from the early 20th century, The White Stripes sophomore release finds the band recording in the comfortable confines of Jack White's Third Man Studios, then housed on the ground floor of his house in Southwest Detroit. This is the album that would propel the band into globe-trotting rock and roll prominence. The on-point covers of Son House and Blind Willie McTell pair wonderfully with both the minimal downtempo somber numbers and the maximum energy explosions of unadulterated power.

In 1999, Jack and Meg White released their self-titled debut album, introducing an explosive new mix of punk, blues, and garage rock. Jack has described the album as 'really angry... the most raw, the most powerful, and the most Detroit sounding record we've made.'

Stripped down to the core duo of Robert Görl and Gabi Delgado and with Conny Plank again behind the boards with crisp, focused production, with ‘Alles ist Gut (Everything Is Fine)’ DAF turned into an honest-to-goodness German hit machine.

Even more important and impressive was how they did it - keeping the electronic brutality that characterized them, but stripped down to nothing but Görl’s massive drumming, electronic bass and synth tones, and Delgado's deep, commanding singing. The result was and remains massively influential. A must have for all fans of electronic music.

TRACK LISTING

Sato-Sato
Der Mussolini
Rote Lippen
Dein Herz Macht Bum
Der Räuber Und Der Prinz
Ich Und Die Wirklichkeit
Als Wär`s Das Letzte Mal
Verlier Nicht Den Kopf
Alle Gegen Alle
Alles Ist Gut

Recommended If You Like: Pedro The Lion, The Sea and Cake, David Bazan, Major Murphy, Kurt Vonnegut & Guided by Voices. For ten years now, I’ve understood “Oscillate Wisely” as a play on the Smiths’ instrumental “Oscillate Wildly”--itself, of course, a pun on Morrissey’s muse, Oscar Wilde. This is not to say that anything about Mike Adams and his band reminds me of the Smiths (especially­Morrissey), as much as the idea that rock bands like Mike Adams At His Honest Weight take shape more or less as a thesaurus of past ideas--winking at them, borrowing them like a library book, checking them out from across the room, cloning them.

But the best stuff is more ineffable, far more than just cut-and-paste. There’s a weird grandeur to Adams' music, starting with that fully formed, geekily majestic 2011 debut LP Oscillate Wisely, that I don’t hear in anything else, before or since. A sense that Adams is guiding his listeners toward a cosmic joke so personal, so inscrutable, so funny (“funny”), if you give him your attention. It's in his blood, I think. He's not Oscar Wilde, but a uniquely Midwestern type of deeply sincere romantic and dyed-in-the-wool goofball cast from the mold of Hoosier icons like Letterman and Vonnegut.

He doesn’t want to believe in anything, he didn’t create this body, he­loves­a parade.­ It’s all in fun, but it gets so personal. Onstage, Adams is gregarious and playfully self-effacing, a college town denizen telescoping backwards to the brief early 90s moment when “college rock” entered the corporate suite, and performers forced to become showmen retreated to the comfort of their native tongue: irony.­And­Oscillate Wisely­has demonstrated for a decade that earnestness and sarcasm are as intricately bound in rock and roll's­lingua franca­as hang-ups and chill hangs. I’ve never heard any musician summon everything I love about being from Indiana so perfectly. And I’m­fucking­old. Eric Harvey.

TRACK LISTING

1 Bad Weather
2 Skeletons In The Cloner
3 I Don’t Want To Believe In Anything
4 I’m Not Worried
5 Sunrise
6 Don’t You Blanket When That Happens
7 I Did Not Create This Body
8 IIIIIIIII Love A Parade
9 It’s All Been Done You Said
10 You’ll Have Me As Long… 

Re-release of the second album of the Berlin outfit on the original OHR label. Produced by the famous photographer Didi Zill in 1971 at Hansa Studios.

Birth Control formed in 1966 in Berlin from two other bands, the Earls and the Gents. The band was founded with a lineup consisting of Bernd Koschmidder (bass), Reinhold Sobotta (organ), Rolf Gurra (saxophone, vocals), Fritz Gröger (vocals), Reiner Borchert (guitar), Hugo Egon Balder (drums), and Klaus Orso (guitar).

Recorded in 1991 by the quintet of vocalist Billie Ray Martin and Birmingham-based electronic musicians Brian Nordhoff, Joe Stevens, Les Fleming and Roberto Cimarosti, Electribal Soul was conceived as the sequel to the band’s 1990 debut album, Electribal Memories.

Electribal Memories had yielded the hits ‘Talking With Myself’ and ‘Tell Me When The Fever Ended’ and pushed Electribe 101 to the forefront of a crossover electronic scene that fused dance music with pop savvy. They were snapped up by Phonogram, managed by Tom Watkins and hailed as “the next band to meet the Queen” by i-D. The band took the coveted support slot for Depeche Mode on their epochal World Violation tour and supported Erasure at Milton Keynes Bowl. Seen as the next big thing, everything pointed toward enduring critical success for Electribe 101, and the band settled into putting their second album together.

“There was a degree of confidence among us when we came to write the second album,” recalls Billie Ray Martin. “To me, the songs we put down sound like some of our finest moments.” More immediately lush and warm than the dancefloor-friendly structures of Electribal Memories, the clue to the sound of Electribal Soul lies in the second word in its title: soul. Songs like the aching sensuality of opening track ‘Insatiable Love’ or the emboldened defiance of ‘Moving Downtown’ showcase Billie Ray Martin’s distinctive vocal range as it moves from haunting quiet to dramatic, euphoric rapture. Lyrics from ‘Moving Downtown’ had found their way into ‘Pimps, Pushers, Prostitutes’ by S’Express, and the song would appear as ‘Running Around Town’ on Martin’s 1996 solo album. The strikingproduction on the version of the song presented on Electribal Soul suggests classic late sixties soul influences, such as those of legendary Motown producer Norman Whitfield, with the long shadow cast by Kraftwerk never being far away.

‘Deadline For My Memories’, the song that provided the title for Martin’s first solo album, was originally intended for the second Electribe 101 album. Its lyrics document a sense of freedom and liberation from the darkness of a bad relationship, accompanied by jazzy piano and organ sounds over a quiet rhythm and discrete electronics. In contrast, ‘A Sigh Won’t Do’ finds Martin in soothing vocal mode, despite its devastating message about the final ending of a strained relationship, her lyrics framed by restrained and subtle beats and sounds.

To spend time with Martin’s voice on Electribal Soul is to find yourself moved deep into the ordinarily impenetrable emotional corners of your own psyche. “I was into big ballads at the time and listening to all kinds of US and UK singers, and I was also young enough to want to prove myself as a belter of ballads,” explains Martin of the classic soul edge the album showcased.
Electribal Soul heads into darker territory with ‘Hands Up And Amen’. Originally written by Martin in Berlin in the period before moving to London and forming Electribe 101, the song was then perfected and enhanced by the band’s production nous. ‘Hands Up And Amen’ savagely documents the mugging of a woman in Queens, NY at gunpoint, only to resolve itself with a middle section that nods reverently toward gospel tradition. The song coalesces around a regimented break and burbling synths, finally ending with layers of urgent synth sounds.

Meanwhile, a cover of Throbbing Gristle’s ‘Persuasion’ takes us into a seedy world of sexual coercion and creepy infatuation, predating Martin’s chilling version of the track with progressive house unit Spooky two years later. Supported by a minimal, nagging rhythm and barely-fluctuating sounds, Electribe 101’s take on ‘Persuasion’ makes for uneasy listening, even though Martin manages to inject a sort of twisted sympathy for the protagonist as the song progresses.

That Electribe 101 were as comfortable offering complicated, nuanced tracks like ‘Persuasion’ alongside pop house bangers like ‘Space Oasis’ – written by Billie Ray Martin with Martin King before Electribe 101 was formed – is testament to the way the band wove their way effortlessly through electronic music reference points. Framed by light, jazzy piano melodies and string sounds, the energy of ‘Space Oasis’ soars so high that it could easily reach the moon, while highlighting how well-suited Martin’s voice has always been to club music. We hear the same reminder of her dance music credentials on ‘True Memories Of My World’, finding her describing a Hollywood actress who reflects on being used by directors to sell her ‘tears’.

Hooking up with the Birmingham-based Nordhoff, Stevens, Fleming and Cimarosti after placing a Melody Maker ad in 1988 (“Soul rebel seeks musicians – genius only”), it was clear that Martin had found a group that recognised the unique power and importance of her voice. Having worked with genres as diverse as reggae, rock and R&B, the four producers proved to be perfect collaborators, presenting carefully-sculpted backdrops that emphasised the towering emotional dexterity of her voice.

“Listening back to these tracks now, I was reminded of what a bunch of great musicians they were,” says Martin. “They had a rule that if a part still sounded good after a day or two then it could stay. If it bothered the vocals, it would go.” Even more so than on Electribal Memories, Electribal Soul places Martin at the captivating centre of these pieces, surrounding her voice with everything from dubby rhythms to chunky R&B beats to nascent trip hop breaks; wiry, acid-hued synths uncoil gently without ever dominating, while horn samples and lush, disco-inflected strings provide a rich, naturalistic accompaniment for Martin’s emotional outpourings.

The band finished mixing the album at London’s Olympic Studios in 1991. They were assisted by Apollo 440’s Howard Gray on production duties for ‘Deadline For My Memories’, ‘Insatiable Love’ and ‘Space Oasis’, with Gray supported by talented engineer Al Stone. Pre-release promo tapes were issued and an enthusiastic energy started to build around the band’s anticipated second album.

It was not meant to be. Against a backdrop of a worsening relationship with Tom Watkins, and a disinterested Phonogram, instead of receiving a positive reaction to the new tracks, Electribe 101 were swiftly dropped by their label. Electribal Soul languished, unreleased, and the band yielded to pressures that had been building and split up. After collaborating with Spooky and The Grid, Billie Ray Martin went on to release her seminal debut solo album in 1996, with it securing the era-defining hit ‘Your Loving Arms’, while the other group members continued to work together as The Groove Corporation.
Thirty years after the songs were recorded, we’re now finally able to hear what the second and final chapter of Electribe 101’s story sounded like. Electribal Soul shows that the band had really only just got started when they dropped their first album in 1990. Heard only by a select and privileged few, what followed elevated the band’s music to a completely new level, making Electribal Soul musical buried treasure of the most precious and rare variety.

TRACK LISTING

Insatiable Love
Space Oasis
Moving Downtown
Conquering Tomorrow
Deadline For My Memories
A Sigh Won’t Do
True Moments Of My World
Hands Up And Amen
Persuasion
Deadline For My Memories (alternative Version) (cd Bonus Track)
You And I (keep Holding On) (cd Bonus Track)

Nearly 24 years ago, on 7th July 1998, the first Hefner LP was released, it garnered some great reviews, ensured the band were to become one of Peel’s favourites (they had 5 entries in 1999’s festive 50!), and cemented their reputation as Britain's largest small band.

NME - “truly independent, unassuming and painfully honest: the sound of thin, white indie dukes in spectacles.”
Melody Maker - “heart-skeweringly astute” combination of “grimly sweet lyrics and delicate, tentative tunes.”
Time Out - “awe-inspiring in their naked honesty”
More recently, the album was number 25 in Pitchfork’s 50 greatest Britpop albums, above A Northern Soul (Verve), Fuzzy Logic (Super Furry Animals), Vauxhall and I (Morrissey) and Tellin’ Stories (the Charlatans)

Breaking God’s Heart now gets the essential 20th anniversary vinyl re-issue, accompanied by some shows where Hefner frontman, Darren Hayman, will play the album in full Here’s what Darren has to say about the record now: Breaking God's Heart is an awkward, over confident start to my career. I have yet to get to grips with it again properly in preparation for these anniversary shows. It's so far away in my past that I have some difficulty in relating to the person who made it. Mostly when I hear it I'm just amazed at the confidence, and possibly arrogance, I had then. I insisted on mostly first takes being used, vocals being recorded live in the room with the instruments, a ban on any reverbs or ambience being used. It was like I was trying to sabotage my career at the first hurdle. Many of those decisions were based on half understood, interviews with my idols from the American Lo-Fi scene but I really didn't know what I was doing. It does make a bizarre and caustic record though, and I know there are plenty of people who think this is my best work and I never got back to the blunt energy of these recordings. I do see their point. 

TRACK LISTING

The Sweetness Lies Within
The Sad Witch
A Hymn For The Postal Service
Love Will Destroy Us In The End
The Librarian
God Is On My Side
Another Better Friend
Love Inside The Stud Farm
Tactile
Eloping

Hefner's second album 'The Fidelity Wars' was the album that won them their critical acclaim and their cult audience. 'Hymn for the Alcohol' and 'Hymn for the Cigarettes' made it to numbers 2 and 3 in John Peel's Festive 50 in 1999, and the album itself was number 1 in the indie charts on it first release. it has not been available on vinyl for close to two decades. "It's always about the sex isn't it with Hefner? You never hear them doing songs about drag racing or putting up shelves or anything like that " John Peel.

"The Fidelity Wars’ is a treasure and comfort for anyone who’s set out on the bumpy road to love, and gotten distracted by the scenery along the way." NME // "On Hefner's second album, the aptly- titled Fidelity Wars, Hayman and Co. run down the list of romantic entanglements. From the sad- sack self- pitying of "A Hymn to the Alcohol" to the brazen lust of "May God Protect Your Home;" from the sincere "why'd she leave me" lament of "We Were Meant to Be" to the unrepentant tale of cheating detailed in "Fat Kelly's Teeth," pretty much every angle on relationships is explored, sometimes in excruciating detail" Pitchfork … 

TRACK LISTING

The Hymn For The Cigarettes
May God Protect Your Home
The Hymn For The Alcohol
I Took Her Love For Granted
Every Little Gesture
Weight Of The Stars
I Stole A Bride
We Were Meant To Be
Fat Kelly's Teeth
Don't Flake Out On Me
I Love Only You

Samantha Crain's critically acclaimed 'A Small Death' is a record that brims with hope and a deft wryness, packed with the sort of melodies and stories that have been warming the hearts of those so familiar with and fond of her work over the years. After a series of accidents that left the artist without the use of her hands, this album was her first release after she worked tirelessly to recover from her injuries.

TRACK LISTING

An Echo
Pastime
Holding To The Edge Of Night
High Horse
Reunion
Joey
Constructive Eviction
Garden Dove
Tough For You
When We Remain
Little Bits

Text from 2018:
British trip-hop pioneers Morcheeba return with their first new album in over five years. The band have released 8 albums that have sold in excess of 10 million records in their career. ‘Blaze Away’, their positivity-packed ninth album, marks both a fresh start in its organic approach and a return to the joyous genre-mashing of their early days, with featured guests Roots Manuva and Benjamin Biolay. There was no template for its ten, extraordinary, future-facing songs, no self-imposed limits on style, no themes to be adhered to or rules in place to break.

TRACK LISTING

Never Undo
Blaze Away Feat. Roots Manuva
Love Dub
It’s Summertime
Sweet L.A.
Paris Sur Mer Feat. Benjamin Biolay
Find Another Way
Set Your Sails
Free Of Debris
Mezcal Dream

All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

Hallo my British chums and welcome to another edition of the Piccadilly Records Compilation Of The Year. 2021’s top of the pops takes us on a cheeky trip through the Chunnel to the land of du pain, du vin, du Boursin for a sprawling set of yé-yé, 60s psych pop and contemporary grooves from a who’s who of France’s chic elite. Compiled with affection and expertise by Mark McQuillan for Brighton’s Two Piers, Pop Psychédélique fully embodies the sultry, sexy and surreal sound of French music.

Born out of a love affair with jazz and an infatuation with the British Invasion, French pop music quickly cut its own niche in the musical landscape of the sixties. Typified by hip-shaking rhythms, fuzzbox guitars and spoke-sung vocals, yé-yé was referential but never reverential, a point proven when Jacqueline Taieb shreds pop culture on “7 AM”. Elsewhere lost love and lost toothbrushes are given equal weight as the profound and profane are dispatched with the shrugging indifference of a Pastis-soaked Gainsbourg (who’s predictably all over this collection, both as artist or songwriter).

This signature style has come to define French music, and echoes through the ages thanks to L’Epee, the Limiñanas, Air and Stereolab, four globe-conquering acts who are a testament to the enduring appeal of the Gallic sound. Indeed a handful of older cuts here have also found streaming fame with a new generation via soundtrack appearances on the likes of Killing Eve and Queen’s Gambit, with producers eager to exploit these shorthands for cool.

The set sails into the sunset via Fatboy Slim’s remix of Pierre Henry and Michel Colombier’s “Psyche Rock” and the final jigsaw piece falls into place. Not only does this collection pay homage to France, but also McQuillan’s native Brighton, where the Big Beat pioneers championed records like Jean-Jacques Perrey’s “E.V.A.” while reshaping Britain’s club culture. C’est magnifique!

TRACK LISTING

A1 Contact - Brigitte Bardot
A2 Tut Tut Tut Tut - Gillian Hills
A3 Laisse Tomber Les Filles - France Gall
A4 7AM - Jacqueline Taieb
A5 I’m Gonna Haunt You - Fabienne DelSol
A6 Si Tu Reviens Chez Moi - Les 5 Gentlemen
B1 Roller Girl - Comedie Musicale ‘Anna’ - Anna Karina
B2 Migas 2000 - The Liminanas
B3 Dreams - L’Epee
B4 Les Cornichons - Nino Ferrer
B5 Harley Davidson - Brigitte Bardot
B6 Poupee De Cire Poupée De Son - France Gall
C1 Une Filles C’est Fait Pour Faire L’amour - Charlotte Leslie
C2 La Fille A La Moto - Dani
C3 Tu Fais Partie Du Passe - Zouzou
C4 Requiem Pour Un C… - BOF “Le Pacha” - Serge Gainsbourg
C5 E.V.A - Jean-Jacques Perrey
D1 Cybele’s Reverie - Stereolab
D2 Don’t Be Light - Air
D3 Psyche Rock (Malpaso Mix By Fatboy Slim) - Pierre Henry 

Repress on vinyl of the ninth PJ Harvey studio album The Hope Six Demolition Project. Originally released in 2016, it features the singles ‘The Wheel’, and ‘The Community Of Hope’.

TRACK LISTING

Side A
The Community Of Hope
The Ministry Of Defence
A Line In The Sand
Chain Of Keys
River Anacostia
Side B
Near The Memorials To Vietnam And Lincoln
The Orange Monkey
Medicinals
The Ministry Of Social Affairs
The Wheel
Dollar, Dollar

On the 'We Are Vinyl' label' - This is the 50th anniversary edition of singer-songwriter Leonard Cohen's third studio album. Produced by Bob Johnston, the album was originally released in March 1971 through Columbia Records. An x8 song album, pressed on 180gm heavyweight, Black LP Vinyl.

TRACK LISTING

Avalanche
Last Year's Man
Dress Rehearsal Rag
Diamonds In The Mine
Love Calls You By Your Name
Famous Blue Raincoat
Sing Another Song, Boys
Joan Of Arc

In the summer of 1981, The Fall embarked on their second American tour, criss-crossing the States over a two-month period. Featuring the dual guitar of Marc Riley and Craig Scanlon and rhythm section of Stephen Hanley and Karl Burns, A Part Of America Therein, 1981 would document this fabled journey with crucial performances that show the band evolve from noisemaking lout cultists into true post-punk legends.

"From the riot-torn streets of Manchester, England to the scenic sewers of Chicago ..." as the album opens unforgettably with a nameless promoter introducing The Fall, who proceed to tear into a hypnotic take on "The N.W.R.A." stretched into a near stare-down that is wholly different than the studio version on Grotesque. The LP highlights Mark E. Smith's incomparable bite, heard most notably on the adlibbed vitriol of "Totally Wired," where not even the costumed punks were safe from a proper dressing down.

A Part Of America Therein, 1981 proves once again that The Fall's constant rally against complacency was a top-down directive and intrinsic to their wonderful and frightening sound.

TRACK LISTING

The N.W.R.A.
Hip Priest
Totally Wired
Lie Dream Of A Casino Soul
Cash 'N' Carry
An Older Lover
Deer Park
Winter

The Hefner 20th anniversary vinyl reissue program has been a little delayed, but it’s worth the wait! Hefner’s third long player, We Love The City was initially released on 16th October 2000 and will be getting a vinyl re-issue (on cult indie label wiaiwya) on 18 Feb 2022. Available on black and yellow vinyl. On 26th August 2000 Good Fruit, the first single to be taken from the album, peaked at number 50 in the ACTUAL charts!! 28th October 2000 the album peaked at number 92 in the album charts. And four tracks from We Love The City made it to Peel’s Festive 50 at the end of the year: The Greedy Ugly People #7, The Day That Thatcher Dies #12, Good Fruit #15, Painting And Kissing #44.

“We Love the City was Hefner’s commercial and creative peak. Having cleared a large backlog of songs on the band’s first two albums and various B-sides, for their third Darren Hayman wrote a new set of songs, loosely themed around love in the capital city. We Love The City eschews the band’s former broken indie-folk sound in favour of a bouncy, urban, blue-eyed soul, and an expanded line up including Hammond organs, Wurlitzer pianos and brass sections. Songs like ‘Greedy Ugly People’, ‘Good Fruit’, ‘Painting and Kissing’ and ‘The Day that Thatcher Dies’ are typical examples of the direct, infectious, intelligent style that endeared Hefner to so many. The album’s narrative is conceptual and played out by a retinue of vividly drawn characters, but at heart this is Hayman’s most personal and focussed work. 

TRACK LISTING

1 We Love The City
2 The Greedy Ugly People
3 Good Fruit
4 Painting And Kissing
5 Hold Me Closer
6 Don't Go
7 The Greater London Radio
8 As Soon As You're Ready
9 She Can't Sleep No More
10 The Cure For Evil
11 The Day That Thatcher Dies
12 Your Head To Your Toes

“ The 10-song collection is the equivalent of being welcomed into Welch and Rawlings’ living room and the pair treating you to a private recital. In other words, it doesn’t get much better than this.” - Uncut Magazine
“... modern masters of American folk.” – Pitchfork

After a devastating tornado ravaged Nashville in the Spring of 2020 making their studio unusable, immediately followed by a global pandemic shutting down their community and touring livelihood, Gillian Welch and David Rawlings were able to find the inspiration to set up recording equipment in their home living room and record 10 performances on their reel-to-reel of some of their favourite songs from the likes of John Prine (“Hello In There”), Bob Dylan (“Abandoned Love”), Norman Blake (“Ginseng Sullivan”), and more.

All The Good Times is the first Welch/Rawlings collaboration to feature both of their names on the cover, and received a 2021 Grammy nomination for Best Folk Album. Originally released in July 2020 as a surprise treat for fans, the limited edition handmade CD and LP first pressings sold out in 48 hours as a D2C exclusive.

This new reissue will have revised art and packaging, including some new photos. The vinyl (coming later this year) will have new artwork on a tip-on jacket with custom paper. 

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

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

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

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

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

STAFF COMMENTS

David says: The antipodean onslaught continues with New Zealand's The Beths. 'Future Me Hates Me' is the shortest, sharpest most bittersweet collection of three minute pop songs we've heard this year.

TRACK LISTING

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

With time as fluid as The Coral’s journey through sound, the band cut short the party to celebrate this year’s universally acclaimed, Number 2 album, Coral Island and visit the strange world where it all started. The Coral, released on Monday 29 July 2002 with the singles Dreaming Of You and Goodbye, catapulted the band to mainstream success as teenagers, landing a Mercury Prize-nomination and Platinum-certification.

Now remastered from the original mixes, the album will be reissued with Run On Records in association with Modern Sky UK. Two, unreleased, never-before-heard-tracks, She’s The Girl For Me and Tumble Graves, produced by Ian Broudie, but shelved after the 2001 album sessions are included in the track-listing. The rarities appear on an all-formats bonus disc, alongside a complete singles B-sides collection and the band’s pre-album EP The Oldest Path.

STAFF COMMENTS

Barry says: So, this is where it all started. It was clear from the starting notes of 'Dreaming Of You' that this Wirral Quintet were onto something special, so it's no surprise this 20year (really?!) reissue sounds just as fresh today as it ever did. It looks pretty special too!

TRACK LISTING

Side A
Spanish Main – Remastered 2021
I Remember When - Remastered 2021
Shadows Fall - Remastered 2021
Dreaming Of You - Remastered 2021
Simon Diamond - Remastered 2021
Goodbye - Remastered 2021

Side B
Waiting For The Heartaches - Remastered 2021
Skeleton Key - Remastered 2021
Wildfire - Remastered 2021
Badman - Remastered 2021
Calendars And Clocks - Remastered 2021

Side C
The Oldest Path - Remastered 2021
God Knows - Remastered 2021
Short Ballad - Remastered 2021
Flies - Remastered 2021
Dressed Like A Cow - Remastered 2021
Darkness - Remastered 2021
Sheriff John Brown - Remastered 2021

Side D
Good Fortune - Remastered 2021
Answer Me - Remastered 2021
Follow The Sun - Remastered 2021
Travelling Circus - Remastered 2021
Sweet Sue - Remastered 2021
Another Turn In The Lock - Remastered 2021
She’s The Girl For Me - Remastered 2021 (PREVIOUSLY UNRELEASED)
Tumble Graves - Remastered 2021 (PREVIOUSLY UNRELEASED)

Dinked Bonus 7” Tracklist
(a) Shadow Falls
(b) Tbc

Dinked Bonus Flexi Tracklist
(a) Simian Technology

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that are released for the first time on vinyl. 

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

TRACK LISTING

It's A Shame About Ray
1 Rockin' Stroll
2 Confetti
3 It's A Shame About Ray
4 Rudderless
5 My Drug Buddy
6 The Turnpike Down
7 Bit Part
8 Alison's Starting To Happen
9 Hannah & Gabi
10 Kitchen
11 Ceiling Fan In My Spoon
12 Frank Mills

Essential Extras
1 Mrs Robinson
2 Shakey Ground
3 My Drug Buddy (KCRW Session, 1992)
4 Knowing Me, Knowing You (Acoustic)
5 Confetti (Acoustic)
6 Alison's Starting To Happen (Acoustic)
7 Divan

Demo Recordings
1 It's A Shame About Ray (Demo)
2 Rockin' Stroll (Demo)
3 My Drug Buddy (Demo)
4 Hannah & Gabi (Demo)
5 Kitchen (Demo)
6 Bit Part (Demo)
7 Rudderless (Demo)
8 Ceiling Fan In My Spoon (Demo)
9 Confetti (Demo)

This era defining, pop classic includes debut single ‘Small Town Boy’, a huge global hit, which continues to resonate across generations and remains a dance-floor staple. Remastered from original 1984 analogue tapes. New sleeve notes from Jimmy Somerville, Mike Thorne and Paul Flynn.

TRACK LISTING

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love & Money
6. Smalltown Boy
7. Heatwave So
8. Junk
9. Need A Man Blues
10. I Feel Love/Johnny Remember Me

CD BONUS TRACKS
11. Why? (12” VERSION)
12. Smalltown Boy (12” VERSION)
13. It Ain’t Necessarily So (12” VERSION)
14. I Feel Love/Johnny Remember Me (12” VERSION)

The Piper At The Gates Of Dawn. The classic 1967 album remastered in 2017 from the original MONO analogue tapes by James Guthrie, Joel Plante and Bernie Grundman, issued on heavyweight 180 gram vinyl.

The discovery of a cassette of Carola Baer’s early ’90s private home recordings was like finding a needle in a haystack. Made as a one-off mixtape of newly-recorded songs, and given to a long-since forgotten recipient, this cassette was found in 2017 at a Goodwill “bins” location in Portland, Oregon.

These chaotic, by-the-pound thrift stores contain thousands of unsorted items in constant flux, which are only available for the public to buy for a limited time before they are discarded. The prospect that this obscure relic would be rescued from its untimely fate is nothing short of a miracle. As this tape was the only one in existence, with no back up versions of many of the songs, it’s more than likely that this music would have been lost forever.

The Story Of Valerie is made up of songs culled from that cassette, with a few additional tracks from the time, and is the first time Carola Baer’s solo material has been heard by the public. The intense emotion of the music is brought upon by the primary themes of the album: the cruelty of humanity, isolated life as a British immigrant in the US, and the pain of doomed relationships.

Despite being inspired by classic 4AD acts like Dead Can Dance and Cocteau Twins, Baer’s home recordings have a sound and style that is uniquely her own. Many of the tracks feel like musical exorcisms, with Baer’s spine tingling voice soaring above minimal arrangements for Yamaha DX-7 and Casio CZ-101 synthesizers. Like finding a stranger’s diary, the listener is granted access to music that is emotionally raw and deeply personal.

TRACK LISTING

1. Maker Of Me
2. Golden Boy
3. Save Me
4. We Already Feel
5. Springtime
6. Doors Talk
7. Solemn Cattle
8. Nothing Left To Say
9. See The Lights Again
10. Dreams
11. On Top Of The Mountain

From its embryonic, conceptual stages - well before any music materialized - the mere idea of "Raising Sand" held infinite fascination for both its creators and those around them. As word spread of an impending musical collaboration between Robert Plant and Alison Krauss, imaginations ran wild. Two artists, each at the pinnacle of their respective pantheons, Robert and Alison have seemingly little in common. But just below the surface, an elemental understanding flowed between them, waiting to be tapped. Mutual admirers for some time, Plant and Krauss first performed together at a concert celebrating the music of Leadbelly. That great man's sound - spry and playful, yet marked by an undercurrent of torment and loss - is a keyhole into the sound world unlocked on "Raising Sand". After their initial collaboration proved promising, Plant and Krauss brought producer T Bone Burnett into the fold to help them investigate a more sustained, full-scale project. Charged with selecting both supporting musicians and material that would illuminate the connection between these two unique artists, Burnett succeeded wondrously. Built on a shared core of modal blues and country soul, filtered through alternating layers of unadorned tenderness and thick, shifting textures, the sounds on "Raising Sand" extend well beyond anyone's expectations.

TRACK LISTING

1 Rich Woman 4:05
2 Killing The Blues 4:17
3 Sister Rosetta Goes Before Us 3:25
4 Polly Come Home 5:39
5 Gone Gone Gone (Done Moved On) 3:34
6 Through The Morning, Through The Night 4:03
7 Please Read The Letter 5:55
8 Trampled Rose 5:34
9 Fortune Teller 4:32
10 Stick With Me Baby 2:51
11 Nothin' 5:35
12 Let Your Loss Be Your Lesson 4:02
13 Your Long Journey 3:55

What do Tyler the Creator, Mantronix, Stetsasonic, DJ Shadow, Eric B and Rakim, Brand Nubian, Jay-Z and N.W.A. have in common? How about UK Apachi and Shy FX, DJ Zinc, Bukem, Ganja Kru, Lemon D Ice, Dillinga, Photek, 4-Hero, Congo Natty, Krome and Time, Roni Size, Skream and Shut Up and Dance? Not to mention The Prodigy, Squarepusher, Leftfield, Oasis, Aphex Twin, Calvin Harris, Dua Lipa, David Bowie, Primal Scream, Lady Gaga and Dizzee Rascal?

Answer: They have all sampled The Winstons’ ‘Amen, Brother’, the most sampled drum break in the history of music (over 5000+ according to whosampled.com), it has shaped the history of electronic music ever since its creation in 1969.

This is the official release of the Winston’s ‘Color Him Father’ album, out of print for fifty years on vinyl, a glorious, break-heavy album of soul, funk and gospel featuring the tracks ‘Color Him Father’, ‘Amen, Brother’ and loads more.

The fully remastered album is housed in exact-reproduction original sleeve and design and comes with 4 extra bonus tracks that the group released only as singles. There is also a very special one-off, first pressing only of this album that comes with an exclusive one-sided dubplate special 12” of ‘Amen, Brother’ featuring a specially extended break mix of the classic tune.

The Winstons’ ‘Amen, Brother’ was originally the B-side to ‘Color Him Father’, a superb soul tune released by a multi-racial group from Washington, DC, in 1969. The drum break was played by George GC Coleman, and the song was based on a Curtis Mayfield guitar riff. The soul connection was no coincidence. The Winstons were formed from the backing groups to both Otis Redding and Curtis Mayfield and the Impressions before they came into their own spotlight. The Winstons signed to Mayfield’s Curtom Records in Chicago in 1968. Drummer extraordinaire GC Coleman had already played with The Marvelettes, Otis Redding and Curtis Mayfield (and in the 1970s would play with the funk group Brick).

‘Color Him Father’ became a million-selling Number 1 R&B hit single in the US and the following year The Winstons released their debut (and only) album, also entitled ‘Color Him Father’, on Metromedia Records, featuring both sides of the single alongside nine other excellent soul, funk, gospel and R&B cuts. Unfortunately, the group split up the following year, citing difficulties in touring the southern US due to their inter-racial line-up, and their sole album has long-since sunk into obscurity.

Fast forward nearly 20 years and the ‘Amen, Brother’ break was discovered by hip-hop producers after the song appeared on the seminal ‘Ultimate Breaks & Beats’ series of original breaks (alongside ground-breaking tracks such as James Brown’s ‘Funky Drummer’, The Incredible Bongo Band’s ‘Apache’ and Herman Kelly’s ‘Dance to the Drummers Beat’) in 1986. The track became the staple of hip-hop, with countless songs based on George GC Coleman’s epic six-second drum break.

Fast forward once more, this time to the UK at the start of the 1990s, and 100s of drum and bass producers began sampling and speeding up the ‘Amen, Brother’ break, adding reggae bass lines to create first jungle and then drum and bass, and by the 1990s the ‘Amen’ drum break dominated this new musical genre.

The Winstons’ ‘Color Him Father’ is a superb rare slice of soul, funk and gospel music that has changed the course of music over the last fifty years.

TRACK LISTING

CD / LP
Color Him Father
I’ve Gotta Be Me
The Chokin’ Kind
The Greatest Love
A Handful Of Friends
Everyday People
Love Of The Common People
Wheel Of Fortune
The Days Of Sand And Shovels
Birds Of A Feather
Only The Strong Survive
Traces
Amen, Brother
Say Goodbye To Daddy
Mama’s Song

Bonus 12” (SJRLP497 only)
Amen Brother (Extended Mix)

Tremulant From the very beginning, The Mars Volta was conceived as more than simply a new vehicle for Omar Rodriguez-Lopez and Cedric Bixler-Zavala. The group was to be a rebirth, a redrawing of their creative frontiers, a repudiation of the stylistic provincialism that had ultimately spelled the end of their previous band, At The Drive-In, a year earlier. So, as The Mars Volta’s debut release, 2002’s Tremulant EP had much to accomplish within its three tracks and 19 minutes: to define the group’s ambitions and their possibilities, to sketch out a limitless horizon for their future adventures, and to shake loose the macho following they’d accrued with At The Drive-In’s final, breakthrough LP Relationship Of Command, the dudes in the moshpit who just wanted to slam-dance to post-hardcore riffs.

Tremulant put this uncompromising ethos into play from the very off, first track Cut That City opening with two minutes of amplifier hum, synthesiser scree and drum-machine pulse. “That introduction was immediately going to weed out all the posers,” says Cedric. The music that followed, meanwhile, announced The Mars Volta’s visionary new sound, an embryonic version of everything that would follow. The fearless rhythms drew from the traditional Caribbean and Latin music Omar was raised on, its staccato guitar riffs accompanied by Ikey Owens’ infernal organ stabs, Eva Gardner’s canny bass-lines and Jeremy Michael Ward’s inventive sound manipulations, its frenetic, restless panic-rock given to exultant breakdowns, like Omar’s beloved salsa. Cedric, meanwhile, was stretching beyond the fiery bark he’d established with At The Drive-In, singing more than screaming, and singing often in Spanish

TRACK LISTING

Cut That City
Concertina
Eunuch Provocateur

‘Flashmob’ is the second studio album by French electronic music artist Vitalic. While the electro foundations of his sound remain the same after more than a decade, these tracks are sleek and innovative - proving that Vitalic spent the years between his debut, ‘OK Cowboy’, and this album uniting everything he’d learned from making electrifying dance tracks since 2005. ‘Flashmob’ provides cuts that are classic Vitalic, with massive synth lines and hardedged beats.

TRACK LISTING

See The Sea (Red)
Poison Lips
Flashmob
One Above One
Still
Terminateur Benelux
Second Lives
Allan Delon
See The Sea (Blue)
Chicken Lady
Your Disco Song
Station Mir 2009

Critically acclaimed and widely praised, from the club world to cinema, ‘OK Cowboy’ is a ground-breaking record. Vitalic has a certain playful mystique that goes beyond Pascal Arbez’s invented back story of being a Ukrainian trubcka player and occasional gigolo from a family of sea otter fur traders. In fact, his inability to take anything too seriously, least of all the music he makes, may be the key to Vitalic’s appeal. In an interview around the time that his fulllength debut, ‘OK Cowboy’, was released, Arbez stated that he didn’t listen to techno albums “because they are boring,” something that can’t be said of this witty, stylistically omnivorous album. Pascal states that all of the instruments used in the album are synthesized, with his official website stating that “the only thing he can’t fake is the emotion that galvanizes his music.”

TRACK LISTING

Polkamatic
Poney (Part 1)
My Friend Dario
Wooo
La Rock 01
The Past
No Fun
Poney (Part 2)
Repair Machines
New Man
Fashion
U & I
Valletta Fanfares

'Rave Age' is a ballsy firecracker of an album that showcases not just a passion for big room electro smashers and electronica, but a broad set of influences that stretch from punk and film soundtracks to disco and indie dance. Vitalic has done away with the vocoder, working with a myriad of talent to add diverse and sometimes surprising influences to his distinctive sound. A body of work that takes many twists and turns, exploring new directions and absorbing genres while maintaining Vitalic’s trademark sound and energy.

TRACK LISTING

Rave Kids Go
Stamina
Fade Away
Under Your Sun
Vigiprate
No More Sleep
Nexus
The March Of Skabah
Lucky Star
La Mort Sur Le Dancefloor
Next I’m Ready
The Legend Of Kaspar Hauser

Phosphonic announce the first in a series of highly anticipated reissues from Nottingham’s ‘The Soundcarriers’. ‘Entropicalia’ was originally released on Ghost Box Records in 2014 and is now presented with new artwork, remastered on 180g black vinyl with a heavyweight tip on sleeve. There is also a CD edition.

“The Soundcarriers raid and regurgitate decades of rare vinyl so you don’t have to, recombining their findings in a hallucinatory record collector’s fever dream of found sound. Kitsch exotica from 1950s, 1960s Carnaby Street exploitation, 1970s German progressive percussion and swinging South American Tropicalia merge their time streams seamlessly in the soundtrack to a spiked cocktail night out in the composite European capital city of the collective subconscious. Let the epic groove of This Is Normal puncture the irony membrane and you’re sold.” Stewart Lee.

TRACK LISTING

1. Low Light
2. The Outsider
3. Entropicalia
4. Signal Blue
5. Boiling Point
6. So Beguiled
7. Somewhere To Land
8. Lose The Feel
9. This Is Normal (feat. Narration By Elijah Wood)
10. Eff.r (Instrumental) * CD Only

Hello Sadness is Los Campesinos! shooting for a pop album. Not pop-punk, not indie-pop – punchy, pristine pop. But as with everything in life, nothing ever quite goes to plan.

The UK’s First and Only Emo Band™ (see also: Your Ex-Girlfriend’s Favourite Band©), started off with the best of intentions. Opener ‘By Your Hand’ is a horny, hilarious tragi-comedy, rife with masturbation, stallion-like thighs and a sick covered rental tuxedo. ‘Songs About Your Girlfriend’ is sarcastic and punchy, with lines cribbed from T.I songs and a drunken brag of a chorus.

But by the title track, the bravado evaporates and from there on out, Hello Sadness might be the most gut wrenching, emotionally devastating album the group has ever produced - quite a feat considering the rest of their catalogue.

Recorded back in 2011, just outside of Figueres, Catalonia, and their first with new members Kim, Jason and Rob, it's an album of break ups, body parts and football. An album that finds bandleader Gareth cracking while the band around him play more frantically, more powerfully than they ever had before. It’s an album that, ten years ago, cemented Los Camp!’s position as més que un band.

Hello Sadness is the album that made you a 4lyfer. The rawness and brutal honesty that spilled out felt like an invitation to join the band itself, or at least some broken hearts support group. In current times, the effort and drive the band put into furthering progressive politics, inclusivity and DIY spirit has always been mirrored by their fans, the feeling of collective effort uniting waifs and strays worldwide to create thriving scenes, collectives, venues, bands and zines.

But LC! aren't about to give up the good fight, and that the reissuing of Hello Sadness comes on the band’s own Heart Swells label is a reaffirmation of their commitment to being DIY till they Die. And maybe it is their pop album – John Goodmanson’s production is crisp and cutting, Jason Campesinos!’s drumming adding a controlled intensity to Tom Campesinos!’ luscious compositions – but nothing for Los Campesinos! will ever be that straightforward.

Since its original release the band's membership has changed, beloved venues have closed, we are all far older and more jaded. But Hello Sadness still hurts. ‘The Black Bird, The Dark Slope’ swirls desperately, ‘Every Defeat a Divorce (Three Lions)’ serves as a reminder of the dust gathering thicker in the England men's football team’s trophy cabinet, and we, Los Campesinos!’s ‘sad eyed children’, still hang on their every word.

Los Campesinos! are: Gareth (vocals, he/him), Kim (vocals and keys, she/her), Tom (lead guitar, he/him), Neil (guitar, he/him), Matt (bass, he/him), Rob (keys and percussion, he/him) and Jason (drums, he/him)

TRACK LISTING

Side A:
1. By Your Hand - Remastered
2. Songs About Your Girlfriend - Remastered
3. Hello Sadness - Remastered
4. Life Is A Long Time - Remastered
5. Every Defeat A Divorce (Three Lions) - Remastered
Side B:
6. Hate For The Island - Remastered
7. The Black Bird, The Dark Slope - Remastered
8. To Tundra - Remastered
9. Baby I Got The Death Rattle - Remastered
10. Light Leaves, Dark Sees Pt. II - Remastered

When it comes to legendary albums, very few can match the cult status achieved on the international jazz and funk scene, by Alice Clark's eponymous album, recorded for Mainstream Records in 1972. The record which went unnoticed when it first came out has become one of the most sought-after albums ever since it became cult on the London jazz and funk scene in the late 80s. It is now being acknowledged as one of the best soul albums of all-times.

Recorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by Jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favourites, "Don't You Care" and "Never Did I Stop Loving You" plus a selection of heart-wrenching songs beautifully sung by Clark.


Hailed as a soul masterpiece alongside Aretha Franklin or Roberta Flack's best albums, Alice Clark's album took almost fifty years to achieve classic status and Alice Clark is now finally getting the recognition she deserves.

TRACK LISTING

1. I Keep It Hid
2. Looking At Life
3. Don’t Wonder Why
4. Maybe This Time
5. Never Did I Stop Loving You
6. Charms Of The Arms Of Love
7. Don’t You Care
8. It Takes Too Long To Learn To Live Alone
9. Hard Hard Promises
10. Hey Girl

Important document from Zambia, 1987. A deep treasure this one.

Despite notable forays into the global sounds of rock and disco, the local heart and soul of Zambian popular music in the 20th century lies in the Kalindula sound. With it’s ceremonial tribal roots on homespun guitars, traditional double bass and percussion, Kalindula evolved into a modern, electric sound over the course of the Zamrock years in the 1970s and lived it’s golden age as Zambia’s most popular groove in the 1980s. There to document the prodigious outpouring of creativity was Zambia Music Parlour, the independent outfit that had launched the likes of WITCH, Ngozi Family and Amanaz a decade earlier. One of the label’s principal Kalindula talents was the Mashabe Band, led by songwriter James Chisenga. Deeply Afrocentric with a name that refers to mystical spirits, the Mashabe Band often performed in traditional dress with body paint. Of the band’s three albums and numerous singles issued by ZMPL, Mandela from 1987, named to honour the political prisoner who would go on to lead South Africa’s first democratic administration in 1994, is the group’s most compelling point of entry and an excellent primer for the Kalindula style as a whole. Restored from the master tape vault of the Zambia Music Parlour label, Sharp-Flat presents an essential slice of Zambian music history from a period ripe for investigation and rediscovery. Complex African rhythms with crisp electric amplification and tribal roots presentation, the Mashabe Band formula is mesmerising and infectious.

TRACK LISTING

Kanshi Ubupina Lisambi
Mukakuleni Mandela
Ulwambo Lwaba Pongoshi
Impalume Shaya
Nenze Kuti Ndiwe Mama
Ba Music Parlour

‘Fourteen Autumns…’ is a complete record, the nine tracks working together to create a strong narrative flow. Deceptively simple songs are rendered transcendent. Bleached, overdriven guitars consistently ride a line between ambient and coruscating, working in tandem with an articulate, at times tumultuous rhythm section, forever poised between tension and release. Augmented by piano and more frequently accordion, which provide the songs with a dramatic swoon, The Twilight Sad purvey an awestruck, ragged sentimentality. Lyrically suggestive and metaphorical, their songs give glimpses of bitter experience and romantic failure, their songs at times verging on the anthemic or celebrative, yet firmly rooted in the familiar, often unsaid hurt behind day to day events.

TRACK LISTING

Side A
1. Cold Days From The Birdhouse
2. That Summer, At Home I Had Become The Invisible Boy
3. Walking For Two Hours
4. Last Year’s Rain Didn’t Fall So Hard
Side B
1. Talking With Fireworks / Here, It Never Snowed
2. Mapped By What Surrounded Them
3. And She Would Darken The Memory
4. I’m Taking The Train Home
5. Fourteen Autumns & Fifteen Winters

The Twilight Sad’s third full-length, No One Can Ever Know, marks a sonic shift for the band. Freshly inspired by a listening diet of Cabaret Voltaire, Can, Liars, Magazine, Autechre, and Public Image Limited, the band turn to a dark, synth-heavy sound for No One Can Ever Know; the resulting LP shares thematic and sonic space with the most innovative offerings from Depeche Mode, The Cure, or even Nine Inch Nails. “We wanted to be a lot more spontaneous, get outside our comfort zone - not to fall back into repeating what we’ve done previously,” explains guitarist Andy MacFarlane. “So we moved to London for a month to record at The Pool and got Andrew Weatherall involved to bounce ideas off and to generally reassure us of the direction we were already progressing in – toward a sparser sound, with a colder, slightly militant feel.”

TRACK LISTING

Side A
1. Alphabet
2. Dead City
Side B
3. Sick
4. Don’t Move
Side C
5. Nil
6. Don’t Look At Me
7. Not Sleeping
Side D
8. Another Bed
9. Kill It In The Morning

"Remixed With Love Volume 3" is the third edition of what has become the industry-leading disco remix series. One of the best of the 'new school' of edit merchants - not many know this era of music better than Dave Lee who has from the disco era.

'I can clearly remember in the 80s having fantasies about being a remixer and dreaming of tweaking my favourite songs and re-releasing them. I really never thought it would happen. The days when I receive the parts for some of these classic recordings are literally a dream come true.'

"Remixed With Love Volume 3" has been a real labour of love, and a release several years in the making. With original parts for some of these classics hard to find, and with major labels rightly protective of songs created by legendary artists, it is a testament to both the perseverance of Lee and the esteem in which he is held as a remixer that the project was ever completed. Luckily for us though, here we are: "Remixed With Love Volume 3" is done, dusted and ready to deliver a healthy dose of joy to us all.

As with previous volumes, Lee has put his own inimitable spin on more than a dozen seminal records, with Earth, Wind & Fire, Booker T, Mtume, Eddie Kendricks and many more vying for attention across a stunning three part gatefold double vinyl. As you’d expect from an artist of Lee’s calibre, he’s taken the task extremely seriously. 'Some songs I’ve wanted to get access to the multi for ages turn out to be far less straight forward than I imagined. You know it’s a great track, but unlocking the key to doing a worthwhile new version doesn’t always come easy. To make more of a feature of one element sometimes means there has to be less of something else. There are many decisions to be made, lived with, revised, maybe reversed until finally your gut tells you it’s about right.'

There are very few producers with either the confidence or ability to take on records of this heritage, but Dave Lee has once again proved that when it comes to sensitive re-workings of disco staples, he’s in a league of his own.

STAFF COMMENTS

Matt says: Much needed repress of this seminal series which has become somewhat of a modern holy grail for disco and boogie aficionados. Don't miss out a second time - these are highly coveted and rightly so - expert edits for the dancefloor. Essential!

TRACK LISTING

Record One
A1 Michael Wycoff - Looking Up To You (Joey Negro Super Sweet Mix)
A2 Earth, Wind & Fire - Can't Let Go (Joey Negro Elevated Mix)
B1 Booker T. - Don't Stop Your Love (Joey Negro Paradise Mix)
B2 L.T.D. - Love To The World (Joey Negro Mizell Magic Mix)

Record Two
C1 Mtume - So You Wanna Be A Star (Joey Negro Disco Re-Blend)
C2 Brenda Russell - Way Back When (Joey Negro Extended Disco Mix)
D1 Eddie Kendricks - Going Up In Smoke (Joey Negro Big Smoke Mix) 

Soundtrack to David Lynch's 1984 cult film. Composed by TOTO and Brian Eno. Sourced from the original master tapes. Includes 24 x 24 full color poster. Audiophile Pressing at RTI. 

In 1994 Bernard Butler left Suede at the end of the lengthy recording sessions for the band’s second album, the acknowledged classic that is “Dog Man Star”, which he co wrote. His first project was to join forces with singer David McAlmont record the album “The Sound Of McAlmont & Butler" which was released in November 1995. It featured the Top 10 single “Yes” and the follow up “You Do”.

In 1997, Alan McGee signed Bernard up to Creation Records , and he set about recording his first solo album, playing all the instruments himself, except for the drums and strings. Released in April 1998, the album was a critical and commercial success , reaching # 11 in the UK album charts and features the hit singles “Stay”, “Not Alone” and “Change Of Heart".

When approached about this reissue in 2021, Bernard decided that he wanted to re record all the vocals for the album . He has also added the occasional guitar overdub .

The inner sleeves feature all the lyrics and annotation by Bernard himself about the album and the re recorded vocals . The album is presented using unpublished session photos from photographer Jill Furmanovsky .

TRACK LISTING

Side A
1. Woman I Know
2. You Just Know
3. People Move On

Side B
1. A Change Of Heart
2. Autograph
3. You Light The Fire

Side C
1. Not Alone
2. When You Grow
4. You've Got What It Takes

Side D
1.Stay
2. In Vain
3. I'm Tired

Comprised of two songs that build on Om's use of cyclical rhythm, riff and vocal intonation, the duo's new album "Conference Of The Birds" blends metal, doom, chant, drone, dub and psychedelia. The band's lyrics expound upon the structure of the universe, potentiality and freedom from the physical body. Engineered by Billy Anderson and produced by the band, "Conference Of The Birds" progresses beyond their debut, "Variations On A Theme", with more fully realized songwriting and production. Om is Al Cisneros and Chris Hakius, rhythm section of legendary sludge and stoner rock pioneers, Sleep.

San Francisco’s incredibly prolific Thee Oh Sees are back with another full-length album of original tracks plus a smattering of covers. While the group’s previous releases on In The Red, "Help" and "Warm Slime", showcase their amped-up, reverb-drenched garage-psych pummel, on "Castlemania", John Dwyer and company take a more low-key approach. Dwyer himself describes "Castlemania" as 'summer-y and poppy'; on many of the tracks, electric guitars are jettisoned for acoustic, and the normally echo-laden vocals are a bit clearer. Happy pop melodies, sweet and sombre tunes, psychedelic moves galore, cover versions of The Creation and the West Coast Pop Art Experimental Band, and at least one garage stomper all rub elbows on Thee Oh Sees’ 'sunshine pop' album.

Its release couldn’t be more perfectly suited to the time of the year when the sunny skies return and the flowers start blooming. Watch for Thee Oh Sees to return later this year with another full-length of pulverizing, heavy stomp. In the meantime, relax and enjoy "Castlemania".

TRACK LISTING

1. I Need Seed
2. Corprophagist (A Bath Perhaps)
3. Stinking Cloud
4. Corrupted Coffin
5. Pleasure Blimp
6. A Wall, A Century
7. Spider Cider
8. The Whipping Continues
9. Blood On The Deck
10. Castlemania
11. AA Warm Breeze
12. Idea For Rubber Dog
13. The Horse Was Lost
14. I Won’t Hurt You (by West Coast Pop Art Experimental Band)
15. If I Stay Too Long (by Big Wheel)
16. What Are We Craving? (by Norma Tanega)

Reissued for the first time, "Fragmentos da Casa" by Brazilian percussionist Marco Bosco, was originally released in 1986, by Carmo, owned by Egberto Gismonti. Carmo also released albums by Gismonti, Piry Reis, Fernando Falcão, Nando Carneiro and André Geraissati, among others.

Brazilian percussion is a universe apart. The fusion of African and Brazilian cultures and rhythms has generated many talented musicians who have gone deep into Brazilian roots to search for its essence and thoroughly research all of our diversity. Many of the percussionists have been transformed into an "export products” worshiped worldwide: Airto Moreira, Naná Vasconcelos, Djalma Corrêa, Fernando Falcão, Pedro “Sorongo” Santos and Marco Bosco, among many others. Marco Bosco started his personal journey in the 70s, but the biggest impact happened when he released his first solo work, Metalmadeira (1983), a journey made up of acoustic and electronic textures, sons of nature, vocoders, synthesizers and sequencers.

Fragmentos da Casa, his second solo album, had a striking concept, explained by the artist himself, from the original press release : “Antagonizing the synthesized universe of digital equipment and instruments to an acoustic aesthetics; plus emphasizing the timbristic characteristics of percussion: Fragmentos da Casa is a musical interpretation of a journey - one night and one day - through the rooms of an imaginary house”In 1986, Marco Bosco's percussive arsenal was unique and extremely peculiar, containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments.This fusion of acoustic and synthetic, promoted by some Brazilian artists in the 80's and celebrated worldwide, still brings memories to the percussionist. For him, the arrival of those electronic gadgets "was the best thing that happened on the planet".

This reissue includes a reproduction of the original artwork, new testimonies by Marco Bosco and a a long article signed by Bento Araujo, author of the series of books "Lindo S onho Delirante", which investigates audacious and fearless music produced in the Brazilian underground.

The track "Sol da Manhã" was included in "Outro Tempo"(Electronic and Contemporary Music from Brazil 1978-1992), compilation by DJ John Gomez released by Dutch music From Memory.

TRACK LISTING

SIDE A
A1. Fragmentos
A2. Sol Da Manhã
A3. Dia Claro
SIDE B
B1. Tua Casa, Minha Casa
B2. Quarto
B3. Sala
B4. Cozinha
B5. Pela Janela

“Sunlight to blue … Blue to blackness” - This was one of the more upbeat title suggestions for the very bare, back to basics, reflective album from The Durutti Column. Originally released in June 2008, Sunlight to Blue… was a conscious response to the previous two polished and ‘studio-based’ releases. Here he created some sparse, simply beautiful 'sketches' as he once called them, more reminiscent of his work from the early eighties. Many of the pieces are instrumentals played on his Juan Montero flamenco guitar, and he returns to 'Without Mercy' for the last track 'Grief' whilst reinventing 'Never Known' from LC. Now, for the first time, the LP is available remastered and re-packaged as a gatefold double 12” 180gram vinyl release.

This album also saw the debut of the then talented young pianist and singer, Poppy Morgan, who co-wrote the melancholy Ananda as a duet with what Reilly dryly called 'intrusive guitar'. For the uninitiated, Vini was the first artist signed to Manchester’s influential Factory Records, co-wrote and played on Morrissey’s first solo album ‘Viva Hate’, and was heavily featured in the Manchester music culture film, ’24 Hour Party People’. Vini Reilly has recorded under the name The Durutti Column since 1978 and has a rich portfolio of work, releasing over twenty albums in this time. Ever critical of Vini’s voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this return of The Durutti Column.

TRACK LISTING

1. Glimpse
2. Contact
3. Messages
4. Ged
5. Ananda
6. Never Known Version
7. So Many Crumbs And Monkeys!
8. Head Glue
9. Demo For Gathering Dust
10. Cup A Soup Romance
11. Grief

Crépuscule presents a brand new collaborative project by Julie Campbell (aka LoneLady), Stephen Mallinder (Wrangler, Cabaret Voltaire) and Benge (Wrangler, John Foxx). 

'The project began a couple of years ago,' explains Julie. 'Benge had these great sketches that were beats and synth patterns, so those were the starting point. I really went to town adding lots of guitar layers and experimenting with different sounds. On some tracks the guitar is deft and rhythmic, as if mimicking sequencer patterns. On others it's a deconstructed noise-based approach - scratching strings, making fitful, heavy chunks, howls and scrapings of noise and texture.'

Due to competing solo commitments for all 3 members the tracks disappeared into hard drive exile for a couple of years. Julie continues: 'Last year we revisited the mixes and Stephen added his trademark mysterious and menacing vocals. Now we find ourselves with a finished piece of work. I thought of the name Clinker as I love its meaning: "stony residue from burnt coal". This seemed liked an apt description of both industrial and creative processes, and a nice nod to the industrial North of England.'

Stand-out tracks include Camouflage and Condition Collapsing. 'I'd forgotten how liberating it is to play bass guitar on something,' enthuses Mal. 'It compliments Julie's beautifully angular guitar, and Benge and me ripping up live percussion onto the sound of machines... As a collection of tracks these benefited from a lengthy gestation, as they follow no particular trend and were allowed to twist and turn to develop a life of their own. After successive cycles we suddenly drew it all together so the tracks have a sense of completion and identity.'

'The real fun for me was during the mixing process when Mal and I looked at each other as the rawness of the tracks hit us on the big studio monitors,' adds Benge. 'We knew we had something untameable, and wanted to preserve that feeling of edgy rawness in the mixes.'

TRACK LISTING

A1. Camouflage
A2. Monochrome
A3. Influx
B1. Signification
B2. Condition Collapsing
B3. Dereliction Magical

The Bedlam In Goliath Received wisdom has it that to toy with the occult is to enter into a Faustian pact that will bite you on the ass somewhere down the line. Magic, myth and sorcery had been recurrent themes within The Mars Volta’s output for some time and served as the dominant motifs for their previous full length, Amputechture.

So it was almost inevitable that, at some point, luck, kismet, karma, serendipity whatever you want to call the metaphysical forces that exert hidden influence upon our mortal world would visit the group and enact some kind of payback. Whatever debts the group had accrued came due with The Bedlam In Goliath, the group’s fourth full length, and an album whose creation was, in every sense of the word, cursed. The production of the album was regularly scuppered by technical problems that erased whole takes from their computer hard drives, a phenomenon Omar’s in studio right hand man Rich Costey an experienced producer/engineer in his own right found impossible to explain.

Meanwhile, Omar’s home studio flooded and was plagued by severe electrical problems, and at least one member of the engineering staff working on the album quit the sessions after suffering a psychotic episode. At the time, all this accumulating bad juju was ascribed, by the more superstitious members of The Mars Volta, to a ouija board Omar had reputedly pur chased while travelling in Jerusalem and gifted to Cedric upon his return. What is certain is that Omar returned from his travels with tapes of field recordings he’d made in Jerusalem, from his wanderings around the city’s Jewish, Muslim and Christian quarters, which were later mixed into the track Soothsayer, a mystical epic elevated by strings.

“‘The Strange Idols Pattern and Other Short Stories’ may not have the cachet or reputation of albums by the "big-name" bands of the era, but it has the songs and that's what counts the most. This is Lawrence and Felt at their absolute classic best, not to be overlooked or missed for any reason.” AllMUSIC

One of the first five album re-issues from February 2018.These vinyl records, unavailable for many years, have been remastered and revisited by Lawrence, and he has fashioned the ultimate definitive collections.

During the ‘80s Felt made ten albums and ten singles for the Cherry Red and Creation labels. This beautifully produced series examines the work of one of the greatest underground groups of modern times.

Before the Stone Roses and after Be-Bop Deluxe and Plastic Ono Band, John Leckie worked with Felt. Booked into a metal/reggae studio in Birmingham’s industrial wasteland he sculpted a Michelangelo slice of new rock – exquisite and beautiful guitar odysseys – quite unlike anything the city had experienced before. Merging pop with a classical nuance Felt stood alone as the forerunners of a brand new style.

TRACK LISTING

Side One
1 Roman Litter
2 Sempiternal Darkness
3 Spanish House
4 Imprint
5 Sunlight Bathed The Golden Glow
Side Two
1 Vasco Da Gama
2 Crucifix Heaven
3 Dismantled King Is Off The Throne
4 Crystal Ball
5 Whirlpool Vision Of Shame

Lawrence escapes the contours of a bland city and retreats into his mind. Felt had risen from the underworld searching for a new horizon but only managed to slip into a desolate obscurity! Dark black slabs of creosote guitar – vast swathes of epic interplay – casting futuristic shadows – an idiosyncratic and unobtrusively brilliant band, the music Felt made on this album is unlike anything attempted before. This really is a template for an age yet to come.

During the ‘80s Felt made ten albums and ten singles for the Cherry Red and Creation labels. This beautifully produced series examines the work of one of the greatest underground groups of modern times.

Before the Stone Roses and after Be-Bop Deluxe and Plastic Ono Band, John Leckie worked with Felt. Booked into a metal/reggae studio in Birmingham’s industrial wasteland he sculpted a Michelangelo slice of new rock – exquisite and beautiful guitar odysseys – quite unlike anything the city had experienced before. Merging pop with a classical nuance Felt stood alone as the forerunners of a brand new style.

TRACK LISTING

Side One
1 Red Indians
2 The World Is As Soft As Lace
3 The Optimist And The Poet
Side Two
1 Mexican Bandits
2 The Stagnant Pool
3 A Preacher In New England

Say it with me “OX-O-MOX-O-A.”
The Experimental Zenith Of The Grateful Dead!
Featuring the 50th Anniversary remaster of the definitive 1971 band-produced mix.
Original album tracks only, no expanded editions or bonus audio tracks.

The Grateful Dead's third studio effort was also the first that the band did without any Warner Bros. staff producers or engineers hampering their creative lifestyle and subsequent processes. As they had done with their previous release, Anthem of the Sun, the Dead were actively seeking new forays and pushing envelopes on several fronts simultaneously during Aoxomoxoa (1968) -- which was created under the working title of "Earthquake Country." This was no doubt bolstered by the serendipitous technological revolution which essentially allowed the Dead to re-record the entire contents when given free reign at the appropriately named Pacific High Recording facility. As fate would have it, they gained virtually unlimited access to the newly acquired Ampex MM-1000 -- the very first 16-track tape machines ever produced -- which was absolutely state of the art in late 1968. The band was also experiencing new directions artistically. This was primarily the net result of the budding relationship between primary (by default) melodic contributor Jerry Garcia (guitar/vocals) and Robert Hunter (lyrics), who began his nearly 30-year association with the Grateful Dead in earnest during these sessions. When the LP hit the racks in the early summer of 1969, Deadheads were greeted by some of the freshest and most innovative sounds to develop from the thriving Bay Area music scene. The disc includes seminal psychedelic rockers such as "St. Stephen," "China Cat Sunflower," and "Cosmic Charlie," as well as hints of the acoustic direction their music would take on the Baroque-influenced "Mountains of the Moon" and "Rosemary." The folky "Dupree's Diamond Blues" -- which itself was loosely based on the traditional "Betty & Dupree" -- would likewise foreshadow the sound of their next two studio long-players, Workingman's Dead (1969) and American Beauty (1970).

Recorded in ten days flat, in England's own Toe Rag studio (8-track, valve amps, nothing new in fact since 1963!) the White Stripes' fourth album is everything you ever wanted it to be. Same formula, but with a warmer, fuller tone, but... we're in it for the songs, aren't we? Well, NME nailed it when they said this album's like a White Stripes' Greatest Hits, every song's a potential single - it really is that strong. Who'd have thought they could actually go one better?! It feels stupid to write about stuff this pure, real, honest and passionate; I know you'll just buy it, play it, and allow yourselves to be taken over! Analysis ain't necessary, it's rock'n'roll distilled and it's happening right now. We're very lucky girls and boys!

The White Stripes’ 2005, fifth studio album reminds listeners of the fundamental nature of their production. While still maintaining their iconic elements listeners can immediately identify with The White Stripes. Jack White trades in his classic, guitar heavy elements for piano ballads, mandolin, acoustic guitar and even some touches of marimba.

The Rolling Stone declared this album so “wild, it could make you weep over how pitilessly the Stripes keep crushing the other bands out there.”

‘Get Behind Me Satan’ ranked Number 3 on both US and UK Charts, trumping their preceding albums’ rank on US Charts. The album’s first track and single, ‘Blue Orchid’, became a fast radio hit in the US and UK, making it the band’s second UK Top 10 hit.

The album’s second single, ‘My Doorbell’, boasts a piano and drums charge, reviewed by NME as the “funkiest tune The White Stripes have ever put their name to.”

Slant Magazine invites listeners to “take solace in the unbridled honesty of simple, solid rock n’ roll” of ‘Get Behind Me Satan’, while Pitchfork crowns the album as some of The White Stripes’ best work.

‘Get Behind Me Satan’ is that raw, foot-stompin’, soulful sound that will take your imagination to that peaceful front porch in some cosy Southern cabin so sit back and stomp your foot to the melodic acoustic guitar, piano, stirring vocals and crickets.

This is the first time the White Stripes have ever recorded and mixed an album at a conventional modern studio. It was still, however, recorded to reel-to-reel, and mixed to tape in complete analogue fashion. It was recorded in three weeks - the longest they've ever spent working on a record. Here's some more interesting facts about the album, "Icky Thump" has no piano performances or piano-based songs (unlike it's predecessor which was mostly written and performed on piano). It has the most guitar solos Jack White has ever recorded to tape. It is the first time the band has collaborated with horns and bagpipes. "Icky Thump" contains the first spoken dialogue song to appear on one of their albums; "Rag And Bone". It is the second longest album of the Stripes pantheon thus far. Second to "Elephant" with more than 48 minutes in running time. The album's title is a morphing of the phrase 'Ecky Thump' which is an exclamation of surprise or wonderment in Northern England. The synthesizer used in the title track was also used on the song "Telstar" recorded by Joe Meek.

Originally released 1980. Carambolage never set out to be a "girl band" but they were one of the first German new wave bands whose members were all female. The punk alliance comprising Britta Neander, Elfie-Esther Steitz and Angie Olbrich emerged organically from the environs of Ton Steine Scherben, friends united by a common interest in musical experimentation. With the first demo tapes in circulation, Burkhardt " Zensor" Seiler organized a gig for Carambolage in the hip Kreuzberg club SO36. At a time when anything that could be labelled "Neuen Deutschen Welle" (German New Wave) was stamped accordingly, the trio played by their own rules.

The eponymous debut album Carambolage, produced by Rio Reiser and R.P.S. Lanrue in the summer of 1980 and released on the Scherben label David Volksmund Produktion, could not be constrained by NDW marketing concepts. Instead, the disc was defined by its "colossal, inventive sound" which fed on Elfie's curiously autodidactic "Fantasiegriffen" guitar style and her "Fresenhagen sparrow" voice, counter-balanced by Angie's organ and inimitable basslines and energized by Britta's relentless drumming. Backed by quirky organ and ragged drums, Elfie spits her lyrics with emphatic simplicity. Once her words are in your head, they stay there.

Tracks like "Die Farbe war Mord" hint at a sense of feminist awareness. Carambolage may not have coined the phrase, but "lipstick feminism" became a thing, consciously playing with feminine clichés and hammering them home in performative fashion, rather than boxing them off. Towards the end of the record, vocals and sound are transcended in the monotone shimmer of "22 rue Chenoise". In the words of Carambolage's "City-Großmarkt" song: "So, ladies and semen, are you ready? Time to go shopping." Their sound was not the only aspect of the group which resulted from experimental tinkering. Keen to have their own space, away from a male-dominated environment, they used cardboard and carpets to build their own practice room inside an old grain silo. Strictly out of reach of the Scherben.

It's fair to say that Carambolage helped to shape the DIY approach which the Riot Grrrls of the 1990s would emulate. Forty years later, it's still mostly men standing on festival stages, but the Carambolage story ought not be consigned to the shelves marked nostalgia. On the contrary, it is a thread which most definitely needs to be picked up. As Julie Miess, who later joined Christiane Rösinger and Britta in the Lassie Singers offshoot Britta (the band) noted so succinctly in her Carambolage text (›Damaged Goods‹, Ventil Verlag): "Role models every seven-year-old girl should have!"

The Bon Voyage recordings sound far more mature than the band's earlier music, whilst losing some of the playful insouciance that ran through the first two albums. Strains of ska and chanson complement the latter-day NDW (German new wave) flavoured power pop. After four successful years of extensive touring, new perspectives presented themselves to Carambolage. Having outgrown the somewhat languid Scherben scene and label life at David Volksmund Produktion, the trio upped sticks and headed for Berlin, curious to see what the big city had to offer, namely a close-up view of the pop business. Manne Praeker, former Spliff bass player and Nina Hagen's producer, offered to produce their third record, anticipating a shot at success with a major label. Bon Voyage was recorded in 1984 in Praeker's Mad-Mix studio in Berlin with various guest musicians. Even the pop mag Bravo took note, featuring the punkish North Frisians in a home story. Alas, any aspirations of becoming stars quickly dissipated during the recording process as aesthetic differences came to the fore. In one corner, Britta and Angie were determined to follow the DIY principles of the two preceding albums. In the opposite corner, Manne Praeker and Elfie felt compelled to introduce a stronger element of professionalism and Praeker increasingly weighed into the creative process. "You might say our story practically came to an end with a collision**, just to match our name," Britta Neander recalled in an interview with Tine Plesch. We're happy to report that the girls renewed their friendship after a while. The third record is well worth a listen, a divergent coda to the band's history. Bon Voyage spent 34 years under lock and key before the FUEGO label released a digital version in the year 2019.

'Live' at the Village Vanguard (Impulse! AS-10), was Coltrane’s first official ‘live’ album. Coltrane is joined here on two tunes by Eric Dolphy on bass clarinet, plus McCoy Tyner on piano, Elvin Jones on drums, and Reggie Workman and Jimmy Garrison alternating on bass. Garrison’s presence on this album makes this the first recording by what came to be known as Coltrane’s ‘Classic Quartet’. Recorded live at the Village Vanguard, New York, November 2 & 3, 1961.

Verve’s Acoustic Sounds Series features transfers from the original analog tapes mastered by Ryan K. Smith at Sterling Sound and pressed on 180-gram vinyl at QPR. The series is supervised by Chad Kassem, CEO of Acoustic Sounds, and releases are presented in deluxe gatefold tip-on packaging.

TRACK LISTING

Spiritual [13:48] (Side A)
Softly As In A Morning Sunrise [6:33] (Side A)
Chasin’ The Trane [16:07] (Side B)

“Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album.
An Overview on Phenomenal Nature honors flux, detail, and moments of intimacy. Jenkins arrived at engineer Josh Kaufman’s studio with ideas rather than full songs — nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying us through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing you to a cast of characters like a local fisherman, a psychic at a birthday party, and driving instructor of a spiritual bent.

Jenkins’ last record, 2017’s Play Till You Win, confirmed the veteran artist’s talent. Evident of Jenkins’ experience growing up in a family band in New York City, the album showcased her meticulous songwriting and musicianship, earning her comparisons to George Harrison and Emmylou Harris. Jenkins has since played in the bands of Eleanor Friedberger, Craig Finn, and Lola Kirke, and rehearsed to tour with Purple Mountains last August before the tour’s cancellation. Her new record departs from her previous work in its openness and flexibility, following her peripatetic lifestyle. “The goal is to be more fluid, to be more like the clouds shifting constantly,” she says. The approach allowed Jenkins to express herself like she never has.

On album opener “Michaelangelo,” before the heavy drum beat and fuzz guitars enter, Jenkins sings quietly “I’m a three-legged dog, working with what I’ve got / and part of me will always be looking for what I lost // there’s a fly around my head, waiting for the day I drop dead.” Phenomenal Nature thrives in this dichotomy between ornate sonics and verbal frankness, a calming guided tour to the edge. Later, on “Crosshairs,” amid lush strings, she sings conversationally: “Empty space is my escape / it runs through me like a river / while time spits in my face.”

“Hard Drive,” the third track and album centerpiece, opens with a voice memo Jenkins recorded at The Met Breuer: a guard muses about Mrinalini Mukherjee’s hybrid textile and sculpture works, which were then on display in a retrospective titled Phenomenal Nature. “When we lose our connection to nature, we lose our spirit, our humanity,” she explains. Stuart Bogie's saxophone & Josh Kaufman's glittering guitar make way for Jenkins' spoken word which constellates scenes from her life, gradually building and blossoming as she recreates a meditation guided by a friend who incants, “One, two, three.”

Sounds of footsteps and bird calls run through the album’s glittering conclusion, “The Ramble.” Meditative and bright, it recalls how Jenkins felt while writing and recording her new material: “Everything else is falling apart, so let’s just enjoy this time,” she said. If Phenomenal Nature has a unifying theme, it’s the power of presence, the joy of walking in a world in constant flux and opening oneself to change.

TRACK LISTING

1. Michaelangelo
2. New Bikini
3. Hard Drive
4. Crosshairs
5. Amibiguous Norway
6. Hailey
7. The Ramble

Music exists in movement and change, but before any part of it can be pinned down for analysis, it’s often moved and taken on a new face. The transformation is often driven by culture as forward-thinking people avoid the proverbial paths in search of revolution. Even though our pioneers prophesied that the revolution would not be televised, the message has permeated. It’s spreading like wildfire and leaders are defined by those that speak first: Jazz Is Dead. Music is the universal language and we are the interpreter of sound, a message that has been lost in transcription.

Under Jazz Is Dead, younger artists are elaborating upon conversations started decades ago; jazz icons are utilizing vintage equipment to create new masters with Adrian Younge and Ali Shaheed Muhammad; the same equipment that recorded their coveted catalogs. The vitality embedded in the new masters epitomizes our quest for new life in music: Jazz Is Dead. This compilation features legendary artists Roy Ayers, Gary Bartz, Marcos Valle, Azymuth, Doug Carn, Joao Donato, & Brian Jackson, who will each have their own individual release, working alongside Adrian Younge and Ali Shaheed Muhammad. 

TRACK LISTING

01. Hey Lover (feat. Roy Ayers)
02. Distant Mode (feat. Gary Bartz)
03. Nancy Wilson (feat. Brian Jackson)
04. Conexão (feat. João Donato)
05. Down Deep (feat. Doug Carn)
06. Apocalíptico (feat. Azymuth)
07. Não Saia Da Praça (feat. Marcos Valle)
08. Jazz Is Dead (feat. The Midnight Hour)

In February 2018, Roy Ayers performed four sold out shows in Los Angeles as part of the Jazz Is Dead Black History Month series. It wasn’t until 2020 that fans of Ayers discovered that in addition to those shows, the legendary vibraphone player had also recorded an entire album of new material with Adrian Younge and Ali Shaheed Muhammad.

Over the course of its eight original compositions, written collaboratively by Younge, Shaheed Muhammad & Ayers and recorded at Younge’s Linear Labs in Los Angeles, the resulting album sounds both like an unearthed an unreleased album from Ayers’ classic period in the 1970s (which produced the oft-sampled “Red, Black & Green,” “We Live In Brooklyn, Baby,” “Everybody Loves The Sunshine,” and “Running Away), as well as something startling, new and unexpected. Joining Ayers, Younge & Shaheed Muhammad onthis musical journey are drummer Greg Paul, vocalists Loren Oden, Joy Gilliam, Saudia Yasmein, Elgin Clark & Anitra Castleberry, as well as Phil Ranelin & Wendell Harrison of the legendary Spiritual Jazz label Tribe Records.

The 8 tracks on this album testify to the love not only of a legendary musician’s legacy, but to the vitality & necessity of this music and these sounds in the present era, a thread that will likely run throughout all of the upcoming releases from Jazz Is Dead Records. 

TRACK LISTING

1. Synchronize Vibration
2. Hey Lover
3. Soulful And Unique
4. Shadows Of The East
5. Sunflowers
6. Gravity
7. Solace
8. African Sounds 

"Omniverse", recorded in New York in 1979 and released that year on Sun Ra's Saturn label (catalog #91379) is a solid, overlooked set in the vast Ra canon. The tracks aren't so much compositions as excursions, with few memorable themes or recurring motifs. It's pure jazz, somewhat "inside" (for Ra), with little of the aggressiveness and confrontation for which the bandleader was renowned. ("Visitant of the Ninth Ultimate" is an exception.) "Omniverse" offers lots of refective piano in trio, quartet, and sextet settings. Instead of a keyboard showcase, Sun Ra engages in dynamic interplay with the rhythm section. The horns are featured largely as soloists; there are few ensemble passages.

TRACK LISTING

1. The Place Of Five Points 
2. West End Side Of Magic City [Vita No. 5] 
3. Dark Lights In A White Forest 
4. Omniverse 
5. Visitant Of The Ninth Ultimate

All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin’ 1965-1976. The definitive new collection surveys Sinatra’s most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks.

Remastered from the original analog tapes by the GRAMMY®-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMY®-nominated reissue co-producer Hunter Lea. 

As the eldest daughter of Frank Sinatra, Nancy was born into the spotlight. At 19, she made her professional debut in front of millions of Americans, appearing alongside her father and Elvis Presley on the television special Welcome Home Elvis. Not long after, she released a series of singles. But those demure recordings didn’t reflect the real Nancy Sinatra – that Nancy would be re-introduced to the world just a few years later, thanks to an unlikely musical partnership with songwriter and producer Lee Hazlewood.

Nancy’s performance of Lee’s song “These Boots Are Made for Walkin’” was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including “Sugar Town,” “Some Velvet Morning,” “Summer Wine,” “Sand,” “Jackson,” and the title track to the 1967 James Bond film “You Only Live Twice.”

Start Walkin’ explores Nancy’s recordings with Lee, her inspired collaborations with songwriter Mac Davis (“Hello L.A., Bye Bye Birmingham”), producer Lenny Waronker (“Hook and Ladder”) and the “should’ve been hit” song with arranger/producer Billy Strange (“How Are Things In California.”)

Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song “Bang, Bang” gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino’s 2003 film, Kill Bill Volume 1. Most recently, Sinatra’s contributions to the industry were further recognized by her peers, when “Boots” was inducted into the GRAMMY ® Hall of Fame. The honor, bestowed in January of 2020, recognizes “musical recordings of lasting qualitative or historical significance.”

TRACK LISTING

1. Bang Bang
2. These Boots Are Made For Walkin’
3. Sugar Town
4. So Long Babe
5. How Does That Grab You, Darlin’?
6. Friday’s Child
7. You Only Live Twice
8. Summer Wine
9. Some Velvet Morning
10. Lightning’s Girl
11. Sand
12. Lady Bird
13. Jackson
14. Happy
15. How Are Things In California
16. Hook And Ladder
17. Hello L.A., Bye Bye Birmingham
18. Paris Summer
19. Arkansas Coal
20. Down From Dover
21. Kind Of A Woman
22. Machine Gun Kelly
23. (L’été Indien) Indian Summer

The Cosmic Jokers is an album by krautrock supergroup The Cosmic Jokers.

It is made up of various Cosmic Couriers musicians, specifically Klaus Schulze, Harald Grosskopf, Manuel Göttsching, Dieter Dierks and Jürgen Dollase.

An essential Kosmische album. Much loved by Julian Cope, an album that he worships.

Cosmic/Space Rock at it's finest

The legendary debut album of the Krautrock all-star band from 1974. Produced at Dierks Studios with the collaboration of Dieter Dierks. What an amazing improvement in the sound of this 48 year old recording. Re-mastered from the original analogue tapes.

Released on the original Kosmische Kuriere label.

Contributors: Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Großkopf, Dieter Dierks.

and others

TRACK LISTING

01. GALACTIC JOKE
02. COSMIC JOY

Jerry Teel - guitar, harmonica, vocals (The Chrome Cranks, Knoxville Girls, Big City Stompers, etc).
Jon Spencer - guitar (Blues Explosion, Pussy Galore, Five Dollar Priest, etc).
Russell Simins - drums (Blues Explosion, etc).
Lisa Wells - bass.

Hung Far Low" is the fifth and final studio album by New York noise rock band The Honeymoon Killers, originally released in 1991 and is now remastered in order to achieve the extreme sound desired for this band.

The Honeymoon Killers recorded this album picking up 2/3 of the nascent Jon Spencer Blues Explosion.

Formed in 1991, the Philadelphia-based quintet have spent some thirty years mapping guitar music’s outer limits ­– dialing into extremes of noise, chaos, and harmony in free-form compositions that now unfurl across 12 full-length records and a near-limitless body of EPs, cassettes, and CD-Rs Recorded by the lineup of John Gibbons (guitar), Michael Gibbons (guitar), Isobel Sollenberger (voice, flute), Clint Takeda (bass), and Joe Culver (drums), Amanita is the place where the band’s spontaneous collective creativity blazed into maturity.

TRACK LISTING

Limerick
Sentence
Tantric Porno
Wank
The High Frequency
Sometimes Words
Yellow Turban
Rumination
Be A Fish
Tapir Song
RM
Clean Sweep
Brambles

Amongst the album’s many highlights the LP is perhaps best known for the track 'Dogwood Blossom' which featured on the soundtrack to the hit television adaption of Sally Rooney’s “Normal People.” The track also featured memorably during the closing sequence of the final episode of Shane Meadows’ “This Is England 88”.

Regan began writing 100 Acres of Sycamore whilst living on the island of Majorca. Regarding the album's composition Regan stated: “I think if you could bottle a bit of the atmosphere and put it into the record, it's there. In saying that, I think it's spliced with walking in the woods in Ireland.”

The album was recorded to tape using analogue methods, with Regan noting, “I just love the sound of it, I love the process. I love the idea that there's a master tape. It's a very potent thing.” Regan and co-producer Sean Read recorded using the same console that The White Stripes used to record their fourth studio album, “Elephant”.

Regarding the stylistic differences between 100 Acres of Sycamore and his previous album, The Shadow Of An Empire, Regan noted, “The last album was kind of like a chrysalis and this is the butterfly. I think sometimes that everyone has to remember that you don't get 'this' without 'that'. This album wouldn't have happened without the last record. The second one wouldn't have happened without the first one. I think sometimes after the first record there might have been a feeling that, because I was on to a good thing, to just repeat it but I wasn't interested in that. It's very important for me to do what feels right at the time.” Regan also noted, "My previous record, The Shadow Of An Empire was me looking out of a window at the world. With this one, it’s a clear look in.”

TRACK LISTING

1. 100 Acres Of Sycamore
2. Sow Mare Bitch Vixen
3. The Horses Are Asleep
4. The Lake District
5. Dogwood Blossom
6. For A Nightingale
7. List Of Distractions
8. 1st Day Of May
9. North Star Lover
10. Woodberry Cemetery
11. Vodka Sorrow
12. Golden Light

The home of a host of indie disco classics with its noir atmospheres and vivid storytelling – qualities that saw the record inspire recent, generation-capturing movie Giddy Stratospheres which takes its name from The Long Blondes’ iconic single – the Sheffield band’s first album managed that rare trick of capturing the 2000s zeitgeist while leaving a timeless artistic mark for the ages.

Featuring of the aforementioned ‘Giddy Stratospheres’, ahead of the new deluxe edition’s release a remastered version of song, along with the track ‘Never To Be Repeated’,’ are being released today as a new digital single boasting brand new artwork painted by The Long Blondes’ frontwoman Kate Jackson. They are available now via all good streaming services.

Initially inspired by the frisson of the indie disco – now, fittingly, a classic of low lit dancefloors everywhere – ‘Giddy Stratospheres’ is The Long Blonde's sophisticated calling card. A swirl of razor sharp guitars and vivid storytelling, waltzing melodies and burning vocals, the Sheffield band's 2000s single fizzes with dancing, desire and the most stylish sing-a-long you'll ever hear.

The anniversary edition of ‘Someone To Drive You Home’, which was originally released in November 2006 and was produced by Pulp member Steve Mackey, comes as a limited edition, double gatefold LP and features the original record, plus 11 additional tracks that the band used on B-sides.

TRACK LISTING

LP1 Tracklisting
Lust In The Movies – Remastered
Once And Never Again – Remastered
Only Lovers Left Alive – Remastered
Giddy Stratospheres – Remastered
In The Company Of Woman – Remastered
Heaven Help The New Girl – Remastered
Separated By Motorways – Remastered
You Could Have Both – Remastered
Swallow Tattoo – Remastered
Weekend Without Makeup – Remastered
Madame Ray – Remastered
A Knife For The Girls – Remastered

LP2 Tracklisting
Five Ways To End It – Single B-Side
Fulwood Babylon – Single B-Side
The Whippet Fancier – Single B-Side
Who Are You To Her? – Single B-Side
Never To Be Repeated – Single B-Side
All Bar One Girls – Single B-Side
I'm Coping – Single B-Side
Last Night On Northgate St – Single B-Side
Platitudes – Single B-Side
Melville Farr – Single B-Side
The Unbearable Lightness Of Buildings – Single B-Side

One of the most unique, original and unusual rock bands to burst onto the alternative scene in the 90s, Morphine was originally formed by vocalist/bassist Mark Sandman, saxophonist Dana Colley and drummer Jerome Deupree (later replaced by Billy Conway) in Cambridge, Mass in 1989. They expertly combined blues, jazz and rock elements into a very distinct style, anchored by Sandman’s deep, crooning, beat-style vocals. Rather than having an electric guitar as the focal point like most rock bands, the trio’s sound was built around Sandman’s two-string electric bass (often deployed with a slide) and Colley’s growling, baritone sax which was dubbed as “low-rock.”

Cure For Pain is the band’s second album for Rykodisc, originally released September 14, 1993. Jerome Deupree, quit due to health problems during the recording of the album and was replaced by Billy Conway. The tracks “Sheila” and “In Spite of Me” were prominently featured on the soundtrack of the 1994 independent film Spanking the Monkey. The video for “Thursday” also appeared on an episode of Beavis and Butt-head. The track “Buena” also appears in the first season of The Sopranos and in the Daria episode “The Teachings of Don Jake.” In 2014, the album placed eighth on the Alternative Nation site’s “Top 10 Underrated ‘90s Alternative Rock Albums” list. As of 1995, it has sold 107,000 copies in the US and over 300,000 copies worldwide.

TRACK LISTING

LP1
Side A:
Dawna
Buena
I’m Free Now
All Wrong
Candy
A Head With Wings
In Spite Of Me

Side B:
Thursday
Cure For Pain
Mary, Won’t You Call My Name?
Let’s Take A Trip Together
Sheila
Miles Davis’ Funeral

LP2
Side A:
Mile High
Bos’ Veranda
All Wrong (Alternate Version)
Third Stone From The Sun
Down Love’s Tributaries
Miles Davis’ Funeral (Alternate Version)

Side B:
I Can Do That
Kerouac
I’m Free Now (Alternate Version)
Groovy Beat
My Brain (Full Length Version)
Untitled Spoken Word Piece
A Married Woman
Pizza Hut Variation #2

So, if you're in the lucky position of being able to celebrate twenty-five years of being a band, how should you mark that milestone in style? Well, if you're Dundee's legendary lo-f indie-pop band Spare Snare, you get in touch with legendary record producer Steve Albini - You ask him if he might be up for co-hosting a Scottish Engineers' Workshop with the band, and recording (a word Albini has always seemed more comfortable with than producer) Spare Snare for the rest of the week Fortunately, for both the band, and for us, the answer was a defnite yes. Creative Scotland stepped in to fund it, the band got to record ten songs with Albini from their back catalogue, and we, the listeners, get an album that stands strong in its own right. To top it off, the album was recorded at the legendary Chem 19 studios in Hamilton, where a number of legendary Scottish indie acts have recorded (including Delgados, Mogwai and Arab Strap).

TRACK LISTING

1. I Am God
2. Super Slinky
3. Hope You Never Go
4. Grow
5. We Are The
6. Snare
7. Photograph Me Properly
8. And Now It Is Over
9. Smile It's Sugar
10. Bugs

Christmas music: a peculiar genre that offers everything from solemnity to exuberance. Christmas carols are beloved, largely uncontested vessels for emotion and memory, gratitude and generosity.

Enter Chilly Gonzales.

Composer, showman in slippers and a bathrobe, he has a deep dedication to his craft: he’s an Entertainer. His humble service to this calling lends a certain inevitability to this announcement: Chilly Gonzales has made a Christmas album.

From feudal oldies to newer holiday pop canon, A very chilly christmas surveys a broad scope of seasonal repertoire and sentiment. There’s grandeur and solemnity, there’s austerity and merriment, and there’s Mariah Carey.

With his unabashed loyalty to melody, Gonzales’ approach deftly navigates the myth of one shared songbook with a collection that opts for nuance over pomp. From Wenceslas to Wham, the great revelation of this collection is the restrained, distilled beauty of Gonzales’ signature minor key interpretations.

“Christmas is a time of very mixed intense emotion for me, and the existing canon often sounds like a forced smile. Christmas is a typical time for superficial happiness, but also a time for reflection and mourning the sad events throughout the year, and to play the songs in a minor key makes Christmas more authentic and realistic.”

A very chilly christmas finds its star in The Banister Bough, the album’s sole original song. This tinseled, sugar-plum collaboration with Feist, complete with miniaturized Jeunet-esque stop-motion animated video, balances delicate whimsy with an ecological message in disguise as a home decorating tutorial. The song gently encourages us to reimagine traditions, those we claim and those we inherit, for the generations to come.

Another album standout is the cover of Snow Is Falling In Manhattan by David Berman, a fellow Christmas-loving Jew. Jarvis Cocker’s fireside vocals and Feist’s ember-afterglow chorus are nestled amongst Gonzales’ piano and a flute. This stop-motion video sees Gonzales and Jarvis de-ambulating through the snowy streets of Manhattan, watching as stoops gets salted and peering in a window at the crackling fireplace inside where an outsider has been taken in.

From solo arrangements to intricate, delicate additions of strings, bells, choir and more, A very chilly christmas also features Gonzales’ frequent stage and studio collaborator, cellist Stella Le Page. As a whole, the album’s gift is the space it creates for quieter moments amid the flurry and noise of the season.

Since the final pre-pandemic stops of his Solo Piano III tour in early 2020, Gonzo has continued to explore and create. New episodes of his ongoing Pop Music Masterclass series add Billie Eilish’s “Bad Guy” and Lil Nas X’s “Old Town Road” to the library and Christmas song episodes are in the works. Chilly Gonzales also recently announced a new book, ENYA: A Treatise On Unguilty Pleasures, due in October. In this musical memoir, he examines his and millions of other peoples’ enthusiasm for Enya’s singular music and asks: Does music have to be smart or does it just have to go to the heart?

STAFF COMMENTS

Barry says: Gonzales has never been one to go with the crowd, and this display of christmas cheer gone minor-key only serves to prove that point. It's another side to the uplifting anthems and choral singalong we'd expect, but if anything a lot easier to listen to. Variety is the spice of life, and with Chilly, you definitely get spice (sorry).

TRACK LISTING

01. Silent Night
02. Good King Wenceslas
03. Silver Bells
04. Rest Ye Merry Gentlemen
05. Last Christmas
06. The Banister Bough (feat Feist)
07. Jingle Bells
08. All I Want For Christmas Is You
09. In The Bleak Midwinter (feat Jarvis Cocker)
10. Snow Is Falling In Manhattan (feat Jarvis Cocker And Feist)
11. O Tannenbaum
12. Maria Durch Ein Dornwald Ging
13. O Come, All Ye Faithful
14. We Three Kings
15. Auld Lang Mynor

Ten years on from its original release, Ample Play Records will release, the ground breaking ‘Cornershop And The Double ‘O’ Groove Of’ album by Cornershop feat. Bubbley Kaur on vinyl for the first time. Cut for vinyl at optimum levels by Fluid Mastering, the same clever folk who mastered both the celebrated ‘England Is A Garden’ and ‘England Is A Garden Instrumentals’ albums. 

After many a time in the studio, under lab conditions Cornershop originally released the album in 2011 featuring the incredible double sugar-coated vocals of Bubbley Kaur.

When Tjinder and Bubbley decided to work with each other, she had not recorded a note of music. They had met very fleetingly, years ago at a cellar gathering in Preston Lancashire, where Tjinder & Benedict studied. So it was much surprise when a taxi driver friend introduced him to a lady that liked singing, worked in a local launderette, and was the same lady he had met in a northern cellar bar.

They then met a good many times at Tjinder’s house where they would listen to and discuss traditional Punjabi Folk Music, and slowly Bubbley came out writing her own original lyrics, which were set to a varied range of modern musics. ‘Natch’ was the first song she recorded, followed by ‘Topknot,’ and together they became the first double ‘A’ single on Rough Trade Records.

The complete recordings were made in their own good time. Tjinder explains “There was no need to quickly put the album out, but there was a need to make it top rank and evergreen, especially as I have wanted to do an album like this for 20 years.”

Benedict & Tjinder set up their own label, Ample Play in 2009 to release the highly acclaimed album ‘Judy Sucks A Lemon For Breakfast.’ The way Tjinder & Bubbley met was like a hindi movie script, and the outcome of the music is like an Asian version of The Kids From Fame – totally upbeat, giving rise to new ways of expressing yourself. 

Castles in Space announces first ever vinyl release for Mordant Music’s landmark 2006 release “Dead Air”. Remastered for vinyl with all new artwork from Admiral Greyscale.

Baron Mordant is always present but slightly elusive – not so much hidden as just lurking in the shadows. Remarkably individual, Dead Air sounds like a surreal car crash between Saint Etienne and Throbbing Gristle with the warm tones of Phillip Elsmore taking the place of Cracknell/Orridge. A Proustian madelaine to a particular generation if ever there was one, Elsmore had worked as the voice of Thames TV across the 70s and 80s and his instantly recognisable voice being dropped into this electronic hall of mirrors still plays havoc with your brain. Dead Air’s loose concept of a dead TV station was embellished with a unique design concept from Admiral Greyscale that played with 70s iconography (bizarre wallpaper, the Magpie logo and so on).

Jonny Mugwump, Fact Magazine.

"Night School announces a new pressing of the long sold out debut album by Molly Nilsson, These Things Take Time, on clear with black smoke vinyl and for the first time on CD. As a significant cultural artefact of the underground pop movement that bubbled up in the early 21st century it's an important landmark. In Molly Nilsson's herstory it remains one of her most adored works"

It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with handfolded sleeve, Nilsson’s debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude was released as a double vinyl a beautiful edition featuring unreleased bonus tracks across two discs, it sold out within a month of release.. Now repressed....

Mega rare 1974 jazz funk rock album recorded by Argentina's top jazzmen Pocho Lapouble, Ricardo Lew and Adalberto Cevasco (also members of Quinteplus, Jorge Lopez Ruiz's band and Gato Barbieri's group among many others).

Includes the irresistible fast-paced funk rock track 'Se Acabó el Recreo' and the ethereal 'Todo en Su Medida y Armoniosamente' and 'Haceme Shaft', featuring Patricia Clark on vocals and unexpected moog arrangements.

First time reissue, with remastered sound and original artwork.

Goldfrapp’s fifth studio album, Head First, was originally released on 19 March 2010. The album debuted at number six on the UK Albums Chart, selling 23,000 copies in its first week and went on to sell over 70k units in the UK alone, It featured three singles Rocket, Alive and Believer and received a Grammy nomination for Best Electronic/Dance Album. Following the reissue series of Black Cherry, Supernature & Seventh Tree by Mute/BM, this is the first time Head First has been reissued and will appear on 140g Transparent Magenta vinyl with an exclusive 12x12 art print in a gatefold sleeve.

TRACK LISTING

Rocket
Believer
Alive
Dreaming
Head First
Hunt
Shiny And Warm
I Wanna Life
Voicething

Originally released on LP in 1986, “World Of Echo” is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur’s aim was to achieve what he calls 'the most vivid rhythmic reality', with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most amazing albums you will ever hear.

Often listed in the various 'most important albums you'll ever hear' type of fair; its innovative and maverick approach to the whole production process (even famously recording the album on a full moon) would go on to inspire countless future generations of creatives; especially across lo-fi and DIY scenes. His mix of classical training, frankly punk attitude and love of experimentation forged a sound that was unequivocally his own; a rare and epochal force of nature that will never be copied again.

If you don't own a copy of this album, I urge you to reconsider! It's a must-have for any serious music lover. Copies always fly out too, so take advantage now as when its out of press it always commands big bucks.

TRACK LISTING

Tone Bone Kone 0:57
Soon-To-Be Innocent Fun / Let's See 9:19
Answers Me 2:04
Being It 5:23
Place I Know / Kid Like You 3:20
She's The Star / I Take This Time 4:46
Tree House 2:09
See-Through 2:08
Hiding Your Present From You 4:06
Wax The Van 2:05
All-Boy All-Girl 3:34
Lucky Cloud 2:46
Tower Of Meaning / Rabbit's Ear / Home Away From Home 4:20
Let's Go Swimming

At once kaleidoscopic and intimate, "Iowa Dream" bears some of Russell’s most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. “I see, I see it all,” sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell’s childhood home and family echo, too, through “Just Regular People,” “I Wish I Had a Brother,” “Wonder Boy,” “The Dogs Outside are Barking,” “Sharper Eyes,” and “I Felt.” Meanwhile, songs like “I Kissed the Girl From Outer Space,” “I Still Love You,” “List of Boys,” and “Barefoot in New York” fizz with pop and dance grooves, gesturing at Russell’s devotion to New York’s avant-garde and disco scenes. Finally, the long-awaited “You Did it Yourself,” until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf’s documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell’s extraordinary voice soaring at the height of its powers. On "Iowa Dream", you can hear a country kid meeting the rest of the world - and with this record, the world continues to meet a totally singular artist.

TRACK LISTING

Side 1
1. Wonder Boy
2. I Never Get Lonesome
3. Everybody Everybody
4. You Did It Yourself
5. Come To Life
6. Iowa Dream
7. Words Of Love
8. I Still Love You
9. You Are My Love
10. Barefoot In New York
11. Just Regular People
12. I Wish I Had A Brother
13. I Felt
14. The Dogs Outside Are Barking
15. Sharper Eyes
16. Follow You
17. List Of Boys
18. I Kissed The Girl From Outer Space
19. In Love With You For The Last Time

Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.

Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.

Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.


We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.

Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.

Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.

As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”

Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.

Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.

If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.

Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.

From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.

A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.

Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.

Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.

Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.

We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.

TRACK LISTING

01 : A1 : Another Thought (02:16)
02 : A2 : A Little Lost (03:18)
03 : A3 : Home Away From Home (05:12)
04 : A4 : Lucky Cloud (02:16)

05 : B1 : This Is How We Walk On The Moon (04:42)
06 : B2 : Hollow Tree (02:30)
07 : B3 : See Through Love (04:46)

08 : C1 : Keeping Up (06:20)
09 : C2 : In The Light Of The Miracle (06:05)
10 : C3 : Lucky Cloud (Return) (03:00)
11 : C4 : Just A Blip (03:42)

12 : D1 : Me For Real (04:55)
13 : D2 : Losing My Taste For The Night Life (04:34)
14 : D3 : My Tiger, My Timing (05:41)
15 : D4 : A Sudden Chill (02:45)

First ever vinyl reissue of Paul Weller’s sixth solo studio album Illumination. Originally released in September 2002, the UK #1 album includes the hit singles “It’s Written in The Stars” (#7) and “Leafy Mysteries” (#23) with guest performances from Carleen Anderson, Jocelyn Brown, Kelly Jones and Noel Gallagher. Features faithful original packaging replication including bespoke sleeve with rounded corners, cut at London’s Metropolis Studios and pressed on 180g vinyl at MPO in France.

Autechre are probably the best thing to have ever come out of Rochdale; them and Lisa Stansfield. The duo of Rob Brown and Sean Booth have forged a sound and a legacy that would inspire a whole generation. They took electronica deep into the club and back again - one of those acts that sit as well amongst the lazers as it does the coffee table. Singular, innovative and altogether worshipped by their fans.

"Chiastic Slide" is one of the greatest electronic LP's of all time. Released in 1997 it left heads spinning with its still timeless production, uncanny ability to manipulate beats and deep emotive synthesis which would surely inspire BOC's "Music Has The Right To Children The Following Year". Now reissued alongside their other groundbreaking LP - "LP5". 

TRACK LISTING

1 Cipater
2 Rettic AC
3 Tewe
4 Cichli
5 Hub
6 Calbruc
7 Recury
8 Pule
9 Nuane

Second repress from Rochadale's finest electronica exponents this week. Alongside the amazingly innovative "Chiastic Slide", "LP5" is probably one of their most loved albums. Undeniably hi-tech, it plots a sonic path through alien soundscapes, future industry and showcases their clattering, plinkity-plonk drum programing to devastating effect. They toy with time stretch and tempo throughout; resulting in an experience which leaves the listener feeling quite elastic. Elsewhere they draw static and electromagnetic energy from their impressive array of gear; smothering the whole album in a crackly, charged patina which would fast become their trademark. Ending with the painfully sublime, "Drane2", this is emotion-riddled electronic music dreamt up by techno angels in North Face's.

Limited repress - don't sleep!

TRACK LISTING

1 Acroyear2
2 777
3 Rae
4 Melve
5 Vose In
6 Fold4,Wrap5
7 Under BOAC
8 Corc
9 Caliper Remote
10 Arch Carrier
11 Drane2

Recorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early ‘70s and then lost to the ages, "Another Side" is one of Leo Nocentelli’s most personal and definitive moments ever cut to tape. A mixture of funky folk and rootsy, raw emotion (think Bill Withers and James Taylor meeting Allen Toussaint at Link Wray’s Three Track Shack), this previously unheard album shines like the sun on a spring day on the New Orleans fairgrounds. Backing Nocentelli is an all-star line-up of New Orleans royalty, including Allen Toussaint (piano), James Black (drums), and both George Porter Jr. (bass) and Zigaboo Modeliste (drums) of The Meters. Deeply introspective, the album features nine original songs by Nocentelli, plus a soulful rendition of Elton John’s “Your Song.” Half a century later, these recordings sound just as fresh and engaging as the day they were recorded.

What makes Another Side even more extraordinary, however, is the fact that the album—which could have easily become a classic in the ‘70s singer-songwriter canon—sat untouched for decades; miraculously surviving the devastating blow of Hurricane Katrina, only to be found 2,000 miles away at a Southern California swap meet in 2018 by record collector Mike Nishita.
The album’s incredible journey is documented in the liner notes by Sam Sweet (New York Times, Los Angeles Times), who spoke with Nocentelli and Nishita about the recording process and re-discovery of the tapes. Sweet’s full notes appear in the release’s accompanying booklet alongside hand-written lyrics by Leo Nocentelli. The first pressing of the vinyl edition will feature gold-foil treatment on cover and spine. Rounding out the package are original designs and layout by the multi GRAMMY®–winning designer Masaki Koike.

While Nocentelli was embedded in New Orleans’ R&B scene, he was also deeply inspired by the late 1960’s and early 1970’s rising singer-songwriters, and soon found himself exploring sounds that were miles away from his band’s hard-edged funk riffs. Whenever he had downtime from session work and shows, Nocentelli spent much of 1971 recording his newly-found, reflective, diaristic songs at Matassa’s Jazz City studio. Backed by longtime Meters bandmate George Porter Jr. on bass, Nocentelli crafted the lineups for his sessions to match the tone of the material. When he needed a pianist, he’d call Toussaint. For percussion on the slower songs, he used drummer Zigaboo Modeliste, but many of the tracks featured James Black—a frequent collaborator of Toussaint’s and a member of Ellis Marsalis’ jazz group, whom Nocentelli recalls as an “unbelievable” musician.

The recording, which Nocentelli fondly refers to as his “country-and-western-album,” paints a picture of a young man yearning to find a sense of purpose. “I was going through some changes which were reflected in the songs that I wrote during that time,” he tells Sweet. Among them is the mid-tempo “Getting Nowhere,” in which he expresses a sense of frustration, as he watches others find success around him. Similarly, “Till I Get There” details a man who is struggling to persevere in his goals. In the soaring “Tell Me Why,” meanwhile, the singer contemplates the existence of God.

Other songs center around fictional characters. “Pretty Mittie,” for instance, is sung from the perspective of a farmer who longs to give up his arduous life for the city. “You’ve Become a Habit” is about a man who falls for a sex worker named Fancy. “Riverfront” is based on stories that singer Aaron Neville shared, about his days working on the New Orleans waterfront. Nocentelli also chose to perform one cover: Elton John’s breakthrough hit, “Your Song.” The guitarist made the recently-released ballad his own—infusing it with a loping, head-nodding cadence, ever so tastefully “funkdafied” in true New Orleans fashion.

By the time that the album was finished, The Meters were busier than ever. They had just signed a record deal with Warner Brothers and were now the official house band at Toussaint’s studio, Sea-Saint. There, they not only backed artists on Toussaint’s Sehorn label but had also become the go-to session musicians for every major artist that recorded in New Orleans. Rather than focus on a solo career, Nocentelli poured his energies into The Meters’ next album. Eventually, time moved on, as did Nocentelli, and he decided to store his unreleased solo album at Sea-Saint for safekeeping.
In 2005, when Hurricane Katrina devastated New Orleans, Sea-Saint was among its victims. While Toussaint (who passed away in 2015) had sold the hallowed studio in the mid-90s, hundreds of his archived recordings remained in the building. The new owner salvaged what he could from the flooded building, shipping everything to a storage facility in Southern California. Boxes of tapes sat there for more than a decade before moving to another unit, which foreclosed a year later. The contents were purchased in a blind auction and, days later, sold at a swap meet. The fact that record collector Mike Nishita just happened to be there was pure kismet.

Nishita, a DJ and brother to “Money Mark” Nishita (of Beastie Boys fame), recognized the Sea-Saint label on the boxes and purchased all 673 master tapes at the swap meet. He inspected the contents with his friend Mario Caldato Jr., the longtime audio engineer for the Beastie Boys. In addition to masters from Irma Thomas, Dr. John, Lee Dorsey, and Toussaint, there was a quarter-inch reel with Nocentelli’s name on it. As Caldato and Nishita played it back, they knew they had something special.

“There was nothing else like it,” writes Sweet. “An acoustic album by the greatest funk guitarist who ever lived. It was the tape Mike would play for people to show them how special the collection was. The best album in the vault was something nobody knew existed.”

Eventually, Nishita and Nocentelli connected, “He was so grateful, so sincere,” recalls Nishita. “I just kept thinking about how this music needs to be heard…Especially when you look at all the things that had to fall into place for these tapes to survive and be discovered this way.” As Nocentelli simply puts it, “Things happen for a reason, man.”

TRACK LISTING

Thinking Of The Day
Riverfront
I Want To Cry
Pretty Mittie
Give Me Back My Loving
Getting Nowhere
Till I Get There
You've Become A Habit
Tell Me Why
Your Song

Originally released on 22nd April 1991, ‘The Beast Inside’ was Inspiral Carpets’ second record and reached #5 in the UK album charts, featuring the singles ‘Caravan’ & ‘Please Be Cruel’. This release sees ‘The Beast Inside’ re-issued on vinyl for the first time since its original release 30 years ago and will be housed in a widespine 12” sleeve on limited edition double 140g purple vinyl.

TRACK LISTING

A1. Caravan
A2. Please Be Cruel
A3. Born Yesterday
B1. Sleep Well Tonight
B2. Grip
B3. Beast Inside
C1. Skidoo
C2. Niagara
C3. Mermaid
D1. Further Away
D2. Dreams Are All We Have

Third Man Records is proud to announce the 20th anniversary expanded edition of Kelley Stoltz’s defining album Antique Glow. The announcement is heralded by the release of bonus track "Too Beck". Limited-edition "rainy nights" UK exclusive vinyl will be available on release day.

Originally self-released in minuscule vinyl-only quantities in 2001, Antique Glow has served not only as a template for the length of Kelley Stoltz’s twenty-plus year career, but has also served as a compass for other Anglophile, TASCAM 388 home recording acolytes. Original copies featured Stoltz’s clever, wry and fanciful hand-painted adornments overtop reclaimed thrift store LP jackets, Third Man’s release here utilizes some of those original unused images for a die-cut sleeve that ultimately gives the listener six different possible album covers.

The songs are by-and-large masterpieces of bedroom pop magic. From the whispering “Here Comes the Sun”-adjacent acoustic underpinnings of album opener “Perpetual Night” through the fuzz-threaded leads of “Are You Electric?” Stoltz’s inspirations are impeccable and clear. Sixties Davies British Invasion through 80’s British Bunnymen post-punk, with appropriate off-shoots into West Coast American pop-psych, Velvets-indebted hooliganism and Drake/CSNY acoustic attenuations, the end result is pure joy.

On the expanded version, standout tracks previously relegated to an Australian tour-only CD (like the breathlessly cinematic “Old Pictures”) see their first-ever vinyl and digital release while there’s an additional 10 songs from the Antique Glow-era seeing their first ever release in any format. The cutting room floor quality here is second-to-none, Stoltz clearly gifted with the curse of writing too many indelible songs, so the newly released “Too Beck” (originally cast off by Kelley because he thought “it sounded too much like Beck”) and “Umbrella” stand firm as some of the best, most timeless music Stoltz has ever released... a full two decades after he recorded them!



With all instruments and vocals performed by Stoltz, the singularity of vision here is impeccably clear and executed.

TRACK LISTING

LP1
1. Perpetual Night
2. Crystal Ball
3. Jewel Of The Evening
4. Underwater's Where The Action Is
5. One Thousand Rainy Days
6. Tubes In The Moonlight
7. 26th Street Floor
8. Are You Electric
9. Please Visit Soon
10. Listen Darkly
11. Fake Day
12. Mean Marianne
13. Mt. Fuji
14. Silver Lining

LP2
15. Old Pictures (Bonus Track)
16. Immobile Bones (Bonus Track)
17. You'll Find The Truth In The Frying Pan (Bonus Track)
18. You And Me And 100 Others (Bonus Track)
19. You're Making Me Yawn (Bonus Track)
20. Interplanetary Wisdom (Bonus Track)
21. Harmonica Makes The Doggy Go Wild (Bonus Track)
22. Dead John (Bonus Track)
23. Baby's Fingers (Bonus Track)
24. Too Beck (Bonus Track)
25. Discount City VU (Bonus Track)
26. Umbrella (Bonus Track)
27. Spilled Milk (Live On PBS) (Bonus Track)

Church is a sister album to John Foxx’s The Garden (40th anniversary edition). Many elements of the original Church booklet, which was part of the original 1981 The Garden release, are integrated into the gatefold artwork. Church features singles, B-sides and out-takes from the same period, along with the Miles Away single when Foxx re-introduced more traditional instrumentation to his electronic template.

TRACK LISTING

1 This Jungle
2 Miles Away
3 A Long Time
4 Fog 
5 Swimmer I
6 Swimmer II
7 Swimmer III
8 Swimmer IV

All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

Commemorating the 30th anniversary of Nirvana’s seminal 1991 release this reissue is spread over four formats:

5CD + BLU-RAY SUPER DELUXE
Commemorating the 30th anniversary of Nirvana’s seminal 1991 release, the Nevermind Super Deluxe contains 5 CDs showcasing the newly remastered album from the original analog tapes along with 4 complete concerts from the Nevermind tour from Amsterdam, Netherlands; Del Mar, California; Melbourne, Australia and Tokyo, Japan. Additionally, a Blu-ray of the complete and newly remastered in HD Live in Amsterdam concert video is included along with a 40-page hardcover book with unreleased photos.

2CD DELUXE
Commemorating the 30th anniversary of Nirvana’s seminal 1991 release, the Nevermind 2CD Deluxe Edition contains the newly remastered album from the original analog tapes and selections from 4 concerts on the Nevermind tour from Amsterdam, Netherlands; Del Mar, California; Melbourne, Australia and Tokyo, Japan.

1LP + 7 inch
Commemorating the 30th anniversary of Nirvana’s seminal 1991 release, Nevermind has been newly remastered from the original analog tapes. The 1LP version has been expanded to a premium tip-on gatefold jacket for the first time and includes a brand new 7-inch vinyl.

8LP SUPER DELUXE
Commemorating the 30th anniversary of Nirvana’s seminal 1991 release, the Nevermind 8LP Super Deluxe contains 8 180-gram LPs showcasing the newly remastered album from the original analog tapes and 4 concerts on the Nevermind Tour from Amsterdam, Netherlands; Del Mar, California; Melbourne, Australia and Tokyo, Japan. Also included is a first-ever 7-inch for “Endless, Nameless” with B-sides “Even In His Youth” and “Aneurysm,” and a 40-page hardcover book with unreleased photos.

TRACK LISTING

Super Deluxe Edition 5CD (* Denotes Previously Unreleased)
CD 1 - Nevermind (Original Album Remastered)
Smells Like Teen Spirit
In Bloom
Come As You Are
Breed
Lithium
Polly
Territorial Pissings
Drain You
Lounge Act
Stay Away
On A Plain
Something In The Way
CD 2 - Live In Amsterdam, Netherlands (Paradiso, November 25, 1991)
Drain You*
Aneurysm*
School
Floyd The Barber*
Smells Like Teen Spirit*
About A Girl*
Polly*
Lithium
Sliver*
Breed*
Come As You Are*
Been A Son
Negative Creep*
On A Plain*
Blew
Love Buzz*
Territorial Pissings*
CD 3 - Live In Del Mar, California (Pat O'Brien Pavilion, Del Mar Fairgrounds, December 28, 1991)
Drain You
Aneurysm
School*
Floyd The Barber*
Smells Like Teen Spirit
About A Girl*
Polly
Sliver
Breed*
Come As You Are*
Lithium*
Territorial Pissings*
CD 4 - Live In Melbourne, Australia For Triple J (The Palace, St. Kilda, February 1, 1992)*
Aneurysm
Drain You
School
Sliver
About A Girl
Come As You Are
Lithium
Breed
Polly
Lounge Act
In Bloom
Love Buzz
Smells Like Teen Spirit
Feedback Jam
Negative Creep
On A Plain
Blew
CD 5 - Live In Tokyo, Japan (Nakano Sunplaza, February 19, 1992)*
Negative Creep
Been A Son
On A Plain
Blew
Come As You Are
Lithium
Breed
Sliver
Drain You
About A Girl
School
Aneurysm
Love Buzz
Polly
Territorial Pissings
Smells Like Teen Spirit
Blu-ray - Live In Amsterdam, Netherlands (Paradiso, November 25, 1991)*
Drain You
Aneurysm
School
Floyd The Barber
Smells Like Teen Spirit
About A Girl
Polly
Lithium
Sliver
Breed
Come As You Are
Been A Son
Negative Creep
On A Plain
Blew
Love Buzz
Territorial Pissings

Super Deluxe 8LP (* Denotes Previously Unreleased)
LP 1 - Nevermind (Original Album Remastered)
Smells Like Teen Spirit (Side A)
In Bloom (Side A)
Come As You Are (Side A)
Breed (Side A)
Lithium (Side A)
Polly (Side A)
Territorial Pissings (Side B)
Drain You (Side B)
Lounge Act (Side B)
Stay Away (Side B)
On A Plain (Side B)
Something In The Way (Side B)
LP 2 - Live In Amsterdam, Netherlands (Paradiso, November 25, 1991)
Drain You* (Side A)
Aneurysm* (Side A)
School (Side A)
Floyd The Barber* (Side A)
Smells Like Teen Spirit* (Side B)
About A Girl* (Side B)
Polly* (Side B)
Lithium (Side B)
LP 3 - Live In Amsterdam, Netherlands (Paradiso, November 25, 1991) (continued)
Sliver* (Side A)
Breed (Side A)
Come As You Are* (Side A)
Been A Son (Side A)
Negative Creep* (Side A)
On A Plain* (Side B)
Blew (Side B)
Love Buzz* (Side B)
Territorial Pissings* (Side B)
LP 4 - Live In Del Mar, California (Pat O'Brien Pavilion, Del Mar Fairgrounds, December 28, 1991)
Drain You (Side A)
Aneurysm (Side A)
School* (Side A)
Floyd The Barber* (Side A)
Smells Like Teen Spirit (Side A)
About A Girl* (Side A)
Polly (Side B)
Sliver (Side B)
Breed* (Side B)
Come As You Are* (Side B)
Lithium* (Side B)
Territorial Pissings* (Side B)
LP 5 - Live In Melbourne, Australia For Triple J (The Palace, St. Kilda, February 1, 1992)*
Aneurysm (Side A)
Drain You (Side A)
School (Side A)
Sliver (Side A)
About A Girl (Side B)
Come As You Are (Side B)
Lithium (Side B)
Breed (Side B)
Polly (Side B)
LP 6 - Live In Melbourne, Australia For Triple J (The Palace, St. Kilda, February 1, 1992)* (continued)
Lounge Act (Side A)
In Bloom (Side A)
Love Buzz (Side A)
Smells Like Teen Spirit (Side A)
Feedback Jam (Side B)
Negative Creep (Side B)
On A Plain (Side B)
Blew (Side B)
LP 7 - Live In Tokyo, Japan (Nakano Sunplaza, February 19, 1992)*
Negative Creep (Side A)
Been A Son (Side A)
On A Plain (Side A)
Blew (Side A)
Come As You Are (Side A)
Lithium (Side B)
Breed (Side B)
Sliver (Side B)
Drain You (Side B)
LP 8 - Live In Tokyo, Japan (Nakano Sunplaza, February 19, 1992)* (continued)
About A Girl (Side A)
School (Side A)
Aneurysm (Side A)
Love Buzz (Side A)
Polly (Side B)
Territorial Pissings (Side B)
Smells Like Teen Spirit (Side B)
7"
Endless, Nameless (Side A)
Even In His Youth (Side B)
Aneurysm (Side B)

Deluxe Edition 2CD (* Denotes Previously Unreleased)
CD 1 - Nevermind (Original Album Remastered)
Smells Like Teen Spirit
In Bloom
Come As You Are
Breed
Lithium
Polly
Territorial Pissings
Drain You
Lounge Act
Stay Away
On A Plain
Something In The Way
CD 2 - Live On Nevermind Tour
Negative Creep (Live In Tokyo, Japan 1992)*
Been A Son (Live In Tokyo, Japan 1992) *
On A Plain (Live In Tokyo, Japan 1992) *
Blew (Live In Tokyo, Japan 1992) *
Aneurysm (Live In Melbourne, Australia For Triple J 1992) *
Drain You (Live In Melbourne, Australia For Triple J 1992) *
School (Live In Melbourne, Australia For Triple J 1992) *
Lounge Act (Live In Melbourne, Australia For Triple J 1992) *
Sliver (Live In Del Mar, California 1991)
Breed (Live In Del Mar, California 1991) *
Come As You Are (Live In Del Mar, California 1991) *
Lithium (Live In Del Mar, California 1991) *
Floyd The Barber (Live At The Paradiso, Amsterdam 1991) *
Smells Like Teen Spirit (Live At The Paradiso, Amsterdam 1991) *
About A Girl (Live At The Paradiso, Amsterdam 1991) *
Territorial Pissings (Live At The Paradiso, Amsterdam 1991) *

1LP + 7"
LP 1
Smells Like Teen Spirit (Side A)
In Bloom (Side A)
Come As You Are (Side A)
Breed (Side A)
Lithium (Side A)
Polly (Side A)
Territorial Pissings (Side B)
Drain You (Side B)
Lounge Act (Side B)
Stay Away (Side B)
On A Plain (Side B)
Something In The Way (Side B)
7"
Endless, Nameless (Side A)
Even In His Youth (Side B)
Aneurysm (Side B)

Limited edition, expanded 10th anniversary pressing which contains the original album pressed on ‘sky blue’ coloured vinyl. The release also includes a bonus 12” featuring all 12 B-sides from the Jump Into The Fog, Anti-D, Techno Fan (which world renowned DJ, Diplo is a big fan of) and Our Perfect Disease singles pressed on ‘golden sand’ coloured vinyl. Includes two art prints featuring the album cover plus the alternative cover shot that featured on the original deluxe boxset at the time.

TRACK LISTING

1. The Wombats - Our Perfect Disease [Sound Recording]
2. The Wombats - Tokyo (Vampires & Wolves) [Sound Recording]
3. The Wombats - Jump Into The Fog [Sound Recording]
4. The Wombats - Anti-D [Sound Recording]
5. The Wombats - Last Night I Dreamt... [Sound Recording]
6. The Wombats - Techno Fan [Sound Recording]
7. The Wombats - 1996 [Sound Recording]
8. The Wombats - Walking Disasters [Sound Recording]
9. The Wombats - Girls / Fast Cars [Sound Recording]
10. The Wombats - Schumacher The Champagne [Sound Recording]
11. The Wombats - Addicted To The Cure [Sound Recording]
12. The Wombats - Valentine [Sound Recording]
13. The Wombats - How I Miss Sally Bray [Sound Recording]
14. The Wombats - I'm A Robot Like You [Sound Recording]
15. The Wombats - Wonderful Distraction [Sound Recording]
16. The Wombats - Dear Hamburg [Sound Recording]
17. The Wombats - Shock Goodbyes And P45's [Sound Recording]
18. The Wombats - Avalanche [Sound Recording]
19. The Wombats - Trampolining [Sound Recording]
20. The Wombats - IOU's [Sound Recording]
21. The Wombats - Guillotine [Sound Recording]
22. The Wombats - Reynold's Park [Sound Recording]

All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

Radiohead announces KID A MNESIA, a multiple format triple-album release marking the 21st anniversary of Kid A and Amnesiac, out via XL Recordings.

KID A MNESIA collects Radiohead’s fourth and fifth albums alongside the debut of a newly compiled third disc titled Kid Amnesiae. Exclusive to this release, Kid Amnesiae is comprised of unearthed material culled from the Kid A / Amnesiac sessions. Along with alternate versions and elements of Kid A and Amnesiac album tracks and B-Sides, Kid Amnesiae features the never-before-heard "If You Say the Word” and a previously unreleased studio recording of "Follow Me Around." 

TRACK LISTING

Vinyl Tracklisting:
Kid A:
Side A:
1. Everything In Its Right Place
2. Kid A
3. The National Anthem
4. How To Disappear Completely
5. Treefingers
Side B:
1. Optimistic
2. In Limbo
3. Idioteque
4. Morning Bell
5. Motion Picture Soundtrack

Amnesiac:
Side C:
1. Packt Like Sardines In A Crushd Tin Box
2. Pyramid Song
3. Pulk/Pull Revolving Doors
4. You And Whose Army?
5. I Might Be Wrong
Side D:
1. Knives Out
2. Morning Bell/Amnesiac
3. Dollars And Cents
4. Hunting Bears
5. Like Spinning Plates
6. Life In A Glasshouse

Kid Amnesiae:
Side E:
1. Like Spinning Plates (‘Why Us?’ Version)
2. Untitled V1
3. Fog (Again Again Version)
4. If You Say The Word
5. Follow Me Around
Side F:
1. Pulk/Pull (True Love Waits Version)
2. Untitled V2
3. The Morning Bell (In The Dark Version)
4. Pyramid Strings
5. Alt. Fast Track
6. Untitled V3
7. How To Disappear Into Strings

CD Tracklisting:
CD1 Kid A:
1. Everything In Its Right Place
2. Kid A
3. The National Anthem
4. How To Disappear Completely
5. Treefingers
6. Optimistic
7. In Limbo
8. Idioteque
9. Morning Bell
10. Motion Picture Soundtrack

CD2 Amnesiac:
1. Packt Like Sardines In A Crushd Tin Box
2. Pyramid Song
3. Pulk/Pull Revolving Doors
4. You And Whose Army?
5. I Might Be Wrong
6. Knives Out
7. Morning Bell/Amnesiac
8. Dollars And Cents
9. Hunting Bears
10. Like Spinning Plates
11. Life In A Glasshouse

CD3 Kid Amnesiae:
1. Like Spinning Plates (‘Why Us?’ Version)
2. Untitled V1
3. Fog (Again Again Version)
4. If You Say The Word
5. Follow Me Around
6. Pulk/Pull (True Love Waits Version)
7. Untitled V2
8. The Morning Bell (In The Dark Version)
9. Pyramid Strings
10. Alt. Fast Track
11. Untitled V3
12. How To Disappear Into Strings 

We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 re-cut carefully overseen by Manuel Göttsching himself.

As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) :

“Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I've written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off. Phasing tears at the whole tracks as this Holy Racket crosses into Hyper-space and everything gets all hyphenated just-for-the-sake-of-it. “Flowers Must Die”, man, it’s fucked up.

Over on Side 2, the title-track (“Vibrations”) begins poetically enough with Wolfgang Muller’s epic and hugely reverbed vibraphone. Organ fades in and FX guitars, and time passes by. Finally, tom-toms roll and the developing pace is built upon until that great eternal chord sequence finally materialises — this is the one that Göttsching and Enke believed was the sound of heaven. They may have been right. And Schwingungen was a gift from the Gods.“

TRACK LISTING

Side A :
Light And Darkness
A1. Light: Look At Your Sun 6:20
A2. Darkness: Flowers Must Die 12:20
Side B :
Schwingungen 19:00

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

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

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

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

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

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

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

TRACK LISTING

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

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

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

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

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

* Super Deluxe Editions Only.

The classic second line up of The Fall, classic material too. Mark E. Smith (vocals), Martin Bramah (guitar), Tony Friel (bass), Una Baines (keyboards), Karl Burns (drums). Tony Friel’ s last gig before he went off to join Dick Witts in The Passage. The Fall set was recorded on cassette by Chris Hewitt , a copy was given to Bernie Wilcox RAR gig organiser who passed it on to Mark. Mark thought it was such an important gig recording despite not being brilliant quality that he asked Chis could The Fall release it – so it first appeared on CD in 1999. In 2013 Mark E Smith told Chris Hewitt it was now due a release on vinyl and would he sort it out on Ozit. It has taken a bit of time since Mark’s suggestion but here it is.

TRACK LISTING

Side One

1 Psycho Mafia
2 Last Orders
3 Repetition
4 Dresden Dolls
5 Hey Fascist
6 Frightened
7 Industrial Estate.

Side Two

1 Stepping Out
2 Bingo Masters Breakout
3 Oh Brother
4 Cop It
5 Futures And Pasts
6 Louie Louie 

'All Is Quiet...' begins in cold droned echoes of Nico's 'Frozen Warnings' but Cotton laments vanishing English customs, performance & countryside. Viola, harmonium & recorders bring lost sounds – the deathly percussive march of 'A Tragedy In The Tithe Barn', ballad themes of departure in 'The Bells of St. Agnes'.

Cotton's music searches a past of stillness & desolation but where Nico's is an icy tundra, Cotton's viola and choral layers hold earthy, distinctly English experimental resonances with early music modalities. It's mournful, yes, but with contemplative spaces of light & renewal.

Sounds like: John Cale & Nico, Tony Conrad, Laura Cannell, Linda Perhacs

TRACK LISTING

All Is Quiet At The Ancient Theatre
The Last Sense To Leave Us
36 Dramatic Situations
The Bells Of St Agnes
A Tragedy In The Tithe Barn

With gliding viola & choral forces, Only Darkness Now is a more alive, peopled landscape than its predecessor. Moods remain contemplative, concerned with vivid, historical netherworlds & torments – we see this in extended album centrepiece 'Behind the Spiderweb Gate' and in 'In Solitude I Will Fade Away'. However despite its title Only Darkness now has a brighter expanse:

Cotton layers viola, chimes & Omnichord - an electrical ghost-like medieval drone, alongside percussion, harmonium, piano & voice. This is a confident record, lifting Shirt of Lace by medieval revivalist Dorothy Carter, from Celtic lament to cathedral like grandeur.

Sounds like: Max Richter. Tony Conrad. The Unthanks. Laura Cannell.

TRACK LISTING

Behind The Spiderweb Gates
In Solitude I Will Fade Away
How My Heart Bled In Bleeding Heart Yard
The Hill Was Hollow
Shirt Of Lace

Beautiful Garbage is the third studio album from Garbage, initially released on October 1, 2001. Marking a departure from the sound the band had established on their first two releases, Garbage & Version 2.0, the album was written and recorded over the course of a year, when lead singer Shirley Manson chronicled their efforts weekly online, becoming one of the first high-profile musicians to keep an Internet blog. The album expanded on the band's musical variety, with stronger melodies, more direct lyrics, and sounds mixing rock with electronica, new wave, hip hop, and girl groups.

10th anniversary reissue of this wonderful LP from the finest purveyors of lush orchestral epic and widescreen baroque indie rock.

Taking over 14 painstaking months to put together, ‘Tamer Animals’ was inspired by Sigur Ros, Ennio Morricone and Godspeed You Black Emperor, and is sure to appeal to fans of Grizzly Bear, Kurt Vile and Fleet Foxes.

“Tamer Animals’ feels organic and lovingly crafted, a record whose lushness often invites you to simply collapse into it” – Pitchfork.

TRACK LISTING

1. Dark Horse
2. As I Lay My Head Down
3. For 12
4. Tamer Animals
5. Dust Bowl III
6. Weather
7. Old Statues
8. Woodwind
9. Desert
10. Landforms
11. Heading East

Bonus Download Tracks
Glass Leaves
Take Us Alive
Dead In The Water
Great Sky
Living Dead
Song Song
This Is Not
Dust Bowl 1 

The release of ‘The Later Years’ project in 2019 gave an opportunity for a fresh overview of the ‘A Momentary Lapse Of Reason’ album, originally released in 1987. By returning to some of Richard Wright's original keyboard takes, and by re-recording new drum tracks with Nick Mason, producers David Gilmour and Bob Ezrin have restored a better creative balance between the three Pink Floyd members.

The album also showcases new and updated artwork with a previously unused image from the original photo shoot featuring the iconic beds on the beach.

Spiritualized and Fat Possum Records announce the final instalment of The Spaceman Reissue Program. The album is the fourth in this series of 180g double albums mastered by Alchemy Mastering, presented in a gatefold jacket with reworked artwork by Mark Farrow and available in both a standard black vinyl pressing and limited edition ivory-coloured vinyl.

Let It Come Down saw Jason Pierce rebuilding Spiritualized after the core line-up dissolved following the intensive touring process of Ladies And Gentlemen... Dion’s Phil Spector-produced ‘Born To Be With You’ was an influence. The initial recordings were made at John Coxon’s studio before some 115 different musicians were brought into Air and Abbey Road Studios to work on these 11 songs. Spiritualized had always made wide-screen music but this time the movie theater was the size of the Coliseum

TRACK LISTING

1. On Fire
2. Do It All Over Again
3. Don't Just Do Something
4. Out Of Sight
5. The Twelve Steps
6. The Straight And The Narrow
7. I Didn't Mean To Hurt You
8. Stop Your Crying
9. Anything More
10. Won't Get To Heave (The State I'm In)
11. Lord Can You Hear Me

THE PICCADILLY RECORDS ALBUM OF THE YEAR 2001

The band's commercial break through, this 2001 album went gold, spinning off the Top 20 Modern Rock hits "Fell In Love With A Girl" and "Dead Leaves And The Dirty Ground".

The Stooges are widely considered one of the greatest rock bands of all time and this comes across loud and clear on director Jim Jarmusch’s critically acclaimed documentary film ‘Gimme Danger’.

GIMME DANGER: MUSIC FROM THE MOTION PICTURE is a 14-track collection curated by Jarmusch and Stooges frontman Iggy Pop, with a focus on the group’s first three albums. It includes The Stooges’ classics ‘I Wanna Be Your Dog,’ ‘1969,’ and ‘Loose,’ along with rarities ‘I Got A Right,’ ‘I’m Sick of You’ and ‘Asthma Attack,’ and songs by MC5, Iggy Pop’s pre-Stooges combo The Iguanas, & more. It’s one of those rare soundtracks that appeals both to the most discerning fan and also as an introductory to those less familiar. 

TRACK LISTING

Side A:
1. Gimme Danger (Bowie Mix)
2. I Wanna Be Your Dog (Remastered)
3. Loose
4. No Fun (2016 Remaster)
5. Asthma Attack
Side B:
1. I Got A Right (Outtake From Early Aborted "Raw Power" Session)
2. Down On The Street
3. Lost In The Future (Take 1)
4. I'm Sick Of You (Outtake From Early Aborted "Raw Power" Session
5. 1969 (2016 Remaster)

Echo & The Bunnymen formed in Liverpool back in 1978, with Ian McCulloch on vocals, Will Sergeant on guitar, bassist Les Pattinson with Pete De Freitas on drums. Their first release came in the form of the single The Pictures On My Wall, with the B-side Read It In Books. Both tracks would appear on their debut album Crocodiles, released in 1980. Released amid the growing wave of post-punk, Crocodiles cemented the band amongst the best around, with the NME at the time describing it as “probably the best album this year by a British band” and featuring amongst many greatest ever debut album lists.

The lead single from the album, Rescue, was produced by Ian Broudie who would later produce more Echo & The Bunnymen material, as well as later forming The Lightning Seeds in 1989. The single would enter the UK charts, with the album breaking into the top 20 and going on to be certified Gold. The original cover was shot by Brian Griffin near Rickmansworth, Hertfordshire. The atmospheric, moody aura of the sleeve sets the tone for quintessential post-punk.

TRACK LISTING

Side A
1. Going Up
2. Stars Are Stars
3. Pride
4. Monkeys
5. Crocodiles
Side B
1. Rescue
2. Villiers Terrace
3. Pictures On My Wall
4. All That Jazz
5. Happy Death Men

Following the release of their debut album Crocodiles and the subsequent EP Shine So Hard, Echo & The Bunnymen returned with their second studio album Heaven Up Here. The album spawned the single A Promise as well as Over The Wall in Australia. The album artwork was shot by frequent collaborator Brian Griffin, on a beach in the South Wales town of Porthcawl and won the Best Dressed LP at the 1981 NME Awards.

Seen as a darker album to their debut Crocodiles, the album was well-received by fans and press alike, cementing their cult status in the UK. Heaven Up Here went on to peak at #10 in the UK album charts, being certified Gold in the process, as well as being the band’s first album to chart in the USA. It won the 1981 NME Best Album award and ranks amongst Rolling Stone’s 500 greatest albums of all time.

TRACK LISTING

Side A
1. Show Of Strength
2. With A Hip
3. Over The Wall
4. It Was A Pleasure
5. A Promise
Side B
1. Heaven Up Here
2. The Disease
3. All My Colours
4. No Dark Things
5. Turquoise Days
6. All I Want

‘Rejoice’ is the classic collaboration between Tony Allen, the legendary drummer and co-founder of Afrobeat, and Hugh Masekela, the master trumpet player of South African jazz. The record, released to great acclaim in March 2020, became the first posthumous release from Masekela, and the last release from Allen, who sadly passed away a month later.

For this Special Edition, World Circuit have gone back to the original 2010 mixes and added previously unheard parts from the 2019 sessions to create 8 reimagined bonus mixes. The CD and LP releases also feature a booklet with sleeve notes and photos.

Having first met in the 70s thanks to their respective close associations with Fela Kuti, the two world-renowned musicians talked for decades about making an album together. When, in 2010, their touring schedules coincided in the UK, the moment presented itself and producer Nick Gold took the opportunity to record their encounter. The unfinished sessions, consisting of all original compositions by the pair, lay in archive until after Masekela passed away in 2018. With renewed resolution, Tony Allen and Nick Gold, with the blessing and participation of Hugh Masekela’s estate, unearthed the original tapes and finished recording the album in summer 2019 at the same London studio where the original sessions had taken place.

‘Rejoice’ can be seen as the long overdue confluence of two mighty African musical rivers – a union of two free-flowing souls for whom borders, whether physical or stylistic, are things to pass through or ignore completely. According to Allen, the album deals in “a kind of South African-Nigerian swing-jazz stew”, with its roots firmly in Afrobeat. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland / The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

TRACK LISTING

Disc 1:
1. Robbers, Thugs And Muggers (O’Galajani)
2. Agbada Bougou
3. Coconut Jam
4. Never (Lagos Never Gonna Be The Same)
5. Slow Bones
6. Jabulani (Rejoice, Here Comes Tony)
7. Obama Shuffle Strut Blues
8. We’ve Landed

Disc 2
1. Robbers, Thugs And Muggers (O’Galajani) (Cool Cats Mix)
2. Agbada Bougou (Cool Cats Mix)
3. Coconut Jam (Cool Cats Mix)
4. Never (Lagos Never Gonna Be The Same) (Cool Cats Mix)
5. Slow Bones (Cool Cats Mix)
6. Jabulani (Rejoice, Here Comes Tony) (Cool Cats Mix)
7. Obama Shuffle Strut Blues (Cool Cats Mix)
8. We’ve Landed (Cool Cats Mix)

Ten years after its release, Wye Oak’s Civilian remains a raw, sinewy punch of a record bleak and intense and lonely and self-assured all at once. The album unravels with the sort of self questioning and uncertainty that come with youth, and its specific confidence in unflinchingly probing all of those emotions, feeling them to their deepest extent even when it’s tearing you apart at the seams. When Andy Stack and Jenn Wasner released Civilian, it marked both the ascension and death of Wye Oak, or at least a version of it. Now, a decade later, Civilian + Cut All the Wires: 2009–2011 delves back into that pivotal record and adds a lost album of unreleased tracks and demos to Civilian’s universe.

Wye Oak has always existed, and likely always will, at an intersection, as a paradox. Gentle and jagged, fierce and vulnerable—even the clinical sheen of the word “civilian” feels at odds with a record whose content is almost violently human. As Wasner wrote in a short note that accompanied promotional mailings of the record to press in 2011: “These are songs about aloneness (the positive kind), loneliness (the horrible kind), moving on, and letting go (of people, places, and things).”

Civilian was beloved upon release, complete with late-night TV appearances, sold-out concerts, and glowing reviews; it was the A.V. Club’s favorite album of 2011. With that acclaim came inevitable burnout, thanks in part to Wye Oak’s workhorse mentality, the 200+ shows they performed on the back of the album’s release, and a persistently misogynistic narrative about Wasner’s guitar skills. But rather than recoil, the band decided to rethink: Civilian set the duo on a decade-long course of innovation. On Shriek, the follow-up to Civilian, they completely did away with guitars. And now, in 2021, Wye Oak seem to have fully ditched the album format.

From a steady stream of standalone singles to 2020’s No Horizon, their EP collaboration with the Brooklyn Youth Chorus, Wasner and Stack are fully committed to reinventing their sound over and over again. Devoting nearly 2,000 words to its 10th anniversary earlier this year, Stereogum described Civilian as “an album of hellos and goodbyes at the same time, introducing us to everything Wye Oak could be, before setting the stage for the other Wye Oaks we’d soon get to know, and the all the others we’ve still yet to meet.”

Cut All the Wires: 2009–2011, a 12-song collection of rare and unreleased tracks and demos culled from the Wye Oak archives, is an extension of the bruised and aching Civilian. Sonic paradoxes abound: the mellow “Sinking Ship” is preceded by the wall-of-sound grunginess that roars through “Half a Double Man.” A pared-down acoustic Daytrotter live session of “Two Small Deaths” dovetails into the jangling “Holy Holy” demo. The closing lyrics over the frenetic, screeching feedback of “Electricity” lend the anniversary release its title.

As Wasner sees it now, these songs might as well have been written by a different person. In fact, she and Stack had forgotten about most of the material on Cut All the Wires until happened upon while digging through old hard drives. The collection adds another layer of separation, a lost album unexpectedly discovered and the feeling of meeting oneself all over again. When Wasner wrote these songs, she was deep in the throes of heartbreak and suffering, her songwriting cutting through a haze of self-doubt and internalized misogyny in musical spaces. On the recordings, you can hear the strain in her voice (aiming to sound more androgynous, she notes, something that would go on to ultimately hurt her vocal cords). It lends a raw, emotive quality to these songs, quaking with trepidation and intensity. It feels painful, and it feels real.

TRACK LISTING

Civilian LP 1
SIDE A
Two Small Deaths
The Alter
Holy Holy
Dogs Eyes
Civilian
SIDE B:
Fish
Plains
Hot As Day
We Were Wealth
Doubt

Cut All The Wires LP 2
SIDE C
Replacement
Civilian (Demo)
No Words
Electricity
Half A Double Man
Sinking Ship
SIDE D
Two Small Deaths (Daytrotter Session)
Holy Holy (Demo)
Pardon
Black Is The Color
Ten Fingers
I’m Proud

In 1994 Come responded to the difficult-second-album stereotype with the hypnotic, intense and emotional masterpiece ‘Don’t Ask Don’t Tell’. Featuring the original line-up of Thalia Zedek, Chris Brokaw, Sean O’ Brien and Arthur Johnson, the Boston band broadened their sound by slowing down the tempos and creating a dense urban stream of consciousness that mixes noise, city blues and… catharsis. The album hits you immediately as one of the greatest dissident records ever made.

Lovingly remastered, this expanded edition includes 'Wrong Sides', an additional albums worth of b-sides and unreleased tracks, including the band's very first single 'Car' and their last recorded song, 'Cimarron', featuring this core line-up. These gems showcase the rawness and incredible growth of a band completely in command of their songwriting and at the same time paying homage to some of their punk roots with beautiful renditions of Swell Maps 'Loin Of The Surf' and X's 'Adult Books'. Also Includes new artwork with unearthed photos and fresh liner notes by the band.

Dissident from traditional rock this is a band playing music that thematically and structurally seems to pull from old Europa, from Eastern folk and modernist classical music as much as US and UK rock. Dissident from traditional ideas about singing and songwriting Thalia’s (ex of Live Skull) presence on songs like ‘Yr Reign’ and the astonishing closer ‘Arrive’ isn’t the pushy self-aggrandizement of a lead singer but the internal voice of the eternal migrant, someone who knows about survival, hiding, how living between multiple worlds can become its own refuge of distance, its own sanctuary of unbelonging Don’t Ask Don’t Tell emerged from a period of cohesion, a break from the tight and hectic touring schedule Come had been plunged into after the acclaim accorded 11:11, and you can hear that increased focus in every moment the layers of guitars and feedback are even more precise, the structuring of songs takes on a new openness and ambition, and the whole narrative arc of the record from ‘Finish Line’ to ‘Arrive’ is more exquisitely realised and sequenced.

TRACK LISTING

Don't Ask Don't Tell - Disc 1
A1 Finish Line
A2 Mercury Falls
A3 Yr Reign
A4 Poison
A5 Let's Get Lost
B1 String
B2 German Song
B3 In/Out
B4 Wrong Side
B5 Arrive

Wrong Sides - Disc 2
A1 Car
A2 Last Mistake
A3 Submerge
A4 Loin Of The Surf
A5 SVK
B1 German Song (Demo)
B2 Adult Books
B3 Who Jumped In My Grave
B4 Angelhead
B5 Cimarron

The Bluetones’ second album 'Return To The Last Chance Saloon' was preceded by another Top 10 single “Solomon Bites The Worm” in February 1998. Featuring some orchestral arrangements, the album was released in March, going straight into the Top 10 of the album chart. Two more hit singles were taken from the album: “If…” and “Sleazy Bed Track”.

There was an extremely limited edition version of the vinyl release of the album – a gatefold sleeve with two opening ‘wild west’ saloon doors affixed to the inside of the gatefold sleeve. Demon Records is very proud to recreate this edition! 

TRACK LISTING

1. Tone Blooze
2. Unpainted Arizona
3. Solomon Bites The Worm
4. U.T.A.
5. 4-Day Weekend
6. Sleazy Bed Track
7. If...
8. The Jub-Jub Bird
9. Sky Will Fall
10. Ames
11. Down At The Reservoir
12. Heard You Were Dead
13. Broken Starr

To write the songs for Here’s to Shutting Up, we gathered in Jim’s garage (he lived way out in the woods) a couple times a week for what seemed like months. We started from actual scratch with no demos or concepts, just playing instrumental music with our usual gear plus a Casio. Sometimes one of us would play the keys instead of our normal instrument, or Jon would hop on guitar and we’d use the Casio drum machine for the beat. We ended up with a LOT of ideas and plenty of good names for them—“Frank’s Bath,” “There’s Something About Marvin,” and “Bestial Warning” to name a few. We recorded practice onto MiniDisc or cassette, and I would ride around listening to these demos and thinking of words. The subject matter, in retrospect, has a lot to do with touring and travel (“Out on the Wing,” “What Do You Look Forward To?”), coming home (“Rainy Streets,” “Act Surprised”), the 2000 election (“Florida’s on Fire”), and late-stage capitalism (“Late-Century Dream,” “The Animal Has Left Its Shell”).

September 2001: Here’s to Shutting Up was meant to be released on September 18, 2001. On September 11, obviously the world changed. Our release date moved a couple weeks, but our tour dates remained and we flew to Japan in October. It was a WILD time to be traveling the world. Receptions ranged from “thank you for giving us something else to think about” to “why are you here?” We flew home from Japan and left for the UK the day the US started bombing Afghanistan. This was the climate, and the climate was not great for playing rock music. People were thinking about other things. Our friend Annie Hayden (of the band Spent) joined us on keyboards and guitar for the US leg which was an exciting expansion of our lineup and a fun way to play old songs in a new way. We had some great shows along the way and got to tour with excellent openers like Rilo Kiley, The Good Life, and Aereogramme. But the fear in the air and the length of the tour was exhausting. 

TRACK LISTING

SIDE A
1 Late Century Dream
2 Rainy Streets
3 Phone Sex
4 Florida’s On Fire
5 Out On The Wing

SIDE B
6 The Animal Has Left Its Shell
7 Act Surprised
8 Art Class (Song For Yayoi Kusama)
9 What Do You Look Forward To?
10 Drool Collection

LP Bonus CD | CD2:
1 Late-Century Dream (acoustic Demo)
2 Rainy Streets (acoustic Demo)
3 The Hot Break (acoustic Demo)
4 Florida’s On Fire (acoustic Demo)
5 Act Surprised (acoustic Demo)
6 A Collection Of Accounts (acoustic Demo)
7 Art Class (Song For Yayoi Kusama) (acoustic Demo)
8 Flying Aka Out On The Wing (acoustic Demo)
9 Becoming A Speck (acoustic Demo)
10 Frank’s Bath Aka Phone Sex (acoustic Demo)
11 The Animal Has Left Its Shell (acoustic Demo)
12 Corp Song Aka What Do You Look Forward To? (acoustic Demo)
13 Drool Collection (acoustic Demo)

Singer-songwriter David Crosby’s solo debut, If I Could Only Remember My Name, was dismissed by critics when it came out in 1971. Over the years, however, appreciation has grown for the album’s adventurous aesthetic, stacked harmonies and haunting lyrics about loss and confusion. Billed as Crosby’s solo debut, the album was anything but a one-man project. Instead, it was one of his most collaborative efforts, featuring an all-star cast of players that included members of the Grateful Dead, Jefferson Airplane, and Santana, along with Graham Nash, Joni Mitchell, Neil Young, and others.

Vinyl Details:
If I Could Only Remember My Name turned 50 earlier this year and Rhino is celebrating with a 1LP 180g vinyl that includes the album lovingly remastered from the original analog tapes. The new remaster was overseen by original album engineer Stephen Barncard with restoration and speed correction using Plangent Processes. 

2CD Details:
If I Could Only Remember My Name turned 50 earlier this year and Rhino is celebrating with a 2CD set that includes the album lovingly remastered from the original analog tapes, accompanied by a bonus disc that features a dozen unreleased demos, outtakes, and alternative versions. The new remaster was overseen by original album engineer Stephen Barncard with restoration and speed correction using Plangent Processes. The liner notes that accompany the collection were written by Steve Silberman, co-author of Skeleton Key: A Dictionary for Deadheads.

TRACK LISTING

CD Tracklisting:
Disc One: Original Album
“Music Is Love”
“Cowboy Movie”
“Tamalpais High (At About 3)”
“Laughing”
“What Are Their Names”
“Traction In The Rain”
“Song With No Words (Tree With No Leaves)”
“Orleans”
“I’d Swear There Was Somebody Here”
Bonus Track
“Kids And Dogs”

Disc Two: Bonus Tracks
Demos
“Riff 1” – Demo *
“Tamalpais High (At About 3)” – Demo *
“Kids And Dogs” – Demo *
“The Wall Song” – Demo *
“Games” – Demo *
“Laughing” – Demo *
“Song With No Words (Tree With No Leaves)” – Demo
“Where Will I Be” – Demo *
Sessions
“Cowboy Movie” – Alternate Version *
“Bach Mode” – Pre-Critical Mass *
“Coast Road” *
“Dancer” *
“Fugue” *
* Previously Unreleased

Vinyl Tracklisting:
1. “Music Is Love”
2. “Cowboy Movie”
3. “Tamalpais High (At About 3)”
4. “Laughing”
5. “What Are Their Names”
6. “Traction In The Rain”
7. “Song With No Words (Tree With No Leaves)”
8. “Orleans”
9. “I’d Swear There Was Somebody Here”

Violinist, composer and filmmaker Tony Conrad started his career in New York in the early 1960s. As a member of the Theater of Eternal Music (a.k.a. the Dream Syndicate) alongside John Cale, La Monte Young, Marian Zazeela and Angus MacLise, he participated in now-legendary and often legendarily loud drone performances with many pieces having no beginning and no end. During a fateful trip to Germany in 1972, Conrad met with avant-rock visionaries Faust and made the very first record to bear his name.

Outside The Dream Syndicate, originally released in Europe only in 1973, is a stunning debut. Two side-long tracks – "The Side Of Man And Womankind" and "The Side Of The Machine" – show just how far Conrad had moved beyond his minimalist peers. Werner Diermaier's repetitive drum beat and Jean-Hervé Peron's stripped-down bassline conjure a tense, ascetic groove, while Conrad's seamless violin, initially so controlled, reveals a surprising adaptability. The music shifts almost on a subliminal level, pushing and pulling to the drone's internal pulse.

It is hard to imagine Conrad's trajectory from downtown Manhattan to a farmhouse in the German countryside that ultimately resulted in Outside The Dream Syndicate, yet no other record captures – so completely and instantly – the intersection of avant-garde and rock forms. Outside The Dream Syndicate remains ahead of and bracingly outside of its time.

This vinyl reissue has been carefully mastered from the original master tapes and includes liner notes by musician Jim O'Rourke and author Branden W. Joseph.

TRACK LISTING

1. The Side Of Man And Womankind
2. The Side Of The Machine

Starring James Fox as a British gangster on the run who finds refuge in the home of reclusive ex-rock star Mick Jagger, Donald Cammell and Nicolas Roeg's Performance is one of the great cult movies of the 1970s. The film's soundtrack, produced by Jack Nitzsche for Warner Bros., is equally noteworthy. Needless to say, the Rolling Stones connection is strong; the Jagger-sung single "Memo From Turner" was co-written with Keith Richards, and vocalist Merry Clayton (famous as the duet partner on "Gimme Shelter") appears on three tracks. Several up-and-coming WB artists also make key contributions, including Randy Newman (the raucous "Gone Dead Train"), slide guitar virtuoso Ry Cooder and Little Feat leader Lowell George. Like the film itself, the PERFORMANCE original motion picture soundtrack offers a fascinating glimpse at one of the most exciting eras in rock. 

TRACK LISTING

Side A:
1. Gone Dead Train
2. Performance
3. Get Away
4. Powis Square
5. Rolls Royce And Acid
6. Dyed, Dead And Red
Side B:
1. Memo From Turner
2. The Hashishin
3. Wake Up, Niggers
4. Poor White Hound Dog
5. Natural Magic
6. Turner's Murde

Nashville in 2010 was a time and place bristling with potential. Before the coastal dailies and culture mags had declared our town an “it city” — before rampant development was putting tall-and-skinny new-builds on every block and courting out-of-towners with mixed-use nonsense and vapid murals.

Nashville has long been characterized by a sort of underdog spirit, and in 2010, that spirit was in full display at DIY punk venues, run-down honky-tonks and hole-in-the-wall dives. Over in East Nashville’s Lockeland Springs neighborhood, a handful of us lived in a century-old home that we called Holly House. Even more of us gathered there, musicians and artists who decided to form a collective of the same name, a half-dozen or so bands hopping on shows together, playing on each other’s records, calling meetings as an excuse to drink beer and talk shop.

Most of those bands are long-gone, but not Caitlin Rose. Then as now, Caitlin — my roommate and fellow Holly House member — shined bright as a songwriter and performer.

I first started seeing Caitlin play when she was around 16 or 17 years old, toting her guitar and tambourine to house shows and public parks and an all-ages punk venue downtown called The Muse, which has since been replaced by a Domino’s Pizza. I came to know her as “Cato,” a funny, brainy little weirdo with an outsized voice and ferocious collection of brilliant punky folk songs. I remember a question that would pop up from people in the crowd at various points throughout her performances, without fail: “Is this song a cover?” Caitlin was making songs that were so good, so memorable, so emotionally mature, that folks couldn’t believe they’d been written by a teen. I always grinned when I overheard someone asking the question.

With time, Caitlin’s sound evolved — her approach to songwriting, her influences, her embrace of country music as an idiom she really excelled at. The collection of songs she was creating back in our Holly House days, a collection that would ultimately become Own Side Now, showcased Caitlin’s preternatural knack for taking a moment — an emotion, an experience, an interaction — and bottling it, turning it into something listeners can experience for themselves.

The achingly lonesome “For the Rabbits” and “Sinful Wishing Well.” The tender, sprawling “Own Side.” The satisfying nostalgia of the intoxicatingly upbeat “Shanghai Cigarettes.” I remember Caitlin honing these songs in clubs and on tours, tweaking the arrangements with her world-class band. I must’ve seen Caitlin play “Spare Me” and “T-Shirt” dozens of times, and while no two performances were exactly the same, each one was a little bit closer to where it would ultimately land. She was always orbiting the perfect version of a song she’d been pouring her heart into for months or years. Own Side Now was the product of that long journey.

Now, 10 years since the initial release of Own Side Now, it’s moving to listen back to these potent songs and remember our time in Holly House, and our time at DIY spaces and punk clubs and dives that no longer exist. As you listen, maybe you’ll recall where you were in life when you first heard Caitlin’s music. Or maybe you’re listening for the first time, discovering a batch of songs that you can connect to in a personal way. Whether it’s your first listen or your 1,000th, this is an exceptional album made by an artist truly coming into her own. Enjoy it.

Originally released in 1996, Come Find Yourself is the debut album by New York’s finest, Fun Lovin’ Criminals. Spending nearly 4 years in the UK album chart, it’s packed with instant classics such as “The Fun Lovin’ Criminal”, “King Of New York”, an inspired cover of the Hal David/ John Barry Bond movie theme “We Have All the Time In the World”, not forgetting the Tarantino infused smash “Scooby Snacks”.

This 25th anniversary edition is presented as heavyweight coloured double vinyl for the first time and features 4 bonus tracks. 

TRACK LISTING

Disc 1 -
Side A
1. The Fun Lovin' Criminal
2. Passive/Aggressive
3. The Grave And The Constant
4. Scooby Snacks
Disc 1 -
Side B
1. I Can't Get With That
2. Bombin' The L
3. Smoke 'Em
4. King Of New York

Disc 2 -
Side A
1. We Have All The Time In The World
2. Bear Hug
3. Come Find Yourself
4. Crime And Punishment
5. Methadonia
Disc 2 -
Side B
1. I Can't Get With That (Schmoove Version)
2. Coney Island Girl
3. Blues For Suckers
4. The Fun Lovin' Criminal (Hee Haw Version)

To celebrate twenty years since the release of Sugababes’ iconic debut album “One Touch”, the band release a special anniversary edition of the album including rarities, demos and new remixes.

Made up of Keisha Buchanan, Mutya Buena and Siobhán Donaghy, the Sugababes represented a fiercely independent and creative UK scene at the turn of the millennium. Different from much of what was out at the time, “One Touch” crossed over from the purely pop world and became an oddball curveball across clubland and it’s after hours scenes with its clubber-friendly, downbeat hooks, flurries into UKG and hip-hip informed production. One Dave Walker who used to work here was a big proponent of the Sugababes when he and Huw Morgan (of Electriks fame) used to do a night at Harter Street Lounge here in Manchester. It's a bona fide classic of UK pop music which recalls a proud time for the industry. 

Download card includes 35 (!!!) extra tracks including new remixes by MNEK, Metronomy, Blood Orange and Majestic. Featuring the hit singles ‘Overload’, ‘Run For Cover’ and ‘Same Old Story'.

Remastered and expanded editions including unheard demos, rarities and classic/new remixes.

TRACK LISTING

Vinyl Tracklist:
Side A:
One Foot In
Same Old Story
Just
Let It Go Look At Me
Soul Sound

Side B:
One Touch
Lush Life
Real Thing
New Year
Promises
Run For Cover

CD1 One Touch: Remastered                          
1. Overload                    
2. One Foot In                                          
3. Same Old Story                                    
4. Just Let It Go                                    
5. Look At Me                                        
6. Soul Sound                                      
7. One Touch
8. Lush Life
9. Real Thing                                  
10. New Year                                        
11. Promises
12. Run For Cover                                    
+  Bonus Tracks
13. Don’t Wanna Wait                                  
14. Sugababes On The Run                            
15. Forever                      
16. Little Lady Love [Original Mix]                
17. Sometimes                  
18. This Is What You Need [Demo]                  
19. Girls' Nite Out [Demo]

CD2  Remixes And Alternative Versions                     
1. Always Be The One [Demo]                            
2. Run For Cover [MNEK Remix]      
3. Overload [Majestic Remix]                    
4. Same Old Story [Blood Orange Remix]
5. Overload [Metronomy Vs Tatyana Remix]                  
6. Just Let It Go [2001 Version]                              
7. Look At Me [Alternative Mix]                              
8. Real Thing [Original Mix]                        
9. Soul Sound [Alternative Version]                  
10. One Touch [C.R.E.A.M. Remix]                    
11. New Year [Non Christmas Version] [a.k.a. 2001 Edit]         
12. Promises [Acoustic Mix]
13. Little Lady Love [About 2 Remix]                
14. Overload [Ed Case Remix]                          
15. Run For Cover [G4orce All Things Nice Dub]        
16. Real Thing [2-Step Radio Mix]


Basking in the golden glow of an Indian Summer, Basso brings us a much needed reissue of one of his most treasured musical discoveries, Guy Maxwell’s ‘Outside My Window’. A long time favourite in the Growing Bin, this mellow masterpiece originally crept out in 1980 with no backing from its label, the soon to burst Bubble. Now resequenced and redressed to the exacting standards of Mssr. Maxwell, ‘Outside My Window’ is ready to warm the hearts and cheer the ears of a whole new audience.

Born in Bordeaux under a wandering star, Guy spent the 70s on the road, freewheelin’ from Paris to Rome, guitar in tow, before settling in Switzerland at the end of the decade. There he reconnected with school friend Serge Maillard, whose Santiago bandmates swung by to help bring Guy’s arrangements to life. Joined by Jan Dix (Om Buschmann and Foodband) on percussion and Ruth Failure (later in Mag and the Suspects) on guitar, and the Santiago powerhouse of Tato Gómez, Sergio Castillo and Paco Saval, who also leant his deft touch behind the desk, Guy put together a nine track trip through groovy AOR, gentle jazz fusion, cosmic folk and yacht rock.

For this reissue, Guy’s stripped back the tracklist, tossing aside a trio which didn’t quite stand the test of time in favour of a concise six song LP which brings brilliance in every bar. ‘Watch Out Sally’ introduces the LP with playful keys and a Latin lilt, a sophisticated seventies pop song that’s more Aja than A-Ha, sax and strings sending the whole track soaring as Guy muses on wanderlust in his honeyed tones. ‘You Never Sang This Song’ is undoubtedly a lost classic, embodying all the bittersweet beauty of yearning while riding a rollercoaster arrangement of folk-jazz fusion enhanced by Serge Maillard’s quicksilver solo. ‘Funny Weather’ looks both ways as it closes out the A-side, marrying the smooth sounds of the 70s with the rain-soaked jangle of the decade to come. The B-side opens with the LPs second lost classic, the frankly sublime ‘Beautiful Day’. Stripped back to acoustic guitar and subtle hand percussion, this jazzy ballad brings a tear to your ear before drawing your attention skywards with the acid folk energy of the chorus. There’s mellow magic in the air on ‘Summer Song’, an optimistic ode to sunshine and romance lifted way beyond the AOR standard by a lyrical sax solo before Maxwell closes the set with the 7/4 escapism of ‘There’s A Train Leaving’, a fond farewell which sees the ensemble say goodbye in perfect harmony.

TRACK LISTING

A1 Watch Out Sally
A2 You Never Sang This Song
A3 Funny Weather
B1 Beautiful Day
B2 Summer Song
B3 There Is A Train Leaving

Primal Scream had been fragile, 60s obsessed  dreamers, influenced by Love and (particularly) The Byrds (85-87) but in 1989 they were NY Dolls leather-clad rockers with the odd Big Star slowie or Stonesy ballad thrown in for good measure. Then BANG acid house and ecstasy hit  and in the spirit of the day, Andy Weatherall took one of those Stones style heartbreakers and made the hit single "Loaded" . Indie-Dance was born, anyone remember?!But this LP is much, much bigger than that. It goes up, it comes down, and covers all the magic in between. There's blues, soul, gospel, house, dub and yes a beautiful Stonesy ballad ("Damaged"). No songs are fillers, it's a perfectly realised musical statement. With the Orb, Andy Weatherall and even the Stones'Jimmy Miller to help them, they created one of the best albums of the 90s that still resonates today. Higher than the sun.

The ‘Screamadelica’ double-vinyl picture disc featuring the album’s iconic artwork pressed onto vinyl. This represents the first ever official ‘Screamadelica’ picture disc.

STAFF COMMENTS

Andy says: Who doesn't love a picture disc? It helps, of course if the record in question is a bona fide classic and also features artwork which defined a whole era but twisted it into something deep and beautiful. Looks amazing, sounds even better.

TRACK LISTING

LP1
Side A
Movin' On Up
Slip Inside This House
Don't Fight It, Feel It
Side B
Higher Than The Sun
Inner Flight
Come Together

LP 2
Side A
Loaded
Damaged
I'm Comin' Down
Side B
Higher Than The Sun (A Dub Symphony In Two Parts)
Shine Like Stars

Everything But The Girl's best-selling debut album, 'Eden' is the latest re-release from the duo to benefit from half-speed remastering at Abbey Road Studios by Miles Showell, and a fresh 180gm vinyl pressing.

Originally released in May 1984, the album spent almost six months on the official UK album chart peaking at number 14 and spawned the UK Top 40 hit, Each and Every One. The label wanted further singles but the duo preferred the album to grow by word of mouth. 'Eden' achieved gold album status in the UK and has gone on to sell more than 500,000 copies worldwide.

Ben Watt and Tracey Thorn met at the University of Hull in 1981; they formed Everything But The Girl initially as a side-project, as both had already established themselves on the UK independent music scene as teenagers - Tracey with her lo-fi minimal girl group, Marine Girls (later name-checked as one of Kurt Cobain's favourite bands); Ben as a young guitarist and singer-songwriter, collaborating with alt-folk icon Robert Wyatt on his debut EP.

In the summer of 1983 the pair - having each gone on to to release debut solo albums - decided to pool their new songs for 'Eden'. It was recorded with producer Robin Millar (chosen for his work with Weekend and The Pale Fountains) at his Power Plant Studios in Willesden, North West London.

"All the songs were written on guitar in Hull in early 1983. We were living in one room with a shared kitchen on Pearson Park," recalls Tracey. "Power Plant seemed very glamorous by comparison. Sade was recording downstairs. We were upstairs."

The sessions featured a band handpicked by Ben and Tracey: Working Week's Simon Booth on second guitar, This Heat’s Charles Hayward on drums, and South American musicians Chucho Merchan (double bass) and Bosco D’Oliveira (percussion) plus a clutch of top horn players from the English jazz scene. The line-up was part friends from London, part musicians Ben admired from trips to the Bull's Head jazz room with his dad when growing up, in particular Peter King (alto sax).

"We were intent on being non-rock," says Ben. "No clichés. No snare drums, no solid body electric guitars or electric bass. We wanted soft horns, Gretsch guitars, no fuss, a lightness of touch. We were into pop, latin, torch songs, sharp lyrics."

The album was released on the newly-formed imprint Blanco Y Negro (co-run by Mike Alway and Rough Trade's Geoff Travis) through Warner, and signalled Everything But The Girl’s move from an independent - Cherry Red - to a major label.

The artwork by Marine Girls band member Jane Fox was delivered as a three-dimensional collage of hand-drawn art and torn paper. Warner (who were marketing and distributing the record) didn’t really know what to do with it. The original version didn’t even have the name of the band on it. In the end it was photographed and printed on ‘reverse-board stock’ - unusual for a major release at the time.

TRACK LISTING

Each And Every One
Bittersweet
Tender Blue
Another Bridge
The Spice Of Life
The Dustbowl
Crabwalk
Even So
Frost And Fire
Fascination
I Must Confess
Soft Touch

All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

‘Buena Vista Social Club’ is both the name given to this extraordinary group of musicians and the album, recorded in just seven days in 1996 in Havana’s 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon – awarded a Grammy in 1997 and, at 8 million copies, outselling any other record in the same genre.

The acclaim of the original album has elevated the artists (including Ibrahim Ferrer, Rubén González & Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, and has contributed to popularising Cuba’s rich musical heritage. Produced by Ry Cooder for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this will go down as one of the landmark recordings of the 20th century.

TRACK LISTING

2xLP Tracklisting:
A1 Chan Chan (2021 Remaster)
A2 De Camino A La Vereda (2021 Remaster)
A3 El Cuarto De Tula (2021 Remaster)
A4 Pueblo Nuevo (2021 Remaster)
B1 Dos Gardenias (2021 Remaster)
B2 ¿ Y Tú Qué Has Hecho? (2021 Remaster)
B3 Veinte Años (2021 Remaster)
B4 El Carretero (2021 Remaster)
B5 Candela (2021 Remaster)
C1 Amor De Loca Juventud (2021 Remaster)
C2 Orgullecida (2021 Remaster)
C3 Murmullo (2021 Remaster)
C4 Buena Vista Social Club (2021 Remaster)
C5 La Bayamesa (2021 Remaster)
D1 Vicenta *
D2 La Pluma *
D3 A Tus Pies *
D4 La Cleptómana *
D5 Orgullecida (alternate Trio Take) *

2CD Tracklisting:
CD1
1 Chan Chan (2021 Remaster)
2 De Camino A La Vereda (2021 Remaster)
3 El Cuarto De Tula (2021 Remaster)
4 Pueblo Nuevo (2021 Remaster)
5 Dos Gardenias (2021 Remaster)
6 ¿ Y Tú Qué Has Hecho? (2021 Remaster)
7 Veinte Años (2021 Remaster)
8 El Carretero (2021 Remaster)
9 Candela (2021 Remaster)
10 Amor De Loca Juventud (2021 Remaster)
11 Orgullecida (2021 Remaster)
12 Murmullo (2021 Remaster)
13 Buena Vista Social Club (2021 Remaster)
14 La Bayamesa (2021 Remaster)

CD2 (with 19 Bonus Tracks)
1 Chan Chan (monitor Mix) *
2 Vicenta *
3 La Pluma *
4 Dos Gardenias (alternate Take) *
5 Mandinga *
6 Siboney *
7 A Tus Pies *
8 El Carretero (alternate Take) *
9 Ensayo *
10 El Diablo Suelto *
11 Saludo Compay *
12 Descripción De Un Sueño *
13 Pueblo Nuevo (alternate Take) *
14 La Cleptómana *
15 ¿ Y Tú Qué Has Hecho? (alternate Take)
16 Orgullecida (alternate Take) *
17 Descarga Rubén *
18 Candela (alternate Take) *
19 Orgullecida (alternate Trio Take) *

* BONUS TRACKS

Ladies and Gentlemen We Are Floating in Space is the third studio album by English space rock band Spiritualized, released on 16 June 1997. The album features guest appearances from the Balanescu Quartet, The London Community Gospel Choir and Dr. John.

Ladies and Gentlemen We Are Floating in Space has since been acclaimed as one of the best albums of the 1990s on various publications' decade-end lists. Pitchfork ranked it at number 55 on their list of the top 100 albums of the 1990s. In 2010, the album was also named one of the 125 Best Albums of the Past 25 Years by Spin

TRACK LISTING

1. Ladies And Gentlemen We Are Floating In Space
2. Come Together
3. I Think I'm In Love
4. All Of My Thoughts
5. Stay With Me
6. Electricity
7. Home Of The Brave
8. The Individual
9. Broken Heart
10. No God Only Religion
11. Cool Waves
12. Cop Shoot Cop...

The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music.

Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music - it’s always an organic dis-covery of old and new.” As Delia Derbyshire revealed in 2000 to BBC sound engineer, journalist and academic Jo Hutton: “I like new things that don’t seem new . . . as though they’ve always been there.”

Known more recently for curating and presenting on BBC Radio 3’s Night Tracks, the Northern Irish Emmy-nominated composer and producer’s work is ambitious and forward-looking, adapting and re-inventing new genres and hybrid musical forms. Recent albums include the solo electronic and pop work of Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; the electronic ruralism of Chalk Hill Blue, an album recorded with the poet Will Burns; and the space and the unparalleled vastness of Mary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’. 

STAFF COMMENTS

Barry says: While i'm a big fan of archival synth business, it's often hard to really listen to it in any other situation other than chin-scratching synth-nerdery. I know, i'm a fan of that and while the more esoteric synth explorations are great fun, they have nowhere near the amount of sheer depth and replayability that you get with 'Fir Wave'. A dynamic and cohesive set of rhythmic electronic pieces, moulded with the legendary influence from KPM. Stunning.

TRACK LISTING

Side A
1 Wind Shadow
2 Emergence In Nature
3 Patterned Formation
4 Carbon Cycle

Side B
1 Ecovocative
2 Fir Wave
3 Reaction Diffusion 

All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

The fifth studio album from Welsh quintet Super Furry Animals was their most commercially successful to date. A musically eclectic record, incorporating pop, prog, punk, jungle, electronica, techno and death metal, the album was shortlisted for the Mercury Music Prize in 2001 and named as Mojo’s best album in the same year. 

The Super Furries had a knack of taking bits of 60s classics, modern electronics, and everything inbetween and melding them into flawless, if slightly off kilter, pop gems and here they did it to perfection.

TRACK LISTING

1. A1 Alternate Route To Vulcan Street
2. A2 Sidewalk Serfer Girl
3. A3 (Drawing) Rings Around The World
4. B1 It’s Not The End Of The World
5. B2 Receptacle For The Respectable
6. B3 [A] Touch Sensitive
7. B4 Shoot Doris Day
8. C1 Miniature
9. C2 No Sympathy
10. C3 Juxtapozed With U
11. D1 Presidential Suite
12. D2 Run! Christian, Run!
13. D3 Fragile Happiness

3CD
disc 1
1. Alternate Route To Vulcan Street
2. Sidewalk Serfer Girl
3. (drawing) Rings Around The World
4. It’s Not The End Of The World?
5. Receptacle For The Respectable
6. Touch Sensitive
7. Shoot Doris Day
8. Miniature
9. No Sympathy
10. Juxtapozed With U
11. Presidential Suite
12. Run! Christian, Run!
13. Fragile Happiness
- Receptacle For The Receptacle (maccapella Celery) – Unlisted, Hidden Track
14. Tradewinds
15. The Roman Road
16. Happiness Is A Worn Pun
17. Patience
18. Edam Anchorman
19. All The Shit U Do

Disc 2
1. Gypsy Space Muffin
2. John Spex
3. Miami Vice
4. Sanitised (rough Mix)
5. Chihuahua (unfinished, Rough Mix)
6. (drawing) Rings Around The World (acapella Phones) - Unlisted, Hidden Track
7. (drawing) Rings Around The World #1
8. (drawing) Rings Around The World #2
9. (drawing) Rings Around The World #3
10. No Sympathy
11. Tradewinds
12. Receptacle For The Respectable #1
13. Receptacle For The Respectable #2
14. Happiness Is A Worn Pun
15. Sidewalk Serfer Girl
16. Presidential Suite
17. The Roman Road
18. Patience #2
19. Shoot Doris Day
20. Edam Anchorman
21. Sanitised
22. Fragile Happiness
Tape Rewind - Unlisted, Hidden Track
Tradewinds (acoustic Mix) - Unlisted, Hidden Track
Sidewalk Serfer Girl (unused ’70s Rock Edit Section) - Unlisted, Hidden Track
Shoot Doris Day (excised Third Chorus) - Unlisted, Hidden Track
Sidewalk Serfer Girl (alternate Second Verse) - Unlisted, Hidden Track

disc 3
1. Alternate Route To Vulcan Street (bench Remix)
2. Sidewalk Serfer Girl (catatonia Remix)
3. (drawing) Rings Around The World (happy Chapel Remix)
4. It’s Not The End Of The World? (force Unknown Remix)
5. Receptacle For The Respectable (destructable Mix)
6. Touch Sensitive (force Unknown Remix)
7. Shoot Doris Day (wauvenfold Remix)
8. Miniature (goem Remix)
9. No Sympathy (kid 606 Remix)
10. Juxtapozed With U (sfa Remix)
11. Presidential Suite (high Llamas Remix)
12. Run! Christian, Run! (massimo Remix)
13. Fragile Happiness (brave Captain Remix)
Menu Music Medley - Unlisted, Hidden Track