MAGIC MIX

STAFF PICKS

VINYL REISSUES

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

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Cover of Looking Up: The Complete Works by Carrie Cleveland.

Carrie Cleveland

Looking Up: The Complete Works

Kalita

Kalita Records keep their hot streak molten with a first, frankly definitive discography of Carrie Cleveland, an expanded version of her 1978 album ‘Looking Up’, including both the issue and promotional versions of her single ‘Make Love To Me’, and the previously unknown sweet soul single ‘I’ve Got A Feeling’.

Privately arranged, recorded and produced by Carrie and her husband Bill as a labour of love in their backyard studio in 1978, ‘Looking Up’ is one of the most in-demand soul/disco LPs in existence, sought-after in particular for their track ‘Love Will Set You Free’. In addition, the promotional version of Carrie’s single ‘Make Love To Me’ is one of the best and rarest sweet soul records to have emerged out of the West Coast soul scene, and her single ‘I’ve Got A Feeling’ is until today virtually unknown even to the most seasoned of collectors, with even Carrie herself unsure if it was ever released. With the album originally pressed in a limited run of just 1000 with 500 copies of each single, original copies of Carrie’s records deservingly command eye-watering figures on the second-hand market. Kalita now satisfy the thirst with the first ever official reissue of her entire discography.

The Kalita vinyl reissue consists of both the expanded album and a bonus 7” single, and is housed in a gatefold sleeve. The CD is accompanied by a mini-poster. Both the vinyl and CD releases include extensive interview-based liner notes and never before seen photos, detailing Carrie and Bills’ life and musical career.


STAFF COMMENTS

Patrick says: Another slice of sweet, sweet soul from the Kalita stable, who put a wealth of Carrie Cleveland material (both released and otherwise) in this excellent retrospective collection.

FORMAT INFORMATION

LP Info: Includes bonus 7"

CD Info: Includes mini poster

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Cover of Colored Music by Colored Music.

Colored Music

Colored Music

WRWTFWW Records

An incredible mix of cosmic new wave, unconventional disco, avant-garde synth pop, and hybrid electronic funk, Colored Music is enchantingly unique, a sort of experimental and magnetizing take on David Bowie’s Berlin Trilogy with a psychedelic Haruomi Hosono touch.

From the groovy post-punk glam title track to the proto-house dance floor killer "Heartbeat", Ichiko Hashimoto and Atsuo Fujimoto hit all the right (and sometimes not-exactly-right-but-truly-genius) notes to create the odd and beautiful, an unparalleled audio escape to the best elsewhere you can think of.
Also playing on the album are celebrated musicians Mansaku Kimura, Shuichi “Ponta” Murakami (Pacific, KI-Motion by MKWAJU ensemble, collaborations with Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono…) Kiyohiko Semba, Tamio "Doyo" Kawabata, and Tatsuhiko Hizawa.


STAFF COMMENTS

Patrick says: WRWTFWW continue to mine the rich seam of underground Japanese gems with an ace reissue of Colored Music's self titled LP. Fusing glam, art-rock, avant pop, synth wave and twisted disco, the duo created a unique album for thinking, dreaming and dancing.

FORMAT INFORMATION

Ltd LP Info: 140g Vinyl, Stoughton Tip-On Sleeve, Liner Notes (English & Japanese) by Chee Shimizu, + Sticker.

CD Info: Digipack, Liner Notes (English & Japanese) by Chee Shimizu, + Sticker.

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Cover of Preservation Tapes by Bruce Haack.

Bruce Haack

Preservation Tapes

Telephone Explosion

In 2016, after reissuing two Bruce Haack albums, "Haackula” and “Electric Lucifer Book II”, Telephone Explosion began speaking with Ted Pandel (Bruce’s lifelong friend and business partner) about working on the 1970 masterpiece “The Electric Lucifer”. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive. The label were shown test-pressings of “The Electric Lucifer” board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium instrument (now owned by Devo’s Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavy duty shelf containing 213 reel-to-reel tapes.
All of the chosen material on “The Preservation Tapes” is unreleased, has only been heard by a handful of people and showcases a relatively unknown period in Bruce’s musical career where Bruce was recording for Sparrow Records (who billed themselves as "America's best Christian music record label”). Bruce’s signature Farad vocoder continues to feature prominently, but the lyrical content is decidedly more religious. Preservation Tapes is a small window into a largely unknown period of devotion in Bruce Haack’s life. Assembled from 218 raw 1/4” tapes, Preservation Tapes is comprised of 100% unreleased material ranging from deep groove, bubbly synth-pop, instrumental synth explorations, experimental tidbits and a heartwarming crooner ballad. 


STAFF COMMENTS

Patrick says: Telephone Explosion hook us up with a selection of previously unheard works from idiosyncratic synth oddball Bruce Haack. Though the tracks on this set were mostly recorded for a Christian music label, the vocoded lyrics and opiated synth arrangement suggest something altogether more arcane. Mindbending stuff!

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Cover of In A Garden Of Eden by Heavenly Music Corporation.

Heavenly Music Corporation

In A Garden Of Eden

Astral Industries

Originally released on CD in 1993, "In A Garden Of Eden" was 'created for the space age lounge, a technomystical chill room in Goa, India.'. Now, being a gullable sod I actually just googled said 'Space Age Lounge Goa' but to no avail - I guess it was just a clever concept by HMC - what a disappointment (Matt had obviously planned his next techno-hippy holiday itinery to said destination before actually checking if it was real - Ed).

What isn't a disappointment, thankfully, is the, as always, glorious music contained within these grooves. Heavenly Music Corp. do just that - create heavenly music! Cerebral, ever-so-slightly rhythmic and oozying modular juices it, to me, epitomizes the sound of floating in deep space with no cord.

Five tracks are culled from the seven originally presented on the CD - I guess the crew didn't wanna compromise on sound quality - and rightly so! This sounds SO lush, you'll wanna dive headfirst into this three dimensional record. Get those orders in quick!


STAFF COMMENTS

Matt says: Teased me in with talk of some fantasmic descriptions of space aged chill-out lounges - then ensured I hung around for the duration with lush and dreamy ambience, floating in an intergalacic bubble.

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Cover of Laulik Elektroonik - Explorations In Estonian Electronic Folk Music, The First Years 1979-1983 by Olev Muska.

Olev Muska

Laulik Elektroonik - Explorations In Estonian Electronic Folk Music, The First Years 1979-1983

Frotee

"Laulik-elektroonik" LP by an ex-pat Estonian musician Olev Muska is the new release of Estonian archival label Frotee Records. The compilation subtitled as "Explorations in Estonian Electronic Folk Music - The First Years, 1979-1983" brings together all Muska's Estonian-themed songs recorded prior to his debut album from 1985, "Old Estonian Waltzes". It includes previously unreleased material and tracks from limited edition tapes and 7" single. For its 10th release, Frotee has expanded its scope and is now also offering insights into quality music by Estonians all over the world.

Olev Muska was born to a family of expatriate Estonians in Australia. From 1979 onwards he recorded unique versions of Estonian folk songs on various electronic music instruments at his home studio. As Muska was into contemporary experimental music and also bored with the conservative take on Estonian culture prevalent in the activities of the Australian ex-pat community, he decided to combine these two influences to create his unique brand of electronic Estonian folk music. As Muska had access to more advanced musical equipment, he achieved a level of quality in his arrangements that would not have been possible in Soviet Estonia. He managed to create surprisingly amazing Estonian minimal wave with his group Elektrio but wasn't ashamed to make medley of Estonian themes with cheesy-sounding small Casio synthesizer either. His early versions of some folk songs, like "Kaera-Jaan" or "Saaremaa", are less crazy than on his debut LP and as such a welcome addition to Frotee's collection of Balearic sounds.

Although Muska was not a stranger to the contemporary Australian underground music scene, he continued to record with a couple of close friends and performed only at local Estonian events. Thus Olev Muska has been a well kept secret amongst Estonian music fans, one that remained entirely unknown to Australian record collectors until Chris Bonato from Left Ear Records introduced "Old Estonian Waltzes" LP to a wider audience. Left Ear Records has now licensed "Karjapoisi lugu" off the 1985 LP for their Australian underground music compilation "Antipodean Anomalies".

STAFF COMMENTS

Patrick says: Frotee's journeys through the backpages of Estonian music turns the spotlights of Estonian musicians based elsewhere with a wonky set of electronics from Autralian Estonian Olev Muska.

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Cover of Total Assault: 50th Anniversary Collection by MC5.

MC5

Total Assault: 50th Anniversary Collection

Rhino

    MC5 only released three albums, but they were ferocious, adventurous, and confrontational enough to secure the group’s place as one of the greatest rock ’n’ roll bands ever. Singer Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis, and drummer Dennis Thompson came together as the MC5 in 1965. The band performed for several years before making its first record. This year is the 50th anniversary of the recording of the band’s incendiary debut, Kick Out The Jams, which was recorded live over two nights at Detroit’s Grande Ballroom in October 1968. To celebrate, MC5 will release Total Assault: 50th Anniversary Collection, a limited-edition boxed set that features all three of the band’s albums pressed on coloured vinyl.

    It includes Kick Out The Jams (red vinyl), Back In The USA (white vinyl) and High Time (blue vinyl). The albums come in sleeves that faithfully re-create the original releases, including gatefolds for Kick Out The Jams and High Times. All three are housed in a hard slipcase with new art and previously unseen photographs by world renowned photographer Raeanne Rubenstein. The music on TOTAL ASSAULT shows why the MC5 is held is such high regard today with indelible tracks like “Kick Out The Jams,” “Human Being Lawnmower” and “Sister Anne.”


    FORMAT INFORMATION

    3xLP Box Set Info: Triple coloured LP's (Red / White / Blue) housed in a hard slipcase.

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    Cover of African Rhythms (2018 Reissue) by Oneness Of Juju.

    Oneness Of Juju

    African Rhythms (2018 Reissue)

    Strut

    Strut present a brand-new edition of Oneness of Juju’s Afro-jazz classic ‘African Rhythms’, originally released on Black Fire in 1975 and first reissued on Strut in 2002.

    For bandleader James “Plunky” Branch, ‘African Rhythms’ marked a significant return to his home town of Richmond, Virginia after a politically charged five years based on the East and West coasts. His personal journey had taken him from activism at Columbia University to San Francisco where Zulu musician Ndikho Xaba used theatre to “resurrect” Afro-Americans with a new African identity. The first incarnation of Plunky’s band, Juju, drew attention to the struggle in South Africa under apartheid, layering heavy Afro rhythms under uncompromising avant garde jazz.

    Back in Richmond, Plunky tapped into the mid-Atlantic preference for Southern R&B and gospel: “Juju had always been blues-based and it was a natural progression to add R&B and dance rhythms. It didn’t change our message.” Produced by Jimmy Gray of Black Fire Records, the new sessions included the title track (“We wanted a song to dance to with a message – ‘you are dancing to African rhythms’”), the positive message of ‘Don’t Give Up’ and political commentary on ‘Liberation Dues’.

    Originally just a regional hit on the East coast and in Washington DC specifically, the album gradually spread, influencing the nascent DC go-go scene. The UK revived the album during the rare groove era of the late ‘80s and the title track has since become a soul-jazz favourite worldwide.

    Remastered from the original sessions and featuring rare photos and extensive liner notes, this new repress also features Part 1 and Part 2 of the original 45 version of ‘African Rhythms’ and the previously unheard ‘Afrobeat’, recently unearthed from the original tapes.


    STAFF COMMENTS

    Patrick says: Jeepers! Oneness of Juju's Afrocentric jazz-funk great "African Rhythms" gets a nicely remastered, repackaged reissue from the fine folks at Strut. Quality stuff...

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    Cover of Les Esclaves by Popera Cosmic.

    Popera Cosmic

    Les Esclaves

    Finders Keepers

    For the few people lucky enough to have heard the entire album in the five decades since its release, the mythical Popera Cosmic LP is now considered to be France’s first dedicated psychedelic album and the shrouded blueprint for the hugely influential Gallic concept album phenomenon that followed, including Serge Gainsbourg’s ‘Histoire De Melody Nelson’ and Gérard Manset’s ‘La Mort D’Orion’.

    Spearheaded by François Wertheimer (songwriter for Vangelis, Barbara and Byg Records), composed with future Jodorowsky soundtracker and genius all-rounder Guy Skornik and based on an embryonic concept co-conspired by a teenage Jean-Michel Jarre, this instantly-deleted 1969 recording is a true essential for any outernationalradicalised record collection.  With credentials that mark the birth of the cosmic funk (later disco) that helped shape the influential sound of France today, this album also includes the first pressed instrumentals by members of Space Art, some of the best orch rock arrangements by William Sheller (Lux Aeterna, Eriotissimo) and orchestrator Paul Piot (Jean Rollin), as well as sitar psych benchmarks courtesy of uber legend Serge Franklin - all pinned down by the rhythm section that would later be known to prog aficionados as Alice.

    Subtitled ‘Les Esclaves’ (The Slaves), this street theatre / rock opera (influenced by the work of Julien Beck’s Living Theatre) now celebrates its 50th birthday standing firmly as a sonic tome to the birth of the no-no era (that rebuked France’s ‘yé-yé’ hamster wheel) leading directly to the thematic progressive network of Wakhévitch, Manset and Magma while comprising an inter-Gallic intergalactic super group from the early annals of France’s pop psych revolution. Imagine a rock opera where the cast of Mister Freedom perform ‘Clash Of The Titans’ at the foot of The Holy Mountain - then pinch yourself.

    STAFF COMMENTS

    Patrick says: Screwball psych-Francais reissued by the digging brains at Finders Keepers - lunatic street theatre meets rock opera as a shadowy no-no flip to the ye-ye movement.

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    Cover of In Tweed We Trust by Thee Headcoats.

    Thee Headcoats

    In Tweed We Trust

    Damaged Goods

      Thee Headcoats were mainly Billy Childish (Git/Vox) Bruce Brand (Drums) and Johnny Johnson (bass), they formed in 1989 after Billy's previous band Thee Mighty Caesers gave up the ghost. By 1992 they had already released something like 6 albums and 15 singles.Lots more releases followed including this great LP In Tweed We Trust originally released in 1996, the follow up to the equally great Conundrum. Thee Headcoats carried on touring and releasing records in every corner of the world until mid 2000 when they called it a day. During the '90's I must have seen them 60 times, I even went over to Japan with them in 1993. There was something really natural about them, no bullshit. We did the 'We hate The Fuckin' NME' single after NME journo Johnny Cigarettes walked out of their gig in Archway after insisting that he should get in for free as he was from the NME and then reviewing Thee Headcoatees by saying their was no girls in the band (he left before they came onstage!!). 

      FORMAT INFORMATION

      Coloured LP Info: Limited Lp Pressing On Duck Egg Blue Vinyl To Match The Cover

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      Cover of Furr by Blitzen Trapper.

      Blitzen Trapper

      Furr

      Sub Pop

        Blitzen Trapper is the Portland, Oregon-based experimental country and folk rock band, who in 2008 released Furr, its breakthrough album and label debut for Sub Pop. The record was met with universal acclaim, earning praise from the likes of The Guardian, Pitchfork, Paste, AV Club, and Rolling Stone, who in its four-star review called the album “an engaging album full of rootsy beauty.” The album would earn the no. 13 spot on Rolling Stone’s 50 Best Albums of 2008 later that year.

        For the newly remastered and expanded deluxe edition of Furr, Blitzen Trapper have compiled over two LPs worth of material: the original album and twelve rare and previously unreleased tunes. The added songs are from the same recordings that become Furr, with the exception of the “Live at KCRW” tracks, which were recorded during the Furr tour. The songs “War is Placebo,” “Booksmart Baby,” and “Maybe Baby” appeared as limited-edition singles for Record Store Day in 2009 and 2011. This reissue also features new liner notes from Eric Earley reflecting on the album, as well as a track-by-track description of the bonus songs, and a Q&A with the stage and screen actor Rainn Wilson (of The Office fame).

        “It's difficult to remember exactly where my head was in those days, recording Furr in a leaky, dilapidated, pre-boom Portland building, all but condemned, where the migrant workers congregated at the curb outside hoping to get picked up by desperate contractors, the dealers working the opposite corner, two blocks up the Burnside bridge running with pitched tents and sleeping bags all the way to the West Side Mission, the black river sliding by beneath. For those in the know enough at the time to have heard it when Sub Pop first released Furr in 2008, listeners had to have been underwhelmed by the hit and miss production, the furry overdriven vocals and perilous sounding dubs, all industry-standard production fare now. But the songs must have shone through the noise even then. The stand-out title track recorded on a nearly defunct cassette four-track in one take and mixed on a couple-hundred-dollar PC was almost an afterthought at the time, but its message was real enough: that life consists of change and growth, love and transformation.

        FORMAT INFORMATION

        2xColoured LP Info: Loser edition Clear vinyl and gold swirl!

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        Cover of Forever Breathes The Lonely Word: Remastered by Felt.

        Felt

        Forever Breathes The Lonely Word: Remastered

        Cherry Red

          Following the release of FELT’s first five albums in February, the band’s reissue campaign continues with the second half of their discography. During the ‘80s Felt recorded ten albums and ten singles for the Cherry Red and Creation labels. This gorgeously-produced series explores the work of one of the greatest indie groups in recent memory. 

          FORMAT INFORMATION

          LP Info: Limited edition vinyl featuring the original front cover artwork.

          CD & 7" Info: The CD version comes in a bespoke 7” box, complete with various ephemera consisting of: the original album in a special gatefold sleeve - long deleted 7” vinyl single pertaining to the original year of the album’s release – reproduction gig flyers – double-sided wall poster – and four button lapel badges for displaying with pride!

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          Cover of Poem Of The River: Remastered by Felt.

          Felt

          Poem Of The River: Remastered

          Cherry Red

            Following the release of FELT’s first five albums in February, the band’s reissue campaign continues with the second half of their discography. During the ‘80s Felt recorded ten albums and ten singles for the Cherry Red and Creation labels. This gorgeously-produced series explores the work of one of the greatest indie groups in recent memory. 

            FORMAT INFORMATION

            LP Info: Limited edition vinyl featuring the original front cover artwork.

            CD & 7" Info: The CD version comes in a bespoke 7” box, complete with various ephemera consisting of: the original album in a special gatefold sleeve - long deleted 7” vinyl single pertaining to the original year of the album’s release – reproduction gig flyers – double-sided wall poster – and four button lapel badges for displaying with pride!

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            Cover of The Pictorial Jackson Review: Remastered by Felt.

            Felt

            The Pictorial Jackson Review: Remastered

            Cherry Red

              Following the release of FELT’s first five albums in February, the band’s reissue campaign continues with the second half of their discography. During the ‘80s Felt recorded ten albums and ten singles for the Cherry Red and Creation labels. This gorgeously-produced series explores the work of one of the greatest indie groups in recent memory. 

              FORMAT INFORMATION

              LP Info: Limited edition vinyl featuring the original front cover artwork.

              CD & 7" Info: The CD version comes in a bespoke 7” box, complete with various ephemera consisting of: the original album in a special gatefold sleeve - long deleted 7” vinyl single pertaining to the original year of the album’s release – reproduction gig flyers – double-sided wall poster – and four button lapel badges for displaying with pride!

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              Cover of Train Above The City: Remastered by Felt.

              Felt

              Train Above The City: Remastered

              Cherry Red

                Following the release of FELT’s first five albums in February, the band’s reissue campaign continues with the second half of their discography. During the ‘80s Felt recorded ten albums and ten singles for the Cherry Red and Creation labels. This gorgeously-produced series explores the work of one of the greatest indie groups in recent memory.

                FORMAT INFORMATION

                LP Info: Limited edition vinyl featuring the original front cover artwork.

                CD & 7" Info: The CD version comes in a bespoke 7” box, complete with various ephemera consisting of: the original album in a special gatefold sleeve - long deleted 7” vinyl single pertaining to the original year of the album’s release – reproduction gig flyers – double-sided wall poster – and four button lapel badges for displaying with pride!

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                Cover of Me And A Monkey On The Moon: Remastered by Felt.

                Felt

                Me And A Monkey On The Moon: Remastered

                Cherry Red

                  Following the release of FELT’s first five albums in February, the band’s reissue campaign continues with the second half of their discography. During the ‘80s Felt recorded ten albums and ten singles for the Cherry Red and Creation labels. This gorgeously-produced series explores the work of one of the greatest indie groups in recent memory.

                  FORMAT INFORMATION

                  LP Info: Limited edition vinyl featuring the original front cover artwork.

                  CD & 7" Info: The CD version comes in a bespoke 7” box, complete with various ephemera consisting of: the original album in a special gatefold sleeve - long deleted 7” vinyl single pertaining to the original year of the album’s release – reproduction gig flyers – double-sided wall poster – and four button lapel badges for displaying with pride!

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                  Cover of The Three EPs - 20th Anniversary Remaster (Deluxe Edition) by The Beta Band.

                  The Beta Band

                  The Three EPs - 20th Anniversary Remaster (Deluxe Edition)

                  Because Music

                    Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

                    After acquiring the Beta Band’s catalogue last year, Because Music will reissue their releases, starting on September 14th with a deluxe vinyl edition gathering in a slipcase the EPs ‘Champion Versions’, ‘The Patty Patty Sound’ and ‘Los Amigos Del Beta Bandidos’ with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation. Because Music will release at the same time a double CD Best-Of compiling all their best hits and a live show recorded at the Shepherd’s Bush Empire (London) in 2004. 


                    FORMAT INFORMATION

                    Ltd Box Set Info: 4x12” EP + CD.
                    NUMBERED SLIPCASE featuring ‘Champion Versions’ EP (red vinyl 12” in single sleeve), ‘The Patty Patty Sound’ EP (double yellow 12” vinyl ) and ‘Los Amigos Del Beta Bandidos’ EP (blue 12” vinyl in single sleeve).
                    CD included in clear plastic sleeve with flap (includes all tracks)

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                    Cover of Buari by Buari.

                    Buari

                    Buari

                    Be With Records

                    A surefire Afro-Funk classic, long treasured by collectors across the globe, the fantastic self-titled LP from Ghanaian singing/percussion sensation Sidiku Buari nevertheless remains a criminally hard-to find gem. We're honoured to present the first ever officially licensed vinyl reissue of this undoubted masterpiece. Limited to just 500 copies.

                    Originally released on RCA in 1975, this is, quite simply, a ridiculous record. This super-rare album boasts an all-star cast of top funk instrumentalists playing alongside Buari as he blends heavy African rhythms with American soul-funk grooves. The arrangements and the playing are incredibly tight and the album is stacked with killer tracks including "Advice From Father" (sampled brilliantly by Kenny Dope) and "Ku Ka Maria", with its intense, neck-snapping breaks and funky drumming from legend Bernard 'Pretty' Purdie. Purdie is in the pocket for the entirety of this stunning LP - the drumming is just straight out of hand; so varied yet so precise.

                    It's not hard to fathom why these tracks have always been huge on the b-boy/breaking scene. Other standouts include the wonderful disco-tinged afro monsters "Karam Bani" and "Iro Le Pa" plus the cool laidback groove of "Them Yebtheyet".

                    With access to the original analogue tape transfers, Simon Francis' stellar mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

                    STAFF COMMENTS

                    David says: Beautifully repackaged and remastered. Buari is a genuine, bonafide Afro disco classic that NO home should be without, unmissable.

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                    Cover of King Jammy Presents: Dennis Brown Tracks Of Life by Dennis Brown.

                    Dennis Brown

                    King Jammy Presents: Dennis Brown Tracks Of Life

                    VP Records

                    Now ain't this summat spesh.... A re-vamped selection of Dennis Brown songs recorded and produced at Jammy's and now remixed and remastered with a selection of new vocalists, deejays and toasters adding ad-libed lines and improvisations to the original compositions!

                    The A-list selection of vocalists includes Protoje, Dre Island, Alborosie, Romain Virgo, Agent Sasco and more (no Chronix though?! - ed). Some of Dennis Brown’s finest performances for King Jammys, remixed and refreshed with 21st century flavor, the album also includes a newly remastered solo feature for Dennis Brown, “You Satisfy My Soul” (a King Jammy personal favorite). The vinyl LP includes the special bonus addition of the Damian ‘Jr. Gong’ Marley feature "Can’t Keep (A Good Man Down)" backed with "Can’t Keep Version".

                    King Jammy is one of reggae’s most prolific and innovative producers, with "Tracks Of Life" he shows himself strong once again. Part tribute and part greatest hits, this album will win new listeners and inspire fans to dig into the original songs. The album is a blend of raw and vibrant vocal performances revisiting vintage Dennis Brown from the King Jammy catalogue.


                    STAFF COMMENTS

                    Matt says: One of my favourite reggae producers of the 80's, maybe ever, shines a light on the incredible vocal talent currently spearheading Jamaica's roots n culture renaissance.

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                    Cover of Mission Of Dead Souls by Throbbing Gristle.

                    Throbbing Gristle

                    Mission Of Dead Souls

                    Mute

                      ‘Mission Of Dead Souls’: The final performance of Throbbing Gristle before their initial breakup, at the Kezar Pavillion, San Francisco on 29 May 1981. Remastered. Following the release of this album and public statement by Throbbing Gristle of ‘This Mission Is Terminated’ the legend of the band began and influence upon generations started to be felt.

                      FORMAT INFORMATION

                      Coloured LP Info: Unavailable on vinyl since the early 1990s, pressed here on white vinyl, recreating the original sleeve and using a silver ink with a new inner sleeve with photos and a passage by Jon Savage.

                      Coloured LP includes MP3 Download Code.

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                      Cover of Heathen Earth by Throbbing Gristle.

                      Throbbing Gristle

                      Heathen Earth

                      Mute

                        ‘Heathen Earth’: A live document of a performance by TG to a small and invited audience on 16 February 1980. Uses re-mastering from 2011. Neither an insight into TG’s recording process nor private live show, ‘Heathen Earth’ is its own entity and exists as a document and testament to a group of people at the height of their creative powers, recorded just over a year before they disbanded and terminated the mission.

                        FORMAT INFORMATION

                        Coloured LP Info: Blue vinyl in gatefold sleeve, echoing the first pressing of the album from 1980, of which there were only 750 copies pressed. Subsequent pressings have all been on black vinyl. Also contains an 8 page 12” booklet entitled ‘Industrial News’. Vinyl format also contains a high definition download code for the tracks featured on the 2CD set’s second disc.

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                        Cover of Heartattack And Vine - Remastered by Tom Waits.

                        Tom Waits

                        Heartattack And Vine - Remastered

                        Epitaph UK

                          Released in 1980, Heartattack and Vine was Waits’ final album on Elektra Asylum and it built on the raw blues approach of Blue Valentine with the incendiary title track, the funky, organ driven “Downtown” and the stomping NOLA blues of “Mr. Siegal”. This album also contains some of Waits most popular ballads, including “Jersey Girl” which was famously a hit for Bruce Springsteen. “On the Nickle” is a moving song about the homeless people who lived on 5th street in downtown LA, and “Ruby’s Arms” is a beautiful song with a lovely Bach-like melody.

                          FORMAT INFORMATION

                          Coloured LP Info: RSD stores exclusive clear vinyl edition.

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                          Cover of In A Priest Driven Ambulance (With Silver Sunshine Stares) by The Flaming Lips.

                          The Flaming Lips

                          In A Priest Driven Ambulance (With Silver Sunshine Stares)

                          Rhino

                            In A Priest Driven Ambulance (With Silver Sunshine Stares) is a concept album surrounding Wayne Coyne’s fascination with religion, and was released in 1990.

                            All of the music on vinyl has been remastered from original sources by the band’s longtime musical foil and producer, David Fridmann, with help from the Lips’ Wayne Coyne and Michael Ivins, with lacquers cut at Sterling Sound. Additionally, the studio albums – which have been out of print for years – have been restored to their original cover art.

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                            Cover of Death Trippin’ At Sunrise: Rarities, B-Sides & Flexi-Discs 1986-1990 by The Flaming Lips.

                            The Flaming Lips

                            Death Trippin’ At Sunrise: Rarities, B-Sides & Flexi-Discs 1986-1990

                            Rhino

                              Death Trippin’ At Sunrise: Rarities, B-Sides & Flexi-discs is a new rarities collection, packed with the music originally released on singles, flexis and various compilations. It includes their Sub Pop single “Drug Machine In Heaven”, “Stychnine/Peace, Love And Understanding” and a cover of “After The Gold Rush” from a 1989 Neil Young tribute album. A number of the tracks on the rarities compilation are making their first appearance on vinyl.

                              All of the music on vinyl has been remastered from original sources by the band’s longtime musical foil and producer, David Fridmann, with help from the Lips’ Wayne Coyne and Michael Ivins, with lacquers cut at Sterling Sound. Additionally, the studio albums – which have been out of print for years – have been restored to their original cover art.

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                              Cover of The Scream - 2018 Reissue by Siouxsie & The Banshees.

                              Siouxsie & The Banshees

                              The Scream - 2018 Reissue

                              UMC

                                Siouxsie And The Banshees – The Scream debuted in November 1978 born out of part sweet suburbia and part grey Orwellian uber state. The Scream was unlike anything else released that year.

                                Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

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                                Cover of A Kiss In The Dreamhouse - 2018 Reissue by Siouxsie & The Banshees.

                                Siouxsie & The Banshees

                                A Kiss In The Dreamhouse - 2018 Reissue

                                UMC

                                  A Kiss in the Dreamhouse brought with it a new musical direction, with the addition of strings and rampant guitarist John McGeoch the Banshees were able to exploit the potential of the studio to full effect.

                                  Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

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                                  Cover of Journey Through A Body by Throbbing Gristle.

                                  Throbbing Gristle

                                  Journey Through A Body

                                  Mute

                                    ‘Journey Through A Body’: Recorded as a piece of art for and in the studios of Italian National Radio RAI in Rome March 1981. Remastered. On the recommendation of Robert Wyatt, RAI originally commissioned Cosey Fanni Tutti to create a sound work based on the theme of ‘A Journey Through The Body’. It became a Throbbing Gristle project which was later broadcast by RAI. This was the last studio recording by Throbbing Gristle. It was recorded in five days, a day per body section. No tracks were re-recorded or added to after their day. Each track was mixed immediately after recording. No tracks were pre-planned; all tracks were invented directly to tape.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Unavailable on vinyl since 1983 and now repressed
                                    on silver vinyl with foil blocked cover and featuring photos from the session.

                                    Coloured LP includes MP3 Download Code.

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                                    Cover of Superstition - 2018 Reissue by Siouxsie & The Banshees.

                                    Siouxsie & The Banshees

                                    Superstition - 2018 Reissue

                                    UMC

                                      The tenth studio album from the Banshees only reinforced the belief that nothing outside of their world was of real concern. Produced by Stephen Hague, one might say an odd choice, given that grunge was soon to be thrust into the mainstream. Forever evolving and experimenting - Superstition would become yet another offering of unique songs to treasure.

                                      Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Superstition has been expanded and cut over three sides for the first time with a special Vinyl etching on Side Four. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.




                                      FORMAT INFORMATION

                                      2xLtd LP Info: Double LP with etched side D.

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                                      Cover of Songs Of Experience by David Axelrod.

                                      David Axelrod

                                      Songs Of Experience

                                      Now-Again Records

                                        “Songs of Experience was supposed to have a different feel than Song of Innocence. You see, music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to William Blake, what was going on in my life took precedence.” – David Axelrod. Songs of Experience is visionary composer/arranger/producer David Axelrod’s second album; it was recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with mortality and spirituality – the solitary, pastoral musings of William Blake set to the urban bombast of a full Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk.

                                        This is the next Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy – Song of Innocence, Songs of Experience and Earth Rot – which will see release through 2018. LP Contains oversized, 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics’ Brian Digenti. (CD 32 page booklet) “There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.” 

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                                        Cover of Cosmic Sounds by N'Draman Blintch.

                                        N'Draman Blintch

                                        Cosmic Sounds

                                        Hot Mule - Secousse

                                        Tired of reading the words ‘classic’, ‘masterpiece’, ‘missing link’, ‘cult’, in every press release? Just trust us on this one: We have no choice but to use those words and urge you to (re)discover one of the ultimate Afro-Disco lost classics.
                                        How could such a masterpiece stay in obscurity for so long? Well, no one knows where N’Draman is. He’s presumed dead, and so is Mr Patrick (not me), the label owner, an ex-football player who turned his focus into fashion after suffering a career ending injury. Selling jeans from an outlet in Monrovia (Liberia), he only ventured in the music business for a short period of time, releasing a handful of incredible albums on his Cosmic Sounds imprint.
                                        The word on the street was that Nigerian legend William Onyeabor was somehow involved with the production of the album, or maybe playing synths on it. Both were inaccurate, although N’Draman Blintch’s previous and first record "Cikamele", was indeed recorded at Willfilms, Onyeabor’s studio. And some of the musicians playing here were also key members in his pool of session musicians.
                                        "Cosmic Sounds" is many things: Psychedelic, politically engaged, funky to death, full of synths, with an artwork to die for, a perfect crossover of African and Western culture: Music for the body and soul, Cosmic disco before the genre even existed. Did DJ Danielle Baldelli hear it? Was it ever played by Larry Levan or Mancuso? In a pre-internet era, it’s unlikely but not impossible.
                                        Both artwork and audio have restored by specialists, and liner notes were written by Temitope Kogbe, Afro-Funk expert who runs the Odion Livingston label, founded with legendary producer Odion Iruoje. 38 years after its original release, the world is finally ready to hear "Cosmic Sounds" in all its glory.

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                                        Cover of Filled With His Spirit by The Nelson Family.

                                        The Nelson Family

                                        Filled With His Spirit

                                        Rain & Shine

                                        Rain & Shine give out a hefty holler of "Church!" and take us all a little bit higher with the first ever official re-release of The Nelson Family's Gospel classic from 1986. An enduring and seriously in demand LP, "Filled With His Spirit" is an essential purchase for any serious collectors of Gospel. Quality from end-to-end, the LP including the cuts "Thank You Lord" (firm favorite of Floating Points and Skymark), title track "Filled With His Spirit" and "Everlasting Love".

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                                        Cover of Club Soul - Wigan Casino Soul Club by Various Artists.

                                        Various Artists

                                        Club Soul - Wigan Casino Soul Club

                                        Charly

                                        “In 1978 America’s Billboard Magazine voted Wigan Casino the World’s Best Disco. Over 4-million soul fans passed through the Casino doors, it really was a wonderful time.” - Russ Winstanley

                                        While other clubs may be able to argue they were the birthplace of Northern Soul in the UK, few can claim to have the same popularity or influence as the mighty Wigan Casino. The venue became a Mecca for fans of rare, imported soul records, with a passionate, dedicated fanbase. No-one could have predicted the club’s enormity and impact on Northern Soul. Perhaps it was a combination of circumstances: the untimely demise of the Golden Torch in Stoke-On-Trent, the escape from the workplace that the “scene” offered, a sense of belonging, and something your parents couldn’t begin to understand!
                                        This new LP album, presented on 180g heavyweight audiophile vinyl with sleeve notes, collects some of the classic tracks that were played at the famous club from 1973-81 including exclusive songs not on the 2013 CD edition (CHARLY661X).
                                        It features a host of legendary artists including The Ringleaders, The Jerms, Ohio Players, Blanch Carter, The Inspirations, The Young Savages, Little Richie, Maurice Williams, Ron Holden, The Combinations, The C.O.D.’s and more.

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                                        Cover of Reflections In The Sea Of Nurnen by Doug Hammond & David Durrah.

                                        Doug Hammond & David Durrah

                                        Reflections In The Sea Of Nurnen

                                        Tribe

                                        An incredible session from the legendary Tribe Records scene — an equal effort from leader Doug Hammond and keyboardist David Durrah, who contributes some ground-breaking Fender Rhodes and moog work to the set! Hammond handles drums plus a bit of vocals and synthesizer on the session — working alongside Durrah in a groove that mixes electric and acoustic instrumentation into a totally righteous sound with lots of heavy Afro Jazz leanings. A number of tracks feature great vocals from Hammond — righteous, and with a beautifully soulful message-oriented approach — and a few other tracks, such as the classic “Space I” and “Space II”, feature a sparer all-electric sound. The whole thing’s wonderful — skittishly rhythmic, warmly flowing, and righteously beautiful. Titles include “Sea Of Nurnen”, “Fidalgo Detour”, “Reflections”, “Space II”, and “For Real”.
                                        (Dusty Groove, Inc.)


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                                        Cover of The Avalanche - Coloured Vinyl Reissue by Sufjan Stevens.

                                        Sufjan Stevens

                                        The Avalanche - Coloured Vinyl Reissue

                                        Asthmatic Kitty

                                          Released in 2006 as a follow-up to Sufjan Stevens’ 2005 Illinois, Asthmatic Kitty Records is finally releasing Avalanche on vinyl. Initially conceived as part of a double album version of Illinois, Avalanche instead became a “companion” (a polite word for “b-sides”) to Illinois. Since its release, fans have had mixed reactions. “3 versions of Chicago?!?! Enough already,” wrote ‘biografiend” on Sputnik. But “cravenmonket,” who gave the album 4.5 stars on rateyourmusic, suggests that we all “stop thinking of The Avalanche as more Illinois. It actually owes more to Michigan.” Cravenmonket may be right. Take “The Mistress Witch” or “Saul Bellow,” both of which could have lived on the 2003 Michigan as much as on Illinois. One can hear Sufjan’s 2004 Enjoy Your Rabbit in “The Undivided Self.” And the band jam on “Springfield” looks forward to 2010’s All Delighted People. Then there’s “Pittsfield,” which, at least lyrically, foreshadows the more personal themes of 2015’s Carrie & Lowell.

                                          All that to say, a vinyl release of Avalanche is long overdue. Complete with all 21 songs from the original release, including the three versions of “Chicago” (you’re welcome, biografiend).


                                          FORMAT INFORMATION

                                          2xColoured LP Info: Limited edition coloured vinyl. Avalanche white hatchback orange double LP.

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                                          Cover of Salad Days Demos by Mac Demarco.

                                          Mac Demarco

                                          Salad Days Demos

                                          Captured Tracks

                                            Mac DeMarco’s breakthrough sophomore album, Salad Days – released on April Fools’, 2014 – garnered widespread critical acclaim, landing on over 30 Year End lists. It was the album that catapulted DeMarco from “loveable slacker” to “mature songwriter with a gaptoothed grin,” all at the tender age of 23. DeMarco’s demos for Salad Days, originally included in an expanded edition of the album only available on Captured Tracks Mail Order site, peel back the curtain of said artist, who, up until then, may have been more known for his raucous live shows than his genuine talent as a songwriter and craftsman. This collection of demos and sketches as well as previously unreleased instrumental demos offer a rare insight into Mac’s world and process.

                                            FORMAT INFORMATION

                                            Coloured LP Info: Captured Tracks Tenth Anniversary Edition, Pressed on White Vinyl. Limited to 5000 copies.

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                                            Cover of 2 Demos by Mac Demarco.

                                            Mac Demarco

                                            2 Demos

                                            Captured Tracks

                                              Mac DeMarco’s second album, 2, cleaned up the songwriter’s warped take on soft rock and brought it to a broader audience. Given DeMarco’s affinity for keeping things lo-fi—2 was the first time he’d bothered to record demos—it’s revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like “Annie” and the Lennon-esque “Sherrill.”

                                              FORMAT INFORMATION

                                              Coloured LP Info: Captured Tracks Tenth Anniversary Edition, Pressed on Green Vinyl. Limited to 5000 copies worldwide.

                                              Coloured LP includes MP3 Download Code.

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                                              Cover of Germfree Adolescents by X-Ray Spex.

                                              X-Ray Spex

                                              Germfree Adolescents

                                              Real Gone

                                                The one and only LP release from X-Ray Spex and its irrepressible frontwoman Poly Styrene has been deemed by everybody from Greil Marcus to Robert Christgau to Spin to Mojo as one of the greatest punk albums ever made, yet, somehow, this is its first vinyl reissue (and you can tell because prices for the used vinyl are insane)! And we've done it right; besides the colored vinyl, we've reproduced the inner lyric sheet, where you can read Poly's brilliant observations about the plastic, corporate nature of modern society. All of which she sings in a passionate yowl all her own (with Lora Logic among others backing on saxophone); this is not only one of the most penetratingly observant punk records, it's also one of the most passionate, and, surprisingly enough, catchy.

                                                FORMAT INFORMATION

                                                Coloured LP Info: Clear vinyl!

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                                                Cover of The Faust Tapes by Faust.

                                                Faust

                                                The Faust Tapes

                                                Superior Viaduct

                                                  Faust stand among the most influential creative forces to have emerged from Germany in the late ’60s and early ’70s. Along with Can, Agitation Free, Neu! and others, Faust rejected the Anglo-American norms of rock ’n’ roll dubbed by the UK press with the semi-derogatory term “krautrock.” Faust would reach near-mythical status through a series of classic albums recorded between 1970 and 1973 at their secluded Wümme studio. As Dave Segalwrites in the liner notes, “There’s no consensus about which Faust album represents their zenith. But a survey of the group’s fans would likely find the collage-heavy messterpiece The Faust Tapes triumphing.

                                                  Its freewheeling, jump-cut nature and unlikely earworm Moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler author Julian Cope has raved.” Comprised of twenty odd tape-manipulation experiments and freak-out jams, The Faust Tapes stashes away some of the band’s best-known songs. “Flashback Caruso,” with its delicate acoustic guitar and Rudolf Sosna’s airy vocals, could easily have appeared on So Far or Faust IV , while on “J’ai Mal Aux Dents,” Jean-Hervé Peron’s playful lyrics and this ecstatic, era-defining riff perfectly represent Faust’s magical mischievousness. This first-time US release of The Faust Tapes on vinyl reproduces the original sleeve design, featuring artwork by Bridget Riley

                                                  FORMAT INFORMATION

                                                  LP includes MP3 Download Code.

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                                                  Cover of Reachin' (A New Refutation Of Time And Space) by Digable Planets.

                                                  Digable Planets

                                                  Reachin' (A New Refutation Of Time And Space)

                                                  Modern Classics

                                                  At a time when hip-hop was determined to snap your neck, a young, hip trio from Brooklyn (by way of Seattle, Philly, and Brazil) conspired on an uncommonly smooth new sound and freaky way of speak, a titanically chill expression of Black bohemia loaded with jazz idiom and a subversive Marxist bent—and pushed it worldwide via an undeniable crossover hit.

                                                  Digable Planets’ 1993 debut, Reachin’ (A New Refutation of Time and Space), unexpected to all involved, produced a massive radio hit in “Rebirth Of Slick (Cool Like Dat)”, which won the 1994 Grammy for Best Rap Performance by Duo or Group. Unduly lumped into an “alternative rap” subgenre they chafed at, the Dig Plans were dismissed by some as one-hit wonders, coming out of nowhere; but the Digable Planets concept, and what became Reachin’, had been in the works for close to five years, as group leader Ishmael “Butterfly” Butler wrote music and soaked up game in multiple cities, navigating the industry of hip-hop’s golden age.

                                                  In the end, Butler, Mary Anne “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving came together to create a seamlessly articulated vision of urbane hiphop cool with an uncommonly literary bent that subtly pushed the hip-hop genre’s frames of reference and added breadth to rap music’s burgeoning political philosophy. Drawing on inspiration from Butler’s jazzbo father, the Black Panthers, Jose Luis-Borges, the Last Poets, and Jimi Hendrix, Reachin’ posited a theory of “universal beats”, narrated by three unearthly MC’s that had “split to Earth to resurrect the funk”, assuming curious, arthropodic aliases—a nod to the natural collective action of the insect world. In just four years the crew would record two beloved and ambitious LPs before disbanding.

                                                  Out of print on wax domestically since 1993, Reachin’ captures one of the last gasps of rap music’s jazzy, upbeat adolescence in the early 90’s—those warm, blissed-out grooves every bit as slick as when they were laid way back when. Put this on, roll up with your crew and bug out again with the insect tribe.

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                                                  Cover of Gentlemen Take Polaroids - Remastered by Japan.

                                                  Japan

                                                  Gentlemen Take Polaroids - Remastered

                                                  UMC

                                                    The last album with Rob Dean, Gentlemen Take Polaroids was also unquestionably the album in which Japan truly found its own unique voice and aesthetic approach. The glam influences still hung heavy, particularly from Roxy Music, but now the band found itself starting to affect others in turn. Even the back cover photo says as much -- looking cool in glossy, elegant nightwear, the quintet had a clear impact on Duran Duran, to the point where Nick Rhodes obviously was trying to be Sylvian in appearance. Musically, meanwhile, the swooning, hyper elegant Euro-disco sheen of Quiet Life was polished to an even finer edge throughout, the title track and the obvious descendant of "Quiet Life" itself, "Methods of Dance," in particular sheer standouts. Sylvian's sighing, luscious croon is in full effect on both, and the arrangements are astonishing, Karn's fretless purring between Jansen's crisp, inventive, and varied drumming, Barbieri's icy keyboards filling out the corners. What makes Gentlemen Take Polaroids even more of a success is how the group, having reached such a polished peak, kept driving behind it, transforming their exquisite pop into something even more artistic and unique. "Swing," in particular, is an astounding showcase for the Karn/Jansen team; snaky funk at once dramatic and precisely chilled, brass section blasts adding just enough wry, precise sleaze, Sylvian delivering with focus and intensity while not raising his voice at all. "Nightporter," meanwhile, is a hyper ballad and then some; a slow-paced semi-waltz with Barbieri's piano taking the lead throughout with wonderful results. Further hints of the future come with the album closing "Taking Islands In Africa," which Sylvian co-wrote with future regular collaborator Ryuchi Sakamato, and which wraps up the whole experience with a gliding, supple grace. - AllMusic.

                                                    A Half Speed Mastered edition of Japan's fourth album from 1980. Mastered by Miles Showell at Abbey Road. Features the single "Gentlemen Take Polaroids". This record was cut using a specialist technique known as half-speed mastering. This artisan process results in cuts that have superior high frequency response (treble) and solid and stable stereo images. In short, a very high quality master that helps to create a very high quality record. In addition to this, we will release this album as a double 45 RPM half-speed mastered edition. This is the ultimate for high quality reproduction as the faster the replay speed of the record, the higher the potential quality. Also, the shorter side times allow the level recorded to the master lacquer discs to be increased thereby improving the signal to noise ratio.

                                                    FORMAT INFORMATION

                                                    2xLtd LP Info: Half speed mastered edition. 2LP sets on 180gram vinyl, which play at 45rpm for enhanced fidelity.

                                                    LP Info: Standard 180gram 1LP.

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                                                    Cover of Tin Drum - Remastered by Japan.

                                                    Japan

                                                    Tin Drum - Remastered

                                                    UMC

                                                      Partially growing out of their success in the country they were named after, as well as growing friendship and affiliation with such bands as Yellow Magic Orchestra, Japan, on Tin Drum, made its most unique, challenging, and striking album. It was also the final full studio effort from the group, and what a way to bow out -- there was practically no resemblance to the trash glam flailers on Adolescent Sex anymore. Rather than repeat the sheer restraint on Gentlemen Take Polaroids, Tin Drum is an album of energy, Sylvian's singing still the decadently joyful thing it is, but the arrangements and performances tight, full, and active. The fusion of exquisite funk courtesy of Karn and Jansen's joined-at-the-hip rhythm section and a range of Asian music influences, from instrumentation to subject matter, combined with an even wider use of technological approaches to create the dramatic, sly songs on offer. Only the Talking Heads showed the same attempt at reach and variety at the time, at least in the Western rock world, but Japan arguably outstripped the New York band with its sheer sense of theatrical style. To top it all off, the band was more popular than ever, with "Ghosts," an appropriately haunting ballad notable for its utterly minimal arrangement, almost entirely eschewing beats for Barbieri's textures and Jansen's work on marimba, becoming a Top Ten hit in the U.K. The wound-up dancefloor art grooves of "The Art of Parties" and especially "Visions of China," the latter featuring what has to be Karnand Jansen's eternal highlight performance (check out Jansen's jaw-dropping drum break) were also notable efforts. Meanwhile, the evocation of Chinese culture in general continued with such songs as "Canton," a slightly martial, stately march with clear inspiration from the country's classical music tradition, and the concluding "Cantonese Boy." - Allmusic.

                                                      A Half Speed Mastered edition of Japan's 5th studio album from 1981. Mastered by Miles Showell at Abbey Road studios. Features the singles "The Art Of Parties" and "Ghosts". This record was cut using a specialist technique known as half-speed mastering. This artisan process results in cuts that have superior high frequency response (treble) and solid and stable stereo images. In short, a very high quality master that helps to create a very high quality record. In addition to this, we will release this album as a double 45 RPM half-speed mastered edition. This is the ultimate for high quality reproduction as the faster the replay speed of the record, the higher the potential quality. Also, the shorter side times allow the level recorded to the master lacquer discs to be increased thereby improving the signal to noise ratio.

                                                      FORMAT INFORMATION

                                                      2xLtd LP Info: Half speed mastered edition. 2LP sets on 180gram vinyl, which play at 45rpm for enhanced fidelity.

                                                      LP Info: Standard 180gram 1LP.

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                                                      Cover of KAYA 40 by Bob Marley & The Wailers.

                                                      Bob Marley & The Wailers

                                                      KAYA 40

                                                      UMC

                                                      On August 24, The Marley Family, Island Records, and UMC celebrate 40 years of "Kaya", Bob Marley & The Wailers’ historic March 1978 release. This most special anniversary edition to date will feature Stephen 'Ragga' Marley’s exciting and vibrant new "Kaya 40" mixes of all ten tracks from the original album alongside its original mixes in 2CD and 180-gram 2LP configurations.

                                                      Bob Marley’s artistic legacy forever endures, and the 40th anniversary edition of "Kaya" only serves to reinforce just how much we all share the shelter of this special music.

                                                      FORMAT INFORMATION

                                                      2xLP Info: Two disc set featuring new, 'Kaya 40' mixes on one disc and the original album set on the other.

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                                                      Cover of Voices & Rhythms Of The Creative Profile by Harold McKinney.

                                                      Harold McKinney

                                                      Voices & Rhythms Of The Creative Profile

                                                      Tribe

                                                      One of the most righteous albums ever issued by the always-righteous Tribe Records label of Detroit – a really collective effort, one that features ensemble vocals and spiritual jazz – all pulled together by pianist Harold McKinney! The album showcases a group named Voices Of The Creative Profile – formed by McKinney to accompany his Creative Profile instrumental group – and the overall style is a great blend of spiritual soul jazz that gives equal time to the voices and instruments in the set. Gwen McKinney heads up the vocal ensemble, and other players on the set include Wendell Harrison on flute, Marcus Belgrave on trumpet, Billy Turner on percussion, and Ed Pickins on bass. Also features some cool moog from Darryl Dybka (Dusty Groove, Inc.)

                                                      Harold McKinney was one of Detroit's jazz legends as both an artist and as a cultural figure. His Voices and Rhythms of the Creative Profile was issued on the city's cooperative independent Tribe label -which also boasted outings from Marcus Belgrave, Doug Hammond, Mixed Bag, Wendell Harrison, and Phil Ranelin -- in 1974. McKinney's approach to jazz in the 1970s may have been funky and electric, but it was also idiosyncratic and vocal. Harold and Gwen McKinney handle the lead vocals, while a backing chorus of seven helps out on other pieces. This is an adventurous set, and along with his deep, funky electric piano grooves is a killer alternately swinging and soulful horn section fueled by Harrison and Belgrave, drummer Ron Jackson, percussionists Charles Miles and Billy Turner, as well as bassist Ed Pickins and Daryl Dybka on Moog! The highlights of the set are the stunning "Out of These Blues" with McKinney's Rhodes underscoring beautiful head and solo work by the horns, the stomping bop meets science fiction of "Corner Stone," and fine covers of Eddie Harris' "Freedom Jazz Dance" and Herbie Hancock's "Dolphin Dance" (with a set of lyrics by McKinney). Voices and Rhythms of the Creative Profile walks many tightropes: between hard bop and soul-jazz, between vanguard jazz and fusion, and between swinging blues and raw adventure. It's true that the vocals can be a bit excessive at times, especially on the opener, "Ode to Africa," but they are more than compensated for by the phenomenal playing of the ensemble. Ultimately, this is a solid recording that embodies the entire spirit of the Detroit jazz scene at the time. Thom Jurek/AMG.


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                                                      Cover of The Voice Of Love by Julee Cruise.

                                                      Julee Cruise

                                                      The Voice Of Love

                                                      Sacred Bones

                                                        25 years after its initial release, Julee Cruise’s sophomore album The Voice of Love is being issued for the first time on vinyl as a deluxe 2xLP, and returning to print on CD.

                                                        In 1992, after the release of Twin Peaks: Fire Walk With Me, David Lynch, Angelo Badalamenti, and Julee Cruise returned to the studio with new compositions as well as the intent to craft previously instrumental score-based material from Fire Walk With Me and Wild at Heart into Julee Cruise songs. The result was 1993’s final studio album The Voice of Love, a gorgeous ethereal album, which like her debut “Floating Into The Night” had a dreamlike, cinematic feel to it.

                                                        “In the studio, David would always say ‘[sing] like an angel, like an angel…” Cruise remembers.

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                                                        Cover of Mirage by Josefin Öhrn & The Liberation.

                                                        Josefin Öhrn & The Liberation

                                                        Mirage

                                                        Rocket

                                                        Having already been nominated for a Swedish Grammy with their debut EP, Diamond Waves, their full-length 2015 debut on Rocket Recordings, Horse Dance, marked out a territory in which beguiling repetition could sashay with sweet pop suss, melodic flourishes with experimental intensity, and it was summarily rapturously received on arrival, making new fans and earning them appearances at Roskilde Festival and Eindhoven Psych Lab. Their second effort Mirage, which follows a mere year after its predecessor, sees the band sculpting sprawling, hypnotic jams into elegant nocturnal serenades. “We agree on not remembering very much about how these tracks came about, that all of them were written on the road and that most of them came fully formed” note the band. “Most were really long to begin with, but we found it relieving to break away a bit from the mandatory psych jams a little bit. We also just realised that none of them were written in daylight, which might be why memory is so elusive.” Indeed, this hypnagogic approach seems to fit well with the primary inspiration for the five-piece, which centred on ‘the state where dreams, visions and the present are entwined’ .Mirage sees the band taking a chic tradition of avant-pop that extends all the way from Serge Gainsbourg and Françoise Hardy to Broadcast and Saint Etienne, and warping it mercilessly to their own darker ends. Whilst the brooding yet sultry ‘Sister Green Eyes’ is no less than a sharp slice of velveteen motorik-pop and ‘Looking For You’ reinvents three-chord garage-rock attack with mighty finesse, The Liberation are just as comfortable dealing out the heavy-lidded and electronically-driven ‘In Madrid’ or the dive in the hallucinatory deep end of ‘Circular Motion’, on which they’re aided and abetted by Lay Llamas’ Nicola Guinta. The seductive splendour of these ten songs åmake manifest a parallel world of disorientation and deliverance in which one would be a fool not to want to languish adrift . Fresh excitement for the band lies in wait, courtesy of a UK tour with Goat and an appearance at Liverpool International Festival Of Psychedelia.

                                                        STAFF COMMENTS

                                                        Barry says: Driven and mesmerising psychedelic loops, snarling basses and full on funky-psych freakouts. Sweetly sung vocals contrast perfectly to the experimental backdrop, breaking out into moments of profound serenity. A perfectly measured combination, and just another essential part of this enthralling collection.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Purple & Green Swirl Effect Vinyl repress.

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                                                        Cover of Sirens Of The Ditch: Deluxe Edition by Jason Isbell.

                                                        Jason Isbell

                                                        Sirens Of The Ditch: Deluxe Edition

                                                        New West

                                                          The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers, is reissued with four unreleased tracks from the original recording sessions. The addition of those extra songs finds ‘Sirens Of The Ditch’ clocking in at 15 total tracks.

                                                          ‘Sirens Of The Ditch’’s mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL, where the album was recorded.

                                                          Co-produced by Isbell and Patterson Hood (Drive By Truckers), ‘Sirens Of The Ditch’ features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (formerly of Drive By Truckers) on bass and Brad Morgan (Drive By Truckers) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson’s father) on ‘Down In A Hole’, John Neff (formerly of Drive By Truckers) on ‘Dress Blues’ and Patterson himself guests on ‘Shotgun Wedding’.

                                                          “A strong debut, full of the kind of confident, charismatic songwriting that just can’t be taught.” - Pitckfork

                                                          FORMAT INFORMATION

                                                          2xLP Info: Double LP format pressed on 180 gram vinyl with
                                                          digital download code included.

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                                                          Reduced Cover of Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine by Gnod.

                                                          Gnod

                                                          Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine

                                                          Rocket Recordings

                                                          Considering the current political climate, Gnod's newest outing was never going to be a particularly cheery affair. 'Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine' is indeed political, it is wrought and angry, and it installs everything you would expect from a Gnod album, and adds to it exponentially. 'Bodies For Money' sets out as a state of intent from the off with a screaming pillar of feedback before launching headfirst into a barrage of percussion and punishing guitar. Settling slightly to leave sonic headroom for an angry muted voice is as symbolic as it is effective, giving the impression of fighting against the tide of noise and crushing weight of the background. 

                                                          'People' begins much more unceremonoiusly, pitching a looped vocal abstraction against rich and guttoral bass guitar and driving percussion. More akin to the aggressive Krautrock of their earlier years, but injected with a satisfying grit and industrious drive. The vocal segments are layered and amplified, giving the impression of a growing force speaking towards one end. This is music for protest, a soundtrack for forced disillusionment, a call to arms and it is as rousing as it is brilliant. 

                                                          The clanging of 'Paper Error' quickly becomes one of the more melodic points on the album, eschewing vocal snippets and ambient swells for a deft stoner-rock passage, before twisting and tunring into a rawkous and molten grinding thump. It's towering conclusion is inched upon you, like a frog boiling in water without jumping out. 

                                                          'Real Man' is rich in thunderous sub-bass, and propelled by galloping drums and a snarling monologue half-sung about our hero, the man in a dirty grey suit with a bag full of beers. Claging old-school punk littered with instrumental passages and cataclysmic breakdowns, screaming and feedback twisted and rolled into a voracious wall of noise and force. 

                                                          The epic closer 'Stick In The Wheel' grows from a vocal refusal of convention, accompanied by rhythmic guitar stabs and dark-ambient synth work, the constantly propulsive and militaristic rhythm perfectly befits the conventions of the previous numbers, acting as an anchor for the political tumult that preceeds it, before breaking down into a psychedelic and metallic distillation of rage into an eastern-tinged opium den percussive head-nodder. 

                                                          A driven and direct assault on the troubles of today, and a bold, bracing barrage of musical magma. Caustic, loud and captivating to the end. 

                                                          STAFF COMMENTS

                                                          Barry says: Brilliance as ever from Manchester noise-rock-drone-psych stalwarts Gnod. Brilliantly musical, stunningly direct and absolutely unmissable.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Black with Red Stripe repress.

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                                                          Cover of Chapel Perilous by Gnod.

                                                          Gnod

                                                          Chapel Perilous

                                                          Rocket Recordings

                                                          Chapel Perilous exists whereby the supernatural converges with the everyday - whatever one’s definition of reality, this psychological realm serves to prove it endlessly subjective and changeable. Robert Anton Wilson may have laid claim to the modern use of this phrase - as in his 1977 tome ‘Cosmic Trigger’ - yet there can be few musical outfits in the here and now more worthy of carrying on its tradition than Gnod. In more than a decade on the planet this singular Salford-birthed entity have married intrepid musical exploration with psychic fearlessness - not to mention a tendency to leave any tag or bracket one attempts to place on them utterly redundant. In a sense, the latest adventure bearing this title evolved both from the lengthy European tour that the band embarked upon in the wake of their stripped-down and paint-stripping 2017 opus Just Say No The Psycho Right-Wing Capitalist Fascist Industrial Death Machine.

                                                          Yet recording in Supernova studio in Eindhoven under the auspices of Bob De Wit, the band found themselves free not only to lay down two tumultuous tracks that they had been honing and hammering into shape on the road - the pulverising fifteen-minute opener ‘Donovan’s Daughters’ and the bracingly brutal ‘Uncle Frank Says Turn It Down’ - but to sculpt more abstract material, utilising dubbed-out repetition, furious riff-driven rancour, bleak soundscapes and off-the-map experimentation to create an intimidating and invigorating tableau of dystopian dread and unflinching intensity. Always working purely on their own instincts and co-ordinates, Gnod’s pathway into unchartered territory continues to move firmly on with nary a care for the sanity of anyone in their surroundings. Chapel Perilous is a still more indomitable chapter in a transcendental travelogue from an iconoclastic institution that only gathers momentum with the passing of time. Wherever Gnod go in 2018 and beyond, expect reality to be reinvented anew, whatever the consequences

                                                          STAFF COMMENTS

                                                          Barry says: Gnod once again ripping everyone a new one with a heady mix of metallic drone, psychedelic ambience and visceral spoken-word musings, incisive cut-throat guitar lines and hypnotic scree. Classic, unbelievable Gnod. Killer.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Teal Blue repress.

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                                                          Cover of Simple Things (Reissue) by Zero 7.

                                                          Zero 7

                                                          Simple Things (Reissue)

                                                          New State Entertainment

                                                          Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album "Simple Things" was released selling over a million copies to date and was nominated for the Mercury Music Prize. Zero 7 were also nominated as Best Newcomer at the Brit Awards 2001. "Simple Things" peaked at no.28 in the UK album chart and spent 89 weeks on the chart. Stateside, the album hit no.4 on the Billboard Dance / Electronic album chart and stayed on that chart for 52 weeks.

                                                          Singles taken from the original album included ‘I Have Seen’ featuring Mozez, ‘Destiny’ featuring Sia & Sophie Barker, "In the Waiting Line" featuring Sophie Barker and "Distractions" featuring Sia. The LP has been out of print for almost two decades and second-hand copies of the original pressing are changing hands on Ebay and Discogs for upwards of £100!

                                                          STAFF COMMENTS

                                                          Andy says: Beautiful, lushly produced downtempo grooves topped with sweet melodies, somewhat akin to French masters Air but with soul and jazz flavours, this is a timeless classic, and every home should have one!

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                                                          Cover of Juju by Siouxsie & The Banshees.

                                                          Siouxsie & The Banshees

                                                          Juju

                                                          UMC

                                                            An absolute classic from 1981. Budgie’s tribal drums and John McGeoch’s swirling guitars provide the perfect backdrop for Siouxsie’s distinctive vocals.

                                                            This is one of four albums released by taken from the Siouxsie And The Banshees extensive studio catalog, each album appearing as it should on glorious 180-gram black vinyl.

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                                                            Cover of Tinderbox by Siouxsie & The Banshees.

                                                            Siouxsie & The Banshees

                                                            Tinderbox

                                                            UMC

                                                              Originally release in 1986, this is one of four albums released by UMC from the Siouxsie And The Banshees extensive studio catalog, each album appearing as it should on glorious 180-gram black vinyl.

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                                                              Cover of Join Hands by Siouxsie & The Banshees.

                                                              Siouxsie & The Banshees

                                                              Join Hands

                                                              UMC

                                                                This is one of four releases by UMC of classic Siouxsie And The Banshees LPs, each album appearing as it should on glorious 180-gram black vinyl. Join Hands was their second LP, originally release in 1979. Includes Playground Twist.

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                                                                Cover of Through The Looking Glass by Siouxsie & The Banshees.

                                                                Siouxsie & The Banshees

                                                                Through The Looking Glass

                                                                UMC

                                                                  This covers collection was originally released in 1987 and is one of four albums released by UMC, from the Siouxsie And The Banshees extensive studio catalog, each album appearing as it should on glorious 180-gram black vinyl.

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                                                                  Cover of Bandwagonesque - Remastered Edition by Teenage Fanclub.

                                                                  Teenage Fanclub

                                                                  Bandwagonesque - Remastered Edition

                                                                  Sony

                                                                    Originally released on Creation Records, this long out of print classic has been re-mastered for the first time from the original tapes at Abbey Road Studios, London under the guidance of the band, Norman Blake, Gerard Love, and Raymond McGinley. Packaged in a faithful re-production of the original vinyl artwork and available on heavyweight 180g single vinyl.

                                                                    This is one of a series of five releases, and for each the band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7” with each album. These 7” singles each feature two tracks and are only available with the initial pressing of each album.

                                                                    STAFF COMMENTS

                                                                    Andy says: The Fannies' masterpiece (actually their second album, proper) exploded onto the scene in 1991, blowing away the cobwebs of bogus Baggy and insipid Shoegaze with a devil-may-care attitude and a hearty lifting of classic 70's rock riffing and tuneage. It's still amazing, and timeless today!

                                                                    FORMAT INFORMATION

                                                                    Ltd LP Info: Limited edition includes bonus 7".

                                                                    Ltd LP includes MP3 Download Code.

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                                                                    Cover of Thirteen - Remastered Edition by Teenage Fanclub.

                                                                    Teenage Fanclub

                                                                    Thirteen - Remastered Edition

                                                                    Sony

                                                                      Originally released on Creation Records, this long out of print classic has been re-mastered for the first time from the original tapes at Abbey Road Studios, London under the guidance of the band, Norman Blake, Gerard Love, and Raymond McGinley. Packaged in a faithful re-production of the original vinyl artwork and available on heavyweight 180g single vinyl.

                                                                      This is one of a series of five releases, and for each the band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7” with each album. These 7” singles each feature two tracks and are only available with the initial pressing of each album.

                                                                      STAFF COMMENTS

                                                                      Andy says: TFC's third album wasn't received as merrily as its predecessor by the UK music press. But where are they now hey!!?? To be fair, it lacked the panache and swagger of its predecessor but (most importantly) certainly not the tunes. In 1993 there was no-one around quite like them.

                                                                      FORMAT INFORMATION

                                                                      Ltd LP Info: Limited edition includes bonus 7".

                                                                      Ltd LP includes MP3 Download Code.

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                                                                      Cover of Grand Prix - Remastered Edition by Teenage Fanclub.

                                                                      Teenage Fanclub

                                                                      Grand Prix - Remastered Edition

                                                                      Sony

                                                                        Originally released on Creation Records, this long out of print classic has been re-mastered for the first time from the original tapes at Abbey Road Studios, London under the guidance of the band, Norman Blake, Gerard Love, and Raymond McGinley. Packaged in a faithful re-production of the original vinyl artwork and available on heavyweight 180g single vinyl. 

                                                                        This is one of a series of five releases, and for each the band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7” with each album. These 7” singles each feature two tracks and are only available with the initial pressing of each album.

                                                                        STAFF COMMENTS

                                                                        Andy says: Probably Teenage Fanclub's best ever album. Released in 1995 and spurred on by label mates Oasis ( doing something pretty similar, to be honest) igniting the scene, this record has classic song after classic song and still rings true to this day.

                                                                        FORMAT INFORMATION

                                                                        Ltd LP Info: Limited edition includes bonus 7".

                                                                        Ltd LP includes MP3 Download Code.

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                                                                        Cover of Songs From Northern Britain - Remastered Edition by Teenage Fanclub.

                                                                        Teenage Fanclub

                                                                        Songs From Northern Britain - Remastered Edition

                                                                        Sony

                                                                          Originally released on Creation Records, this long out of print classic has been re-mastered for the first time from the original tapes at Abbey Road Studios, London under the guidance of the band, Norman Blake, Gerard Love, and Raymond McGinley. Packaged in a faithful re-production of the original vinyl artwork and available on heavyweight 180g single vinyl. 

                                                                          This is one of a series of five releases, and for each the band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7” with each album. These 7” singles each feature two tracks and are only available with the initial pressing of each album.

                                                                          STAFF COMMENTS

                                                                          Andy says: Following their masterpiece with a more mature and restrained instalment, the once fun-loving and flippant Fannies got all thoughtful and mellowin 1997. The songs are still absolutely 18 carat, and none less than Norman's puzzlingly under the radar, scarf-waving classic "Winter".

                                                                          FORMAT INFORMATION

                                                                          Ltd LP Info: Limited edition includes bonus 7".

                                                                          Ltd LP includes MP3 Download Code.

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                                                                          Cover of Howdy! - Remastered Edition by Teenage Fanclub.

                                                                          Teenage Fanclub

                                                                          Howdy! - Remastered Edition

                                                                          Sony

                                                                            Originally released on Creation Records, this long out of print classic has been re-mastered for the first time from the original tapes at Abbey Road Studios, London under the guidance of the band, Norman Blake, Gerard Love, and Raymond McGinley. Packaged in a faithful re-production of the original vinyl artwork and available on heavyweight 180g single vinyl. 

                                                                            This is one of a series of five releases, and for each the band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7” with each album. These 7” singles each feature two tracks and are only available with the initial pressing of each album.

                                                                            STAFF COMMENTS

                                                                            Andy says: Teenage Fanclub finally slow up with this year 2,000 record. It's still sweet, supremely well crafted, and in Raymond's "My Uptight Life" in particular, extraordinary, but it was no surprise that this release closed a particular chapter for this much-loved band.

                                                                            FORMAT INFORMATION

                                                                            Ltd LP Info: Limited edition includes bonus 7".

                                                                            Ltd LP includes MP3 Download Code.

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                                                                            Cover of The Moldy Peaches by The Moldy Peaches.

                                                                            The Moldy Peaches

                                                                            The Moldy Peaches

                                                                            Rough Trade

                                                                              The Moldy Peaches were established in the mid-90s by Adam Green and Kimya Dawson, after meeting in upstate New York. The duo helped spawn the “anti-folk” music genre movement, bringing a more quirky, lo-fi punk element into the indie music scene. After releasing their own music for a few years, they collected their best material for a proper album, and in 2001 shared “The Moldy Peaches” via Rough Trade Records.

                                                                              Known for their sense of humor, whimsy and self-deprecation, the album featured gems like “Downloading Porn With Dave” and Who’s Got The Crack”. In 2007, “Anyone Else But You” (another song from the aforementioned album), was used in the Academy Award winning movie Juno, and reignited the album’s cult popularity. Since then, the two founders have had continued success in their respective solo careers.

                                                                              Kimya Dawson has also made children’s albums, and collaborated with many artists including Aesop Rock, They Might Be Giants, and The Mountain Goats. Adam Green has several albums on Rough Trade, as well as showing exhibitions of his visual art and making films.

                                                                              We asked Adam Green what he thought about reissuing the album at this time....he said "It's been 17 years since this was last released and we are putting it out again just in time to capitalize on the popularity of Juno. JK LOL  we are slow at re-releasing stuff. We decided to ignore Barbara Walter's advice when she told us to strike when the iron was hot, and decided to wait until the iron had become safely tepid. Once a Moldy Peach, always a Moldy Peach. Bon appétit!"

                                                                              “punk poets disguised as Nancy Sinatra and Dean Martin against a background of guitars and hiss...sweetly crazy and completely memorable.” -GUARDIAN

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: This is the first vinyl pressing of the album in 15 years, and includes a bonus 7" single of "County Fair" / "Rainbows".

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                                                                              Cover of Blue Valentine - Remastered by Tom Waits.

                                                                              Tom Waits

                                                                              Blue Valentine - Remastered

                                                                              Epitaph UK

                                                                                Blue Valentine is a big departure from earlier Waits albums. Trading the piano for the guitar, Waits is getting rawer and bluesier and title track is a great example of this. Waits is in transition here, so you also get a stunning orchestrated rendition of Gershwin’s “Somewhere”, and the beautiful piano ballad, “Kentucky Ave.”, but you also get the juke joint swagger of “Romeo Is Bleeding” and “Whistlin’ Past the Graveyard”. This is also the record that contains one of Waits’ most popular songs ever, “Christmas Card from A Hooker in Minneapolis.

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: RSD Stores Exclusive transparent blue vinyl.

                                                                                Coloured LP includes MP3 Download Code.

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                                                                                Cover of The Lost Future by Dub Surgeon.

                                                                                Dub Surgeon

                                                                                The Lost Future

                                                                                Ark To Ashes

                                                                                This is a great, long lost album from the Dub Surgeon now finally released on Ark to Ashes. Engineered by one Ricardo Villalobos (!!) and a big one for fans of Rhythm & Sound, Echospace & Seekers International, this is oceanic and thoroughly psychedelized DUB MUSIK for the deep heads and should demand your immediate attention!

                                                                                Devoid of traditional rhythmic structures, ideas and motifs drift in on waves of white noise and electrostatic; the 'rainforest' fx and exotica idents indeed predating the SKRS INTL blueprint by some years.

                                                                                Smothered in tape delay and aquatic reverb, the music rests below the surface of a crystalline sea, an ancient dub story lost in the vast currents of the Pacific but, like a message in a bottle, impossible the destroy and ready to be uncovered by human life once again...

                                                                                Highly, highly recommended!


                                                                                STAFF COMMENTS

                                                                                Matt says: Oh my! Just when you've exhausted the SRKS catalogue, here comes these 13 blissful tracks, suspended inna dub dreamscape, ready to take you off into another world. So good.

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                                                                                Cover of Soul Journey by Gillian Welch.

                                                                                Gillian Welch

                                                                                Soul Journey

                                                                                Acony

                                                                                  To surpass 2001's brilliant "Time (The Revelator)" Gillian Welch has had to pull out all the stops for her new studio album "Soul Journey". The resulting ten tracks are amongst the finest acoustic music of 2003 with Welch's plaintive, emotional singing and deep felt beliefs impacting on the listener on many levels. It's music that brings a tear to the eye and a lump to the throat and its simple beauty will warm your soul.

                                                                                  FORMAT INFORMATION

                                                                                  Deluxe LP Info: Mastered direct from the original tapes through custom Ortofon amplifiers to the artists’ own personal Neumann VMS-80 cutting system.
                                                                                  Plated and pressed at Quality Record Pressings on 150 Gram audiophile quality vinyl.
                                                                                  Packaged in an "Old Style Tip-On" gatefold jacket with lyrics (for the first time) and with a printed sleeve.

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                                                                                  Cover of Toni Tornado by Toni Tornado.

                                                                                  Toni Tornado

                                                                                  Toni Tornado

                                                                                  Mad About Records

                                                                                  Son of a Guyanese father and a Brazilian mother, at 11 years old Tony ran away from home and ended up in Rio de Janeiro where he became a street kid and made a living selling peanuts and shining shoes.

                                                                                  At 18 he served in the Deodoro School of Parachuting along with the futurely TV presenter and entrepreneur Silvio Santos. In 1957, he fought in the Suez Canal.

                                                                                  Tony began his artistic career in the 60s with the stage name Tony Checker, lip-synching and dancing on "Hoje é dia de Rock" show of Jair Taumaturgo. That time Tony imitated singers Chubby Checker and Little Richard. Even in the 60s, he traveled to the United States where he lived for five years in New York.

                                                                                  In New York, Tony served as drug dealer and pimp, to deceive the immigration department, pretending to be an employee of a car wash. At that time, Tony met another Brazilian who also lived in New York, the also singer Tim Maia.

                                                                                  Back in Brazil in 1969, he worked in the group of Ed Lincoln and also sang at night with the pseudonym Johnny Bradfort, the owner of the club forced him to pretend to be a foreigner.

                                                                                  In 1970, he adopted the name with he came to be known, "Tony Tornado". Influenced by James Brown, Tony was one of the artists who introduced soul music and funk in Brazilian music.

                                                                                  That same year, alongside Trio Ternura defended the song BR-3, which got the first place in the festival. His first role on television was in 1972 , in the 1972 telenovela "Jerônimo" on TV Tupi.

                                                                                  James Brown released "I'm Black and I'm Proud" during the height of the Black Power Movement in the United States in 1968. Brown's in-your-face approach to racial pride resonated in the U.S. ghettos as well as the slums abroad. Many black people, all around the world, embraced the Black Power soundtrack and consciousness. Working-class black cariocas (residents of Rio) of Zona Norte began using the English phrases "Black Power," "brother" and "black is beautiful." They played African-American soul records at their bailes(dances) and incorporated the lyrics and sounds into their music.

                                                                                  Maia, the godfather of música soul, spent five years in the United States. He came to know the sounds of black America intimately. When he returned to Brazil in 1964, Maia incorporated the soul and funk influences into his songs. By the 1970s, other Brazilian musicians, such as Tony tornado, Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben Jor and Gilberto Gil, began making soul records. DJs started throwing soul-only parties. This nova (new) music spoke to an experience - both universal and unique at the same time. The time period was known as "Black Rio. By the end of the '70s, funk and disco would take over where soul left off, but it was the latter that helped to shape a generation of artists around a universal black identity.

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                                                                                  Cover of White1 by Sunn O))).

                                                                                  Sunn O)))

                                                                                  White1

                                                                                  Southern Lord

                                                                                    Fourth album from Sunn 0))), featuring a new expanded line-up with Julian Cope, Joe Preston (Thrones, ex-Earth, ex-Melvins) and Runhild Gammels (Thorr's Hammer vocalist). Sunn 0))) converged in August 2002 in Magnetic Park studios (curated by Rex Ritter of Fontanelle / ex-Jessamine) Portland, Oregon. The results of this diverse yet visionary collaboration are certainly Sunn 0)))'s most eclectic, pro/regressive birthing. Julian Cope guests on the incredible "My Wall". For fans of Earth, Jessamine, 70s Miles Davis, Warp Records and drugs!

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                                                                                    Cover of White2 by Sunn O))).

                                                                                    Sunn O)))

                                                                                    White2

                                                                                    Southern Lord

                                                                                    Fifth album from Greg Anderson and Stephen O'Malley aka Sunn O))). Unsuprisingly, "White 2" is the follow up to "White 1" and features contributions from Attilla Csihar (Mayhem, Tormentor, etc), Joe Preston (Thrones, ex-Melvins), Rex Ritter (Fontanelle) and Dawn Smithson. Sunn O))) is not your standard doom metal band... taking influences from legends Earth, adding electronica and stpping ahead of the crowd, Sunn O))) appeal to fans of electronic music, metal and experimental all at once.

                                                                                    FORMAT INFORMATION

                                                                                    2xLP Info: Double album in a gatefold sleeve.

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                                                                                    Cover of 45 84 89 A-Sides by The Fall.

                                                                                    The Fall

                                                                                    45 84 89 A-Sides

                                                                                    Beggars Banquet

                                                                                      Originally released in 1990, the seventeen songs collected here come from The Fall’s Brix Smith era, aka “the golden era of Fall releases.” This is a perfect introduction to the band, and as legendary critic Robert Christgau said, it’s “The only Fall record any normal person need own”.

                                                                                      The band’s legendary and notorious frontman Mark E. Smith passed away earlier this year at the age of 60. The band’s output since they formed at the height of the punk rock movement in Manchester in 1976 was prolific to say the least. It’s hard to be exact, but in their four decades, The Fall released 31 studio albums, 5 part-studio/part live albums, 32 live albums, 40 compilations, and Mark E. Smith also released two spoken word albums. Another high number is that of former members of The Fall. There were over 60 different band members over the years. Their high volume of quality work over the last 40+ years had an enormous influence which was extolled greatly after his death.

                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: White vinyl edition.

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                                                                                      Cover of Highs, Lows, And Heavenly Blows by Spectrum.

                                                                                      Spectrum

                                                                                      Highs, Lows, And Heavenly Blows

                                                                                      Medical Records

                                                                                        First time reissue on any format of the 1994 album by Spectrum. Spectrum is the project of Sonic Boom (ex-Spacemen 3 as well as Experimental Audio Research) and collaborators. Technically his 3rd album but the 2nd under the name Spectrum. Carrying on the signature sound exemplified on “Soul Kiss (Glide Divine)”, “Highs, Lows, And Heavenly Blows” lulls the listener into a deep trance with it’s droning and hypnotic tracks and treated vocals on top of a myriad of analog synths and Sonic’s recognizable guitar treatments. The first track “Undo the Taboo” sets the stage for a meditative ride that doesn’t let up until the last track. Absolutely crucial and long awaited reissue.

                                                                                        FORMAT INFORMATION

                                                                                        LP Info: Second pressing on black 180 gram Vinyl.

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                                                                                        Cover of Through The Looking Glass (2017 Re-Edition) by Midori Takada.

                                                                                        Midori Takada

                                                                                        Through The Looking Glass (2017 Re-Edition)

                                                                                        We Release Whatever The Fuck We We Want

                                                                                        Rightly considered to be THE Holy Grail of Japanese music, "Through The Looking Glass" was Midori Takada’s first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Thank Christ for Palto Flats and WRWTFWW, otherwise I'd have had to remortgage the house to buy a copy!

                                                                                        The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.


                                                                                        STAFF COMMENTS

                                                                                        Ryan says: Every now and again we stock something which has the whole spectrum of our customers in palpitations. This WRWTFWW reissue was the perfect case in point. Suddenly indie kids, techno heads, Balearic beards and psych collectors were all united in rapturous counter chatter, all raving about this Japanese ambient classic. It’s time to join the conversation…

                                                                                        FORMAT INFORMATION

                                                                                        2xDeluxe LP Info: Limited edition 2LP on 180g CRYSTAL CLEAR TRANSPARENT VINYL.
                                                                                        Ultra Deluxe 45rpm Cut Edition with Gatefold "Tip On" Sleeve.
                                                                                        Housed in heavy cardboard old Stoughton tip-on jacket (Gatefold).
                                                                                        Sticker.
                                                                                        45 rpm cut for highest possible Audiophile Sound made by Emil Berliner Studios.

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                                                                                        Cover of Selected Ambient Works 85-92 - Official Vinyl Repress by Aphex Twin.

                                                                                        Aphex Twin

                                                                                        Selected Ambient Works 85-92 - Official Vinyl Repress

                                                                                        Apollo

                                                                                        Originally released in 1992 on R&S Records offshoot Apollo, "Selected Ambient Works 85-92" marks the first full length studio album by Richard D. James under his Aphex Twin name. Considered a landmark release in ambient techno, it's easy to see why it has endured. Feathery keys, dreamy production and trickling rhythms are drenched over distant samples from sources as diverse as Willy Wonka & The Chocolate Factory ("We Are The Music Makers"), Robocop ("Green Calx") and ethereal female vocals on opener "Xtal". Arguably some the most beautifully realised and majestic sounds of the revered musician's career.  The album provided the blueprint for every electronica, downbeat and chill-out record for years after. This is just one of those classic electronica releases that every home should have; melodic, semi-ambient and musical, this is AFX at his most accessible. Essential.




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                                                                                        Cover of What Another Man Spills (Remastered 20th Anniversary Reissue) by Lambchop.

                                                                                        Lambchop

                                                                                        What Another Man Spills (Remastered 20th Anniversary Reissue)

                                                                                        City Slang

                                                                                        To celebrate its 20th anniversary, Lambchop’s 1998 album ’What Another Man Spills’ has been pressed to vinyl for the first time after it’s original release 20 years ago! Remastered from the original DAT and featuring refreshed artwork.

                                                                                        What Another Man Spills (1998) represents a milestone in Lambchop’s career, but not in the modern sense of a ‘landmark’ release. Building on foundations that had once sounded almost literally creaky, it expands upon the tentative manoeuvres they’d undertaken with the previous year’s Thriller (1997) and gestures confidently towards its brassy successor, Nixon, which would arrive in 2000 to wild acclaim and previously unimaginable commercial success.

                                                                                        Liner notes by Kurt Wagner himself.

                                                                                        FORMAT INFORMATION

                                                                                        2xColoured LP Info: 180g double heavyweight coloured vinyl (one LP yellow, one LP clear), plus liner notes.

                                                                                        2xColoured LP includes MP3 Download Code.

                                                                                        2xLP Info: 180 double vinyl plus liner notes.

                                                                                        2xLP includes MP3 Download Code.

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                                                                                        Cover of Soundtracks For The Blind - Reissue by Swans.

                                                                                        Swans

                                                                                        Soundtracks For The Blind - Reissue

                                                                                        Mute

                                                                                          SWANS Soundtracks for the Blind - originally released in 1996, and the band’s last studio album prior to their 2010 reformation - will be released for the first time on vinyl by Mute / Young God Records on 20 July 2018.

                                                                                          Much requested by Swans fans, the vinyl package will consist of four LPs in jackets enclosed in a box with a poster, insert and digital copy. The box set will be a limited edition of 4,000 copies worldwide and, once sold out, will be followed by a gatefold LP version. Soundtracks for the Blind will also be reissued on CD featuring a repackage of the original digipak for the 1996 Atavistic release plus a bonus disc of the contemporaneous Die Tür Ist Zu EP (a German language version of some of the material from Soundtracks that also includes unique material) recently released for the first time on vinyl in the USA for Record Store Day 2018. Outside of the US, the Die Tür Ist Zu EP will be released as a limited edition companion piece double vinyl set, also on 20 July.

                                                                                          “This album has everything in there – all the ideas from Swans’ initial 15 years of work. There’s some contemporary recordings of the band as it existed in ‘96/7, with Larry Mullins on drums/percussion, Jarboe singing and playing keyboards, Vudi playing electric guitar, and Joe Goldring playing bass and electric guitar, and me singing and playing electric and acoustic guitar, but there’s also a huge amount of sounds and recordings that Jarboe and I collected over the years. These are reassembled, looped, mangled, and in many cases overdubbed upon to create new pieces of music… I really set my own trap, dug my own grave on this one. There was SO MUCH material to deal with, to sift through (whole trunks full of decomposing, moldy cassettes and discs with samples and sounds), and the task of making it into something coherent was at times debilitating. Really like climbing up a mountain of sand. I don’t remember why I set this goal for myself, to somehow incorporate such a ridiculously disparate amount of material. I think maybe it was so I could justify throwing all that crap into the local dump, which is what I did when I finished the album. But in the end, after centuries of picking at this huge iceberg of material with a toothpick, my trusty engineer Chris Griffin and I managed to sculpt something out of it. It actually breathes, seems to live, in most places I think. … When I decided to reform Swans in 2010 Soundtracks was what I referred to as a starting point”. 
                                                                                          - Michael Gira / Swans 2018.

                                                                                          “Now that this last phase of Swans is over, I'm not quite sure it actually happened. It's already fading, like most things. I think we achieved something there though, and it was good after shows to go out and meet people and get a sense of how the music has affected them, either that night or through the years. I'm always touched when I hear the music has had a salutary effect on someone, since it's had the same effect on me - which is why I do it. So, even if the details are increasingly hazy, I feel we've left something positive behind, and perhaps contributed something worthwhile.

                                                                                          Now, as is natural, I'm looking towards what comes next. I'm currently writing new material for the next phase of Swans, some of which I'll perform on my upcoming solo tours. Sitting there alone on stage with a dead piece of wood and some wires and just my voice is a challenge I set for myself a number of years ago, trying to fully inhabit the same thread that's run through the music all along, with the simplest of means. I think I've gotten pretty good at it over time. I play the guitar my own way. I've never really learned how to play it conventionally and I don't care to do so. I could just as easily be hitting two rocks together. It provides a context for the voice and words, and just as in the music of Swans, when all the elements (known and unknowable) combine, it can lead to something beyond itself, which is always the place I'd like to go: somewhere else. I hope to see you there."
                                                                                          - Michael Gira / Swans 2018.


                                                                                          FORMAT INFORMATION

                                                                                          4xLP Box Set includes MP3 Download Code.

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                                                                                          Cover of Die Tür Ist Zu by Swans.

                                                                                          Swans

                                                                                          Die Tür Ist Zu

                                                                                          Mute

                                                                                            Die Tür Ist Zu EP is a German language version of some of the material from The Swans "Soundtracks For The Blind" and also includes unique material. It was recently released for the first time on vinyl in the USA for Record Store Day 2018 and is now available in the UK.

                                                                                            FORMAT INFORMATION

                                                                                            2xLP includes MP3 Download Code.

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                                                                                            Cover of Call Me By Your Name - OST (Sufjan Stevens & Ryuichi Sakamoto) by Various Artists.

                                                                                            Various Artists

                                                                                            Call Me By Your Name - OST (Sufjan Stevens & Ryuichi Sakamoto)

                                                                                            SONY Classical

                                                                                              Released on the 'Sony Classical' label, "Call Me By Your Name" is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman. Summer of 1983, Northern Italy. An American-Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

                                                                                              Sufjan Stevens is an American singer-songwriter and multi-instrumentalist. His debut album A Sun Came was released in 2000 on the Asthmatic Kitty label which he cofounded with his stepfather. He is perhaps best known for his 2005 album Illinois, which hit number one on the Billboard Top Heatseekers chart, and for the single Chicago from that album.

                                                                                              Ryuichi Sakamoto is a Japanese musician, composer, record producer, pianist, activist, writer, actor and dancer, based in Tokyo and New York. 

                                                                                              FORMAT INFORMATION

                                                                                              Coloured LP Info: Limited edition 180g blue vinyl.

                                                                                              2xColoured LP 2 Info: The is the special Limited Peach Season Edition. The records are pressed on peach-coloured vinyl and the gatefold sleeve has a peach scent. 14,999 individually numbered copies are available, but only in Peach Harvest season.

                                                                                              Ltd LP Info: Black vinyl edition.

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                                                                                              Cover of The Order Of Change by Orquestra De Las Nubes.

                                                                                              Orquestra De Las Nubes

                                                                                              The Order Of Change

                                                                                              Music From Memory

                                                                                              Following on from a retrospective compilation of solo work and an album of recent work in 2016, Music From Memory continue to explore the work of Spanish ambient and experimental pioneer Suso Saiz. The subject of Music From Memory’s latest compilation focuses on Suso Saiz’s output as part of the group Orquesta De Las Nubes, formed by Suso Saiz and percussionist Pedro Estevan when the two met whilst studying a course on ‘Techniques of Contemporary Composition’ in Madrid.
                                                                                              Sharing a curiosity for American minimalist and Non-Western music, the pair began to share music through many listening sessions, during which the idea slowly evolved to try and make music together. Pedro’s partner at the time, soprano singer María Villa, would later join the two on vocals. With Suso’s sparse use of guitar loops, synthesizers, and drum computers in combination with the hypnotic percussion of Pedro Estevan and the wordless drifting vocals of María Villa, Orquesta De La Nubes would evolve as a group with a truly unique musical language; an ethereal and almost otherworldly musical realm.
                                                                                              Developing at first as a live act, through a number of performances in Madrid and beyond, Orquesta De Las Nubes was very much connected with, and inspired by, the avant-garde arts scene in Madrid at the time. Throughout their shows, a close circle of friends, including a number of painters, sculptors and designers, would collaborate with the trio to create unique imagery and elaborate stage sets for the group’s performances.
                                                                                              Yet, despite the growing fascination surrounding Orquesta De Las Nubes’ live performances, the trio would however find it extremely difficult to find a label willing to release their music on record. The group’s then manager Silvia Lovosevic therefore decided to set up her own label ‘Linterna Música’ in order to make the work available. The group would release three albums between 1983-1987, two on the Linterna Musica label as well as an album and CD compilation of live tracks on the cult Spanish label ‘Grabacionnes Accidentales’.
                                                                                              Between this period the trio would also team up with American percussionist Glen Velez to record as the group ‘Musica Esporadica’; a one-off project in which they recorded a single album of the same name in 1985. ‘Musica Esporadica’ will be released on Music From Memory in 2019.

                                                                                              STAFF COMMENTS

                                                                                              Patrick says: MFM continue their fruitful relationship with Spain's Suso Saiz via the gentle melodies, sprightly rhythms and rich textures of the Orquestra De Las Nubes. Impressionistic vignettes and soothing atmospheres drift out the speakers like a lost PCO / Cocteaus collab.

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                                                                                              Cover of Worship The Glitch by ElpH Vs Coil.

                                                                                              ElpH Vs Coil

                                                                                              Worship The Glitch

                                                                                              Dais Records

                                                                                              Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD.

                                                                                              "Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

                                                                                              During the studio sessions that developed into what would become “Worship the Glitch”. Coil became aware of random compositions emitting from their gear, and were at odds with constant ͞”accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil’s methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch”.

                                                                                              Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener. 


                                                                                              FORMAT INFORMATION

                                                                                              2xColoured LP Info: Limited edition of 500 on TRANSLUCENT YELLOW.

                                                                                              2xLtd LP Info: Limited edition of 500 on BLACK VINYL.

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                                                                                              Cover of Ogdens' Nut Gone Flake - 50th Anniversary by Small Faces.

                                                                                              Small Faces

                                                                                              Ogdens' Nut Gone Flake - 50th Anniversary

                                                                                              Sanctuary Records

                                                                                                Ogdens' Nut Gone Flake is the third studio album and first concept album by the English rock band Small Faces. Released on 24 May 1968, the LP peaked at number one on the UK Album Charts on 29 June, where it remained for a total of six weeks. The title and the design of the distinctive packaging was a parody of Ogden's Nut-brown Flake, a brand of tobacco.

                                                                                                These deluxe, Art Of The Album versions celebrate this seminal records 50th anniversary.

                                                                                                Vinyl cut at half speed mastering for finest audio quality at Alchemy Mastering.
                                                                                                New liners notes by acclaimed music journalist Jon Savage.


                                                                                                FORMAT INFORMATION

                                                                                                Ltd LP Info: LP comes with 12” x 12” art print.
                                                                                                180g LP also contains 6 page roll fold booklet.

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                                                                                                Cover of Lord Of Lords by Alice Coltrane.

                                                                                                Alice Coltrane

                                                                                                Lord Of Lords

                                                                                                Superior Viaduct

                                                                                                Originally released in 1972, Lord Of Lords was Alice Coltrane’s final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances—shining a vital light on the devotional path that she would follow for the rest of her career. On the first two pieces, “Andromeda’s Suffering” and “Sri Rama Ohnedaruth” (titled after the spiritual name for her late husband), Alice’s dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer “Going Home.” Coltrane’s musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions. This first-time vinyl reissue has been carefully remastered from the original master tapes.



                                                                                                STAFF COMMENTS

                                                                                                Patrick says: Super spiritual tackle from Alice here, harnessing the power of a twenty five person orchestra to deliver her devotional compositions with true zeal.

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                                                                                                Cover of Blank Generation by Richard Hell & The Voivoids.

                                                                                                Richard Hell & The Voivoids

                                                                                                Blank Generation

                                                                                                Rhino

                                                                                                  Consistently heralded as one of the most influential punk albums of all time, Richard Hell & The Voidoid’s “Blank Generation” is now available on coloured vinyl.

                                                                                                  FORMAT INFORMATION

                                                                                                  Coloured LP Info: 140g Solid Orange Vinyl.

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                                                                                                  Cover of Volume 1 by Ital Foundation.

                                                                                                  Ital Foundation

                                                                                                  Volume 1

                                                                                                  Jamwax

                                                                                                  Ital Foundation came together in the winter of 1977, out of a shared belief in Rastafarianism and deep love of reggae music in their home place Bermuda. Their music tackles global issues of colonialism, poverty, prophecy and redemption. They released only one album in their legendary career, the 1980 release "Ital Foundations Vol.1". A tumultuous history rought with trial and tribulation resulted in Ital Foundation being an underground musical movement that saw record sales all over the world while the band languished in obscurity.

                                                                                                  STAFF COMMENTS

                                                                                                  Matt says: Jamwax continue to blow my beak, week after week with more rare-ass reggae for the smokers, lovers & dancers alike. Jah!

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                                                                                                  Cover of Stories (Reissue) by Masayoshi Fujita.

                                                                                                  Masayoshi Fujita

                                                                                                  Stories (Reissue)

                                                                                                  Erased Tapes

                                                                                                    Ahead of the release of his new album Book Of Life, Erased Tapes will re-issue Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite album is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi’s mission in bringing the vibraphone — a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits — into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focussing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

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                                                                                                    Cover of Oh My Gawd!!!... The Flaming Lips by The Flaming Lips.

                                                                                                    The Flaming Lips

                                                                                                    Oh My Gawd!!!... The Flaming Lips

                                                                                                    Rhino

                                                                                                      The Flaming Lips are on a roll in 2018. Their campaign continues with the releases of the Restless-era studio albums on vinyl, as well as a double-LP of rarities. All of the music on vinyl has been remastered from original sources by the band’s longtime musical foil and producer, David Fridmann, with help from the Lips’ Wayne Coyne and Michael Ivins, with lacquers cut at Sterling Sound. Additionally, the studio albums – which have been out of print for years – have been restored to their original cover art.

                                                                                                      Oh My Gawd!!!... The Flaming Lips, released in 1987, opens and closes with references to The Beatles. It starts with the quote “take this, brother. May it serve you well” “Revolution 9”, and closes with “turn off your mind, relax” from “Tomorrow Never Knows".

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                                                                                                      Cover of Hear It Is by The Flaming Lips.

                                                                                                      The Flaming Lips

                                                                                                      Hear It Is

                                                                                                      Rhino

                                                                                                        The Flaming Lips are on a roll in 2018. Their campaign continues with the releases of the Restless-era studio albums on vinyl, as well as a double-LP of rarities. All of the music on vinyl has been remastered from original sources by the band’s longtime musical foil and producer, David Fridmann, with help from the Lips’ Wayne Coyne and Michael Ivins, with lacquers cut at Sterling Sound. Additionally, the studio albums – which have been out of print for years – have been restored to their original cover art. 

                                                                                                        Hear It Is (1986) was The Flaming Lips’ first full-length album, and the first with Wayne Coyne on lead vocals, taking over from his brother Mark after leaving the band.

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                                                                                                        Cover of Telepathic Surgery by The Flaming Lips.

                                                                                                        The Flaming Lips

                                                                                                        Telepathic Surgery

                                                                                                        Rhino

                                                                                                          The Flaming Lips are on a roll in 2018. Their campaign continues with the releases of the Restless-era studio albums on vinyl, as well as a double-LP of rarities. All of the music on vinyl has been remastered from original sources by the band’s longtime musical foil and producer, David Fridmann, with help from the Lips’ Wayne Coyne and Michael Ivins, with lacquers cut at Sterling Sound. Additionally, the studio albums – which have been out of print for years – have been restored to their original cover art.

                                                                                                          Telepathic Surgery from 1989 includes the Sub Pop single “Drug Machine In Heaven” which was the band’s first official single.

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                                                                                                          Cover of At First Sight Violets Are Blue by The Stems.

                                                                                                          The Stems

                                                                                                          At First Sight Violets Are Blue

                                                                                                          Citadel Records

                                                                                                            To coincide with The Stem's 30th anniversary tour celebrating the release of their 1987 debut album At First Sight Violets are Blue, Citadel Records are set to reissue the long deleted title as a limited digipak 'anniversary edition' CD. The album has been digitally re-mastered and includes 3 bonus tracks. The vinyl is limited to 500.

                                                                                                            Originally released through Mushroom Records' White Label, the album was first pressed in mid-1987. The title track At First Sight and subsequent singles For Always and Sad Girl gained mainstream airplay. They are one of only a handful of Australian bands to crack the mainstream charts with an indie approach in the late 80's, influencing a host of new local bands to emulate their brand of garage rock and roll.

                                                                                                            At First Sight became the band's signature track and the album is still rated as one of the best Australian guitar pop releases. In 1993 Rolling Stone Magazine included it in the top 100 Australian releases to date. The album attained gold record status in 2007. Seminal Australian 60s influenced 80s pop…all of em antipodean Nuggets!

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                                                                                                            Cover of Afro Latin Soul Vol. 1 by Mulatu Astatke.

                                                                                                            Mulatu Astatke

                                                                                                            Afro Latin Soul Vol. 1

                                                                                                            Strut

                                                                                                            Strut continue their essential work with the “Godfather OfEthio Jazz”, MulatuAstatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

                                                                                                            Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

                                                                                                            Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I FaramGami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘MascaramSetaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

                                                                                                            Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and FelaKuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

                                                                                                            ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by MulatuAstatke.


                                                                                                            STAFF COMMENTS

                                                                                                            Patrick says: Slinky and seductive, Mulatu Astatke's uniquely Ethiopian take on jazz splits the differential between exotica and Afro-Latin perfectly. It's a total classic that I come back to time after time.

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                                                                                                            Cover of Afro Latin Soul Vol. 2 by Mulatu Astatke.

                                                                                                            Mulatu Astatke

                                                                                                            Afro Latin Soul Vol. 2

                                                                                                            Strut

                                                                                                            Strut continue their essential work with the “Godfather Of Ethio Jazz”, Mulatu Astatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

                                                                                                            Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

                                                                                                            Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I FaramGami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘MascaramSetaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

                                                                                                            Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and FelaKuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

                                                                                                            ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by MulatuAstatke.

                                                                                                            STAFF COMMENTS

                                                                                                            Patrick says: Mulatu Astatke's second set of snake hipped jazz workouts upped the intensity a little, flirting with swing, bop and ragtime for a more uptempo mood.

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                                                                                                            Cover of La Vie Electronique Volume 1.2 by Klaus Schulze.

                                                                                                            Klaus Schulze

                                                                                                            La Vie Electronique Volume 1.2

                                                                                                            One Way Static

                                                                                                            Now available for the first time on vinyl, One Way Static Records presents the THIRD volume in our new archival series ‘La Vie Electronique’. This volume (1.2) focuses on the years 1970-1972 and is spread over two glorious LP’s containing +77 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes. Available as a limited classic black vinyl retail edition (700 copies) with obi strip.

                                                                                                            Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as ‘Tangerine Dream’, ‘The Cosmic Jokers’ & ‘Ash Ra Tempel’ before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville… just to name a few.

                                                                                                            Klaus Schulze’s proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as ‘Ambient’, ‘Electronic’, ‘New Age’, ‘Berlin School’, ‘Experimental’, ‘Kosmische Musik’ & ‘Krautrock’. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

                                                                                                            On occasions he would also compose film scores such as Body Love 1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song ‘Freeze’ has been used in films like Manhunter (1986) and more recently in Sofia Coppola’s ‘The Bling Ring’ from 2013.

                                                                                                            In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ("The Electronic Life"), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70’s masterworks that will appeal to both fans and collectors.


                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: Schulze, as one of the masters in the vast pool of talent that is the world of 70's synths, has an impeccable understanding of tone, texture and melody. Here, we get some of the lesser heard gems of his catalogue, beautifully presented and perfectly sequenced for a long, hypnotic undertaking. Absolute essential.

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                                                                                                            Cover of Labcabincalifornia by The Pharcyde.

                                                                                                            The Pharcyde

                                                                                                            Labcabincalifornia

                                                                                                            Concord Music Group

                                                                                                            The sophomore follow-up to the wildly successful "Bizarre Ride II The Pharcyde", "Labcabincalifornia" showcases the production talents of a then virtually unknown J Dilla. The first single from the album, the Dilla-produced "Drop" was a hit and the accompanying music video, performed backwards and replayed backwards by director Spike Jonze, reinforced the group’s wildly creative reputation. The album would go on to produce two more successful singles: "Runnin", which peaked at #55 and "She Said". This reissue features vinyl cut under the supervision of Dave Cooley (J Dilla, Madlib) at Elysian Masters.

                                                                                                            STAFF COMMENTS

                                                                                                            Matt says: Inspiring a generation on 'cool', The Pharcyde was the stuff of mixtape folklore amongst music fans across the board in the pre-Internet days. 25 years and the world's changed somewhat, but the message and delivery presented here still rings true.

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                                                                                                            Cover of Oh, Good Grief by Vince Guaraldi.

                                                                                                            Vince Guaraldi

                                                                                                            Oh, Good Grief

                                                                                                            Warner Proper

                                                                                                            In 1968, Vince made a label switch from his long-time home, Fantasy Records, to his new label, Warner Bros. Records. For his inaugural album, he decided to re-interpret his Peanuts classics on Oh, Good Grief! In addition to the instantly recognizable Guaraldi sound of piano, bass, and drums, this time he added electric guitar and electric harpsichord to the mix. The record was a smash hit.

                                                                                                            Now, for its 50th anniversary, Omnivore Recordings is proud to present the album the way the world first heard it as stated on the original album’s back cover, “on shiny black vinyl.” Well, actually, this special pressing is “on shiny red vinyl!” Mastered by Kevin Gray and pressed at RTI, this timeless album has never sounded better.

                                                                                                            With songs like “Linus And Lucy,” the special was a hit and for over five decades not a holiday season goes by without an airing of the television classic. So potent and successful was the Peanuts/Guaraldi combination that Guaraldi went on to score a total of 15 Peanuts television specials and the first feature film.

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                                                                                                            Cover of Loc-ed After Dark by Tone-Loc.

                                                                                                            Tone-Loc

                                                                                                            Loc-ed After Dark

                                                                                                            Concord Music Group

                                                                                                            The debut album by West Coast emcee Tone-Loc, "Loc-ed After Dark" features two collaborations with a pre-fame Young MC that would rocket the artist to the top of the pop charts: “Wild Thing,” the first Top 10 Pop hit for a black rapper, and the follow-up smash, “Funky Cold Medina.” The former reached #1 on the Billboard chart, while the latter topped out at #3. The net result was a #1 album, making it only the second rap album to top the charts at the time (the Beastie Boys’ "License to Ill" was the first). RIAA certified double platinum, Tone-Loc’s debut remains a hallmark of West Coast party rock, mixed with a healthy dose of streetwise swagger. This reissue features vinyl cut under the supervision of Dave Cooley (J Dilla, Madlib) at Elysian Masters.

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                                                                                                            Cover of Stone Cold Rhymin’ by Young MC.

                                                                                                            Young MC

                                                                                                            Stone Cold Rhymin’

                                                                                                            Concord Music Group

                                                                                                            The debut album by Young MC, "Stone Cold Rhymin’" reached #9 on the Billboard album chart upon its original release in 1989 and spawned the GRAMMY® Award-winning (Best Rap Performance), ubiquitous party anthem, “Bust A Move” Featuring clever, acrobatic rhymes by Young MC and skillful production by Matt Dike, Michael Ross and the Dust Brothers, the album remains one of the most catchy, infectious party records of all time. Fun fact: the album features Flea of the Red Hot Chili Peppers holding down the groove on bass. This reissue features vinyl cut under the supervision of Dave Cooley (J Dilla, Madlib) at Elysian Masters.

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                                                                                                            Cover of Viva Disco by Tunde Mabadu.

                                                                                                            Tunde Mabadu

                                                                                                            Viva Disco

                                                                                                            Mr Bongo

                                                                                                            Official Mr Bongo reissue of the ultra-rare Nigerian disco-boogie, ‘Viva Disco’, album from 1980. Originally released on the Afrodisia label, this one is unknown to even the most knowledgable collectors out there.

                                                                                                            Tunde Mabadu recorded two albums in the 70’s - ‘Viva Disco’ and ‘Bisu’ as Tunde Mabadu & His Sunrise. Perfect examples of golden-era Nigerian disco & boogie that still hold their own today.

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                                                                                                            Cover of Split LP (Repress) by Ty Segall / Black Time.

                                                                                                            Ty Segall / Black Time

                                                                                                            Split LP (Repress)

                                                                                                            Telephone Explosion

                                                                                                              A 180 gram repress of a classic record in Ty's career. Constantly referred to as his best early work. Originally released in 2009, the Ty Segall / Black Time split LP highlights a dichotomy between two vastly different musical climates. Ty Segall plants himself firmly in the California sun with seven unreleased (and reverb-drenched) tracks. Black Time infiltrate their side like a disorienting British fog, stumbling through six songs in a most cacophonous way. This repress offers fans a chance to lay their hands on a highly desirable record, priced much lower than the original, which sells for around 50 USD.

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                                                                                                              Cover of Paid In Full by Eric B & Rakim.

                                                                                                              Eric B & Rakim

                                                                                                              Paid In Full

                                                                                                              UMC

                                                                                                              The major label massive come through with something for the heads here, hooking us up with f-f-f-fresh reissues of Eric B & Rakim's four iconic studio albums. First in the series is the NYC duo's game-changing debut "Paid In Full", a perfect example of Eric B's break-fuelled, lo-fi beats and scratch prowess and Rakim's revolutionary flow. Though the mighty and mega title track may be the stand out track here (crossover classics don't come much better), the boombox fire of "I Ain't No Joke", slow and sludgy "My Melody" and neck-snapping groove of "I Know You Got Soul" would be standouts on any other record.



                                                                                                              FORMAT INFORMATION

                                                                                                              2xLP includes MP3 Download Code.

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                                                                                                              Cover of Haunt Me, Haunt Me Do It Again - Reissue by Tim Hecker.

                                                                                                              Tim Hecker

                                                                                                              Haunt Me, Haunt Me Do It Again - Reissue

                                                                                                              Kranky

                                                                                                                Reissue of 2001 debut album of renowned ambient / noise / electronic artist 

                                                                                                                Originally issued on the Alien8 label and now long out-of-print.

                                                                                                                This is the first reissue of Tim Hecker’s classic 2001 debut full-length. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering.

                                                                                                                Press quotes for Haunt Me, Haunt Me Do It Again:
                                                                                                                "Haunt Me is alien, amorphous and occasionally noisy, but always welcoming.” Pitchfork
                                                                                                                "Haunt Me Haunt Me, Do It Again is a brilliant album of subtle, evocative mood music.” AllMusic
                                                                                                                "Hecker was already on a different wavelength with Haunt Me, clearly seeking something that would trigger ASMR-induced enlightenment, and he ran with it.” Stereogum. 


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                                                                                                                Cover of Radio Amor - Reissue by Tim Hecker.

                                                                                                                Tim Hecker

                                                                                                                Radio Amor - Reissue

                                                                                                                Kranky

                                                                                                                  Reissue of classic 2003 album by renowned ambient / noise / electronic artist.

                                                                                                                  Originally released on Alien8 and now long out-of-print.

                                                                                                                  Press quotes for Radio Amor:

                                                                                                                  "Hecker at his most painterly and evocative.” Pitchfork

                                                                                                                  "Radio Amor has a simultaneous tangible/intangible quality that is both miraculous and enigmatic.” Tiny Mix Tapes

                                                                                                                  "Tim Hecker may be the finest sonic photographer around, the re-release of Radio Amor being further evidence for this claim.” Brainwashed

                                                                                                                  "Hecker’s 2003 standout is a stirringly emotional narrative, without the slightest aid of a single voice.” Treble

                                                                                                                  "A slow-shifting mix of steely headrush and protracted morse code dispatches from the bottom of the ocean.” Dusted 


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                                                                                                                  Cover of Foreign Affairs - Remastered by Tom Waits.

                                                                                                                  Tom Waits

                                                                                                                  Foreign Affairs - Remastered

                                                                                                                  Epitaph UK

                                                                                                                    1977’s Foreign Affairs takes the jazz and poetry that Tom Waits explored on his earlier albums in a more cinematic direction, foreshadowing his own breakthrough work in the 80s. Opening with the instrumental “Cinny’s Waltz” and featuring some new standards like “Muriel” and “I Never Talk To Strangers”, his dramatic duet with Bette Midler, this album gets into some of Waits’ most ambitious storytelling ever. Foreign Affairs also features the jazzy, colorful “Jack and Neil” and the sweeping, dramatic “Potters Field” as well as classic Waits ballads “Burma Shave” and “Sight for Sore Eyes”.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    Coloured LP Info: RSD Stores Exclusive 180g Opaque Grey Vinyl.

                                                                                                                    Coloured LP includes MP3 Download Code.

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                                                                                                                    Cover of Time For Heroes by The Libertines.

                                                                                                                    The Libertines

                                                                                                                    Time For Heroes

                                                                                                                    Rough Trade

                                                                                                                      Bringing together the tracks that defined a generation, from their epochal debut "Up The Bracket" and feted, self-titled follow-up, "Time For Heroes" is a timely reminder of the unique talent of Albion's favourite sons Pete Doherty, Carl Barât, John Hasall and Gary Powell.
                                                                                                                      The album also includes ‘Don’t Look Back Into The Sun’ and ‘What A Waster’, which have never previously been available on either of the band’s albums.

                                                                                                                      The collection includes the classic singles ‘Can’t Stand Me Now’, ‘Time For Heroes’, fan picks ‘What A Waster’, ‘Boys In The Band’ and live favourites / B-sides ‘The Delaney’ and ‘May Day’.

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                                                                                                                      Cover of Love Is Real (Reissue) by John Maus.

                                                                                                                      John Maus

                                                                                                                      Love Is Real (Reissue)

                                                                                                                      Ribbon Music

                                                                                                                        John Maus lives and works in Austin, Minnesota. Although first drawn to our attention as a core member of Ariel Pink's Haunted Graffiti and keyboard player with Animal Collective's Panda Bear, Maus has proved himself to be an extraordinary musician with a distinctive sound in his own right. His second album "Love Is Real" is an apocalyptic journey through the nostalgic streets of our home towns deep into the recesses of the human heart. It is a map of self discovery, rejection and escapism captured across 14 songs of melancholic baroque pop music. Similar in style to his 2006 debut "Songs", the album is a mixture of exploratory synthesiser theatrics, tensely-strung bass lines and insistent drum machine clicks and pops, all set off by John's deeply resonant reverb-drenched vocal. "Love Is Real" is a more reflective and realised effort than "Songs" however, focusing its attentions on impulsive song writing and inspired musicianship, replacing the reminiscent feel of the first record with genuine poignancy.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Pink vinyl edition.

                                                                                                                        Coloured LP includes MP3 Download Code.

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                                                                                                                        Cover of Songs (Reissue) by John Maus.

                                                                                                                        John Maus

                                                                                                                        Songs (Reissue)

                                                                                                                        Ribbon Music

                                                                                                                        Better known as a core member of Ariel Pink's Haunted Graffiti and keyboard player with Animal Collective's Panda Bear, John Maus is a musician with a distinctive sound of his own. This is his debut release, his life work, which was written and recorded at home over the last five years.

                                                                                                                        'Songs' is a twisted baroque pop record that brings to mind early 80's hits and coming-of-age movie soundtracks. Almost entirely electronic, Maus' sound is created from synthesisers, drum machine, bass and his remarkable vocals, which are pitched somewhere between Ian Curtis, Calvin Johnson and David Bowie.

                                                                                                                        The record is a manic lo-fi masterpiece, which blurs addictive melodies, emotive lyrics and dreamy soundscapes to memorable effect. Permeated by feelings of intense nostalgia, with this album Maus has created a testimony to lost romance and to longing.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Red coloured vinyl.

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                                                                                                                        Cover of We Must Become The Pitless Censors Of Ourselves (Reissue) by John Maus.

                                                                                                                        John Maus

                                                                                                                        We Must Become The Pitless Censors Of Ourselves (Reissue)

                                                                                                                        Ribbon Music

                                                                                                                        John Maus lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesisers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for John's deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that partially helps to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of 80’s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.

                                                                                                                        After a spell working alongside Ariel Pink (whom Maus met whilst studying at Cal Arts in Los Angeles) and Gary War in Haunted Graffiti, 2006 saw the release of John’s debut album proper through Upset The Rhythm. It was a record permeated with aching memories; a perfect testimony to lost romance and longing. It’s awe-inspired follow-up ‘Love Is Real’ (released on UTR, 2007) proved a more cohesive listen in terms of focus and emotional depth. Like an apocalyptic journey through the nostalgic streets of a common hometown, deep into the recesses of the human heart, ‘Love Is Real’ still stands out as an impressive whole. Both albums made an impact which grew and grew during some quieter academic years for Maus in the Hawaiian heat, before he returned last year to the heavy snows of the Midwest to finish album number three, ‘We Must Become The Pitiless Censors Of Ourselves’.

                                                                                                                        ‘We Must Become The Pitiless Censors Of Ourselves’ breaks new ground for Maus. The shirt pulling and air punching of his impassioned live performance is finally captured in all its frenzied appeal alongside a tender inner space. After stretching muscles with opener ‘Streetlight’, arpeggiators bubble up to new levels with ‘Quantum Leap’, a song full of dead zones, glancing slaps and oscillating solos. “Heart to heart, mind to mind, we are the ones who seem to travel through time,” intones Maus resolutely through the mist. John’s lyrics are as likely to touch upon themes of Cronenberg gore just as much as the musings of Jacques Rancière. It’s this no-brow approach that makes things interesting, casting Maus as a savant and allowing his music to startle us in ways whereby we open up to the unimaginable.

                                                                                                                        John’s preoccupation with truth, love and eternity are perfectly suited to this treatment as seen with “And The Rain’ and the softly cascading ‘Keep Pushing On’ .The songs are devastatingly catchy, saturated with keyboards and overflowing with Maus’ allegorical summons. The hypnotic fugue ‘We Can Break Through’ treads new territories into minimalism for Maus, seeing the phrase “Break through this” repeated almost like a mind control procedure scored by Bach and Suicide.

                                                                                                                        ‘Pitiless Censors’ as an album displays a more delicate touch than its predecessors. ‘Hey Moon’ is John’s first duet, performed with Molly Nilsson, who originally wrote the song. It’s a serene and elegiac song, which subtly weaves an impression of nocturnal loneliness and romantic dreams. Closing track ‘Believer’ is equally evocative with its bells, choral soaring and echoing sentiment. Of course, a John Maus album wouldn’t be a John Maus album without the same anthemic genius and dark humour that we’ve seen previously with songs like ‘Maniac’ and ‘Rights For Gays’ and this new album finds its succour in ‘Cop Killer’. The eerie waltz-time offspring of Body Count’s controversial 90’s protest track, ‘Cop Killer’ is dystopian, bleak and ridiculous and in short, classic Maus.

                                                                                                                        Unlike the last two albums, Pitiless Censors looks towards the future in all its absurdity. It’s a record where promise takes the lead for the first time, providing a counterpoint to John’s default existential calling. The cover of Pitiless Censors depicts an airbrushed lighthouse, thrashed by wave after wave, bringing to mind Beckett’s quote "Unfathomable mind: now beacon, now sea." The everyday realm where our lives seem both familiar and equally strange is where John Maus resides. His surreal touch is disarming, opening our eyes to the reality outside the four walls. Perhaps we’re all like “the human being who finds himself in the locker” in ‘Head For The Country’ in that if we surprise ourselves and open the door we can let the light in despite the storm.


                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Lime green coloured vinyl.

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                                                                                                                        Cover of 21 Singles by The Jesus And Mary Chain.

                                                                                                                        The Jesus And Mary Chain

                                                                                                                        21 Singles

                                                                                                                        Rhino

                                                                                                                          21 Singles will be available on vinyl for the very first time!!!

                                                                                                                          The Jesus And Mary Chain are a Scottish alternative rock band formed by brothers Jim and William Reid in their hometown of East Kilbride. Jim and William’s legendary song-writing partnership was first recognised in 1983 by Alan McGee’s highly influential Creation Records, where they released their debut single ‘Upside Down’ in 1984. The Jesus And Mary Chain went on to enjoy an illustrious career signed to Warner Music label Blanco Y Negro, releasing several critically acclaimed albums and cult singles such as ‘Just Like Honey’, ‘April Skies’, ‘Darklands’ and ‘Happy When It Rains’.

                                                                                                                          Originally released on CD in 2002, ‘21 Singles’ is a career spanning compilation featuring all the band’s singles in chronological order. Beginning with their Creation debut, the album takes us through fifteen years of The Jesus And Mary Chain’s indie and major label discography, travelling through their Blanco Y Negro heyday of the 80s and 90s, to their 1998 return to Creation. The album also includes their late appearance on Seattle’s legendary Sub Pop Records in the States. Many of the versions on ‘21 Singles’ are unique and alternative to their album counterparts.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          2xLtd LP Info: Available on vinyl for the very first time, on double 180g heavyweight vinyl.

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                                                                                                                          Cover of Song Of Innocence by David Axelrod.

                                                                                                                          David Axelrod

                                                                                                                          Song Of Innocence

                                                                                                                          Now-Again Records

                                                                                                                          This is the first Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy – "Song of Innocence", "Songs of Experience" and "Earth Rot" – which will see release through 2018. This audiophile reissue was transferred directly from Axelrod’s original EQ’ed master tapes at Capitol Records by Ron McMaster. Axelrod’s debut, and a ‘60s masterpiece.

                                                                                                                          Celebrated as psychedelic, the birth of jazz-fusion, the harbinger of hip-hop, "Song of Innocence" is a hybrid that no one, not even Axelrod himself, could describe. Grounded by Wrecking Crew vets Earl Palmer and Carol Kaye’s funk, torn between the juxtaposition of musical elements, put at ease, Axelrod’s sweeping arrangements, which utilize brass and strings in a way that no one of his era did. It’s both violent and sublime. LP/CD Contains 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics’ Brian Digenti. 

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                                                                                                                          Cover of The World Of Arthur Russell by Arthur Russell.

                                                                                                                          Arthur Russell

                                                                                                                          The World Of Arthur Russell

                                                                                                                          Soul Jazz

                                                                                                                          This new edition of Soul Jazz Records’ ‘The World Of Arthur Russell’, the seminal collection of Arthur Russell’s essential music, is released on heavy deluxe triple vinyl and deluxe tip-on Japanese style CD edition.
                                                                                                                          This album brings together some of Russell’s best-loved and most accessible works including his wide-ranging music, both solo and in groups, including Dinosaur L (the essential ‘Go Bang’), Loose Joints (the equally classic ‘Is It All Over My Face’) as well as rarities such as the 7” only ‘Pop Your Funk’, Indian Ocean’s ‘Schoolbell / Treehouse’, Lola’s ‘Wax The Van’ and more.

                                                                                                                          Arthur Russell’s music effortlessly crossed musical boundaries making it timeless. His dance music credentials are faultless and this collection features mixes from Larry Levan, Françcois Kevorkian and Walter Gibbons. Similarly, his songwriting, musicality and performance skills are equally cherished, as composer Philip Glass wrote, “this was a guy who could sit down with a cello and sing with it in a way that no one on earth has ever done before or will do again.”

                                                                                                                          When Soul Jazz Records’ ‘The World Of Arthur Russell’ first came out in 2003, Russell’s music had slipped into near obscurity. Nearly 15 years later there are over a dozen releases of his music, reissues of his original albums and more. ‘The World Of Arthur Russell’ is the classic first collection of his work available once more.


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                                                                                                                          Cover of Solid Gold Hits by The Beastie Boys.

                                                                                                                          The Beastie Boys

                                                                                                                          Solid Gold Hits

                                                                                                                          UMC

                                                                                                                          Double LP gold here, The Beastie Boys finest fifteen tracks throughout their incredible career. This record features some of the best tunes such as ‘Fight For Your Right’ and ‘An Open Letter to NYC’ but is filled to the brim with all the best of beasties. The Beasties consistent 'triple trouble' MC style is the thread that runs through each track here, creating cohesion to this whole LP, which presents us with a great overview of their career so far.

                                                                                                                          STAFF COMMENTS

                                                                                                                          Millie says: The perfect summary of some of their golden hits over the years, this is a pure necessity.

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                                                                                                                          Cover of KI-Motion by MKWAJU Ensemble.

                                                                                                                          MKWAJU Ensemble

                                                                                                                          KI-Motion

                                                                                                                          WRWTFWW Records

                                                                                                                          WRWTFWW Records follow their universally acclaimed release of "Through The Looking Glass" with the official reissue of legendary album "KI-Motion" by Japanese percussionist Midori Takada’s MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios and housed in 350g old Stoughton tip-on sleeve, and a digipak CD.
                                                                                                                          A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada’s exploration of minimalism, African rhythmic tradition, and ambient music.
                                                                                                                          The album takes its conceptual inspiration from the tamarind ( 'mkwaju' in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region’s culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient…the ideal companion to her majestic "Through The Looking Glass" opus!


                                                                                                                          STAFF COMMENTS

                                                                                                                          Patrick says: WRWTFWW revisit magnificent Midori Takada for this reissue of the 1981 LP from her MKWAJU ensemble. (Slightly) Less esoteric than her better known "Through The Looking Glass", "KI-Motion" hits us with weird-wave dancers, ambient dreamers and lysergic lullabies, all inspired by the tamarind. Tasty fusion tackle from my favourite Japanese percussionist.

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                                                                                                                          Cover of Greatest Hits by Ian Dury & The Blockheads.

                                                                                                                          Ian Dury & The Blockheads

                                                                                                                          Greatest Hits

                                                                                                                          Demon

                                                                                                                            Ian Dury, like Ray Davies and Paul Weller was a very English talent. The colourful, metropolis inhabiting characters like Billericay Dickie or Plaistow Patricia he sung about and the ever so cockney music hall accent he chose to sing in were a big part of that.

                                                                                                                            But most of all it was the detailed, poetic way he catalogued English life and the melting pot of musical styles used to do so, from punk to funk to jazz and rock ‘n’ roll, which left the listener in no doubt that Dury’s work could only come from one place: The very heart of England

                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: Yellow vinyl.

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                                                                                                                            Cover of Creation Rebel by Johnny Clarke.

                                                                                                                            Johnny Clarke

                                                                                                                            Creation Rebel

                                                                                                                            VP Records

                                                                                                                            Among the ranks of singers, only Johnny Clarke comes close to challenging Bob Marley & Dennis Brown for reggae’s crown, through his unequalled run of hit songs. His output of mid-70s classics powered by producer Bunny “Striker” Lee, give Clarke status among the top artists of the period and contemporary relevance on the live show and reggae festival circuit.

                                                                                                                            Many of Johnny’s classic roots recordings gathered here, were given international exposure in the 1998 release ‘Dreader Dread’ released by the esteemed Blood & Fire label. Expanded and re-mastered, the release of ‘Creation Rebel’ captures the very essence of what is now regarded as the golden age of roots music.

                                                                                                                            Package bonus features include extended length mixes of “Jah Love Is With I,” “Bad Days Are Going,” and “Peace And Love In The Ghetto.” Newly composed liner notes by Noel Hawks. 


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                                                                                                                            Cover of Chairs Missing by Wire.

                                                                                                                            Wire

                                                                                                                            Chairs Missing

                                                                                                                            Pink Flag

                                                                                                                              Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                                                                                                                              This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                                                                                                                              With "Pink Flag" Wire tapped happily into punk's energy and iconoclastic tendencies, "Chairs Missing" is, perhaps, a little truer to their own instincts. They didnt completely shed the past completely; the joyful "Sand In My Joints" and grinding "Mercy" have more than a hint of "Pink Flag" about them, but their 1978 offering is moodier and much more textured than its predecessor, the addition of swathes of electronic sounds moving them firmly into post punk territory, a genre they helped to spawn. There is pure pop beauty on here too, of which "Outdoor Miner"  and "French Film Blurred" being the most gorgeous examples. 

                                                                                                                              STAFF COMMENTS

                                                                                                                              Martin says: Their most varied L.P. and possibly their finest hour (or so). Straddling the fire of punk and the colder, darker charms of brooding electronic post punk, it also contains within its grooves moments of melodic magic. Worth buying for the outrageously amazing "Outdoor Miner" on its own.

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                                                                                                                              Cover of Pink Flag by Wire.

                                                                                                                              Wire

                                                                                                                              Pink Flag

                                                                                                                              Pink Flag

                                                                                                                                Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                                                                                                                                This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                                                                                                                                These special editions are something every Wire fan will want to own. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.

                                                                                                                                Pink Flag was very much Wire's punk rock album, and while they fully embraced it's revolutionary spirit, they came at it from their own obtuse angle. unhindered by talent (any kind of prior musical schooling) they gleefully took a baseball bat to Rock's overblown torso with humour and irreverence, producing classic, unsurpassed razor pop brilliance and a joyful antidote to the pomposity of their forerunners.

                                                                                                                                STAFF COMMENTS

                                                                                                                                Martin says: From the naked aggression of "12XU" and the ominous chordless drone of the title track, to the playful artpunk of "Start To Move" and "Brazil", this is, beginning to end, pure, unadulterated genius. Nothing more to add.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                CD Box Set Info: Deluxe 2CD.

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                                                                                                                                Cover of 154 by Wire.

                                                                                                                                Wire

                                                                                                                                154

                                                                                                                                Pink Flag

                                                                                                                                  Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                                                                                                                                  This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                                                                                                                                  These special editions are something every Wire fan will want to own. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.

                                                                                                                                  "154", released in 1979, is perhaps the most overlooked of the first trio of classic Wire L.P.s, before a ten year haitus interrupted only by esoteric solo releases. It develops further on the electronic and experimental direction of "Chairs Missing", and while guitars are not entirely done away with, keyboards and often unsettling vocal harmonies are the dominant mode of expression here. That's not to say they abandoned their talent for an exquisite harmony, it is very much still there; just bent a bit. That said it is given undiluted free rein during "Map Ref...", and elevates the sublime "The 15th" into the realm of the gods.

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Martin says: "154" is the last of the trio of Wire's groundbreaking late 70s output. Given their general wont for being wilfully awkward, its no surprise that this is possibly the most enigmatic and opaque of the three; but definitely not enough to conceal interludes of pure gorgeousness. A fitting bookend to a matchless chapter of punk/post punk brilliance.

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                                                                                                                                  Cover of Waak Waak Ga Min Min by Waak Waak Djungi.

                                                                                                                                  Waak Waak Djungi

                                                                                                                                  Waak Waak Ga Min Min

                                                                                                                                  Efficient Space

                                                                                                                                  After the excellent Sky Girl, Midnite Spares and Oz Waves comps, Efficient Space now bring us the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony.

                                                                                                                                  A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi’s mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that “the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas”. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell.
                                                                                                                                  On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music.

                                                                                                                                  "Waak Waak ga Min Min (Black Crow, White Cockatoo)" combines the previously unreleased "Gandi Bawong" with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration. 


                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Patrick says: Efficient Space (AKA the mega label behind the fantastic Sky Girl comp) introduce us to the obscure brilliance of indigenous Australian troop Waak Waak Djungi with this retrospective set of their nineties output. Amid the beautiful new age twinkle of "Rainbow Serpent", "White Cockatoo" and "Black Crow" we find the motorik pulse of "Djambaku", Balearic house of "Gandi Bawong" and the spine tingling acid chug of "Mother, I'm Going".

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                                                                                                                                  Cover of Ruff Draft: Instrumentals by J Dilla.

                                                                                                                                  J Dilla

                                                                                                                                  Ruff Draft: Instrumentals

                                                                                                                                  Pay Jay

                                                                                                                                  When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop – technically and creatively. “At the top of his game,” says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms.

                                                                                                                                  The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla’s oeuvre. “It’s a mysterious little project,” says his mother, Maureen Yancey. “But out of his entire career, that was the happiest time.” Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected.

                                                                                                                                  At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006’s Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla’s involvement. This version of the album takes Dilla’s recently discovered mixes of the album and restores his vision for the project. The producer’s own mixes – recently rediscovered – of his seminal EP, expanded with bonus tracks and now available in a special instrumental edition. 

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Millie says: Nothing beats a Dilla instrumental and with this album you can eat your heart out there’s so much of it. This album is understated and needs that attention that it deserves, it’s so so good.

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                                                                                                                                  Cover of Home Boy, Sister Out by Don Cherry.

                                                                                                                                  Don Cherry

                                                                                                                                  Home Boy, Sister Out

                                                                                                                                  We Want Sounds

                                                                                                                                  Don Cherry's downtown Paris funk masterwork, produced in 1985 by Ramuntcho Matta and originally given a French-only release by Barclay, finally gets a worldwide release on Wewantsounds. Featuring French post-punk muse Elli Medeiros, avant garde poet Brion Gysin and cult Senegalese drummer Abdoulaye Prosper Niang (Xalam), this is a unique soundbite of Paris in the early 80s at its coolest when funk, jazz and new wave were mingling with sounds from Africa, Jamaica and Latin America. Newly Remastered, the album is augmented by a second LP worth of bonus tracks and a deluxe gatefold sleeve with a new essay by French journalist Jacques Denis (Liberation).

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Patrick says: Top notch fusion here as Don Cherry teams up with Ratmuncho Matta, Elli Madeiros, Brion Gysin and Abdoulaye Prosper Niang for an inspired snapshot of Paris in the 80s. Peppered with snatches of funk, new wave and dub, this expanded reissue should find favour with fans of Talking Heads, Arthur Russell or Bill Laswell.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  2xLP includes MP3 Download Code.

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                                                                                                                                  Cover of Version 2.0 by Garbage.

                                                                                                                                  Garbage

                                                                                                                                  Version 2.0

                                                                                                                                  Stun Volume

                                                                                                                                  20th Anniversary reissue of Garbage's acclaimed second album. 

                                                                                                                                  The eponymous Garbage debut was a critically acclaimed if unexpected smash. Version 2.0 cemented the reputation of the each of the individuals in the band as leaders in their field. It also announced that Garbage was not just a one-off studio creation but well and truly a band with every intention of conquering the world on its own terms. If there were any doubts that Vig, Erikson, Marker and Manson were not serious about their intentions the doubts were put to rest with their successful sophomore release.Butch Vig, Duke Erikson, and Steve Marker brought to the band a lifetimes worth of production and experienced music making. That experience was married to Shirley’s insightful lyrics and lead singer presence. This combination made for a grand success and spectacular music which many would try to imitate but few would ever master. Platinum certified Version 2.0 would be nominated in 1999 for Grammy’s album of the year and best rock album. In 2000 the single Special would be nominated for Grammys best rock song and best rock performance by duo or group. 

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Barry says: The newest wave of 'Things I Remember Being Into That Have Had 20 Year Reissues' is possibly the best, with Garbage's seminal 1998 classic still brimming with nuanced electronics, Manson's iconic voice and Butch Vig's unrivalled production prowess. Still completely stunning.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  2xColoured LP Info: Orange vinyl edition.

                                                                                                                                  2xColoured LP includes MP3 Download Code.

                                                                                                                                  3xIndies Exclusive LP Info: Limited edition deluxe LP format contains 3 x 180g black vinyl housed inside a rigid box with magnet closure. This box also contains a movie-style poster, 4 x sticker inserts (‘Push It’, ‘When I Grow Up’, ‘Special’, ‘The Trick Is To Keep Breathing’), download card and a condom in a matchbook style card cover

                                                                                                                                  2xDeluxe CD Info: Double CD format includes a 12-page booklet. Second disc contains B-side compilation.

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                                                                                                                                  Cover of The Nireus Years (1995 - 1997) by Angelo Ioakimoglu.

                                                                                                                                  Angelo Ioakimoglu

                                                                                                                                  The Nireus Years (1995 - 1997)

                                                                                                                                  Into The Light

                                                                                                                                  Into the Light continues its journey to unearth and update overlooked Greek music. This time out the focus is on a smooth, warm, youthful yet intelligent work that finds effortlessly its place in the tiny Greek electronic scene of the mid 90's. "The Nireus Years" is a rare selection of eight unheard home recordings produced between 1995 and 1997 by the then 16-year old Angelo Ioakimoglu in Athens. The album encompasses his most special productions ranging from bucolic new age to dubbed out midi electronics, jazzy r&b to Mediterranean ambient trance - in other words, it's as Balearic as Moonboots' sandals.

                                                                                                                                  Angelo was born and raised in Zografou area of Greece's capital in 1981. It was there where his father had a typical 80's electronic lab and it was that specific environment where Angelo spent most of early childhood. A first attraction for electronic musical equipment was developed that very soon became a passion for hunting down used pieces of gear soon to form the basis of his well equipped bedroom setup.

                                                                                                                                  During his teens, his connection with music was either practicing the piano at home or listening to the most recent dance hits at his uncle's place who happened to be a professional DJ. Big part of Angelo's demos around that period is driven by those two aforementioned worlds. But there were moments of escape. Moments where the music went for the unexpected. Leaving the producer following a solitary path where he could express his teenage dreams and fantasies...through extensive midi programming, live keyboards mimicking string, brass and steel instruments and sampled portions of his live percussion burst.

                                                                                                                                  Angelo's work, which can sometimes seem naive or surrealistic, is supported by his unique and surprisingly energetic approach, one that gives us the courage to continue something different. 

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Patrick says: Into The Light dig deep into the Greek underground to turn up this ace set of smooth and sensual electronics from the then teenage Angelo Ioakimoglu. Combining downbeat, new age, R&B and the most mellow house imaginable, Iokimoglu sounds like a Mediterranean Larry Heard - how's that for Balearic. Check "Slide Break" and tell me I'm wrong...

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                                                                                                                                  Cover of Jackson Sisters by Jackson Sisters.

                                                                                                                                  Jackson Sisters

                                                                                                                                  Jackson Sisters

                                                                                                                                  Mr Bongo

                                                                                                                                  Officially reissued at last - a genuine ‘holy grail’ of soul & funk. Featuring ‘Miracles’ as sampled by Public Enemy, Basement Jaxx, Arrested Development and many more.
                                                                                                                                  Originally from Compton, Los Angeles, the Jackson Sisters were one-hit wonders who briefly shone and made some noise in the early 1970s before quickly fading into obscurity. Their only US chart entry was ‘I Believe In Miracles,’ a funky slice of bubblegum soul with a catchy, sing-along chorus released on the Prophesy label that briefly saw them make the lower reaches of the R&B charts in September 1973.
                                                                                                                                  Even though the sisters ceased performing together in 1975, their greatest tune, ‘I Believe In Miracles’ began to live a charmed life. In 1988, the song was resurrected as part of the UK ‘Rare Groove’ scene which resulted in it denting the bottom end of the UK pop charts (it peaked at No. 72). British vocal group, The Pasadenas, cut their own version of the tune in 1989, and a year later, Public Enemy sampled ‘Miracles’ for their track, ‘Can’t Do Nuttin’ For Ya Man.’

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  David says: Mr Bongo bring more brilliance for the funk/soul brothers with this essential reissue of the sisters - but don't take my word for it, ask Chuck D.

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                                                                                                                                  Cover of For All The Fucked Up Children Of This World by Spacemen 3.

                                                                                                                                  Spacemen 3

                                                                                                                                  For All The Fucked Up Children Of This World

                                                                                                                                  Space Age Recordings

                                                                                                                                  Space Age Recordings are pleased to announce the first official CD release of the album "For All the Fucked Children of This World” featuring Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized). Released July 28th on Space Age Recordings. Presented in a shrink-wrapped 6 panel fold out card wallet and also available from the iTunes store as a digital download including a digital booklet this release is the latest release in an on-going co-ordinated campaign which will see the complete Spacemen 3 catalogue re-issued; properly managed and released on heavy weight vinyl and CD in a fold-out card wallet format.

                                                                                                                                  For All the Fucked Up Children of This World” from the neo-psychedelic trio Spacemen 3 was first released as a bootleg record in 1995. The record consists of Spacemen 3's first ever recording session from 1984. The music itself sounds like a primitive version of what the group were to become; the dominating sound of the record is a slow, droning psychedelic blues performed with sparse instrumentation. A drum set is matched with a pair of distorted electric guitars, all of which provide a swirling foundation for Jason Pierce's vocals. The album's liner notes replicated here are actually an early review of the band by Gary Boldie, where he contemplates the city of Rugby and finds it an odd source for this new sound, and he declares Spacemen 3 as the "all singing, all dancing answer to the problems of a grey 1985.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  LP Info: This album is again pressed on heavyweight 180 gram vinyl with printed card inner sleeve but this version is the standard black vinyl version.

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                                                                                                                                  Cover of Decksanddrums Androckandroll - 20th Anniversary Edition by Propellerheads.

                                                                                                                                  Propellerheads

                                                                                                                                  Decksanddrums Androckandroll - 20th Anniversary Edition

                                                                                                                                  Wall Of Sound

                                                                                                                                  20 years ago Propellerheads released "Decksandrumsandrockandroll" - the only ever album from the band! Stuffed with hit singles "Spybreak!" "Bang On!", "Take California" and the extraordinary "History Repeating" timeless featuring the only true James Bond songstress - Shirley Bassey. 

                                                                                                                                  As said at the time, "Decksanddrumsandrockandroll" is something very special. Funky music and a little crazy, it’s music for good and bad times, for those dirty moments when drugs are no longer effective but the party refuses to stop. An effective groove filled with hints of humour and a little kitsch. It sat beautifully next to fellow breakbeaters Fatboy Slim, Midfield General, Jacques Lu Cont and Mint Royal.  20 years later Propellerheads are now back with this reissue. The charm has remained intact and it stands the rest of time. A living room classic, brought to life once again!

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                                                                                                                                  Cover of First And Last And Always by The Sisters Of Mercy.

                                                                                                                                  The Sisters Of Mercy

                                                                                                                                  First And Last And Always

                                                                                                                                  Rhino

                                                                                                                                    Signing to WEA in 1984, their debut album ‘First And Last And Always’ went on to chart in the UK Top 20 upon release in 1985. The album featured the singles ‘Walk Away’ (charting at #45) and ‘No Time To Cry’ (charting at #63), with a band featuring future Mission members Wayne Hussey and Craig Adams.

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                                                                                                                                    Cover of Headache (Remastered) by Big Black.

                                                                                                                                    Big Black

                                                                                                                                    Headache (Remastered)

                                                                                                                                    Touch And Go

                                                                                                                                      Remastered By Steve Albini And Bob Weston At Chicago Mastering. The Players: Dave Riley - Bass, Santiago Durango - Guitar, Vocals, Steve Albini - Vocals, Guitar, Roland Drum Machine - itself. Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP.

                                                                                                                                      By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7”. Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7” were released. That same year, the band recorded and released the 7” of The Model/He’s A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up. “We liked to think we were ahead of our time. Now that time has caught up with us—well, this isn’t such a swell place, and having gotten here first doesn’t make it any nicer.” Steve Albini… 

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      LP includes MP3 Download Code.

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                                                                                                                                      Cover of O by Damien Rice.

                                                                                                                                      Damien Rice

                                                                                                                                      O

                                                                                                                                      Rhino

                                                                                                                                        O, originally released in the summer of 2002, was one of the last albums to build a true word-of-mouth following before widespread streaming. Peaking at #8 in the UK, the seminal “O” will be available on vinyl for the very first time on June 1st.

                                                                                                                                        This version is extended to 16 tracks, and includes four additional recordings:

                                                                                                                                        ‘The Professor & La Fille Danse’ and ‘Moody Mooday’ were both originally B-sides to ‘The Blower’s Daughter’ – ‘Moody Mooday’ also appeared alongside ‘Lonelily’ as a limited edition 7” single release in 2004. ‘Woman Like A Man’ was recorded live in session at Galway Bay FM and was the lead track for the song’s single release. ‘Prague’ and ‘Silent Night’ (featuring Lisa Hannigan), which were hidden bonus tracks after the album’s closing song ‘Eskimo’, are also included.

                                                                                                                                        All three of the singles from the album went on to chart upon release, with ‘The Blowers Daughter’, ‘Cannonball’ and ‘Volcano’ peaking at #27, #9 and #29 respectively. Along with being gold certified, ‘Cannonball’ has been subject to multiple cover versions, most notably by Little Mix after they won The X Factor in 2011.

                                                                                                                                        “O” will comprise of 2 x 180g vinyl housed in a gatefold with lyrics and album artwork, including 4 additional tracks not on the original album.


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                                                                                                                                        Cover of Violent Femmes by Violent Femmes.

                                                                                                                                        Violent Femmes

                                                                                                                                        Violent Femmes

                                                                                                                                        Concord Music Group

                                                                                                                                          The Violent Femmes self-titled debut album has reached legendary status that few albums ever attain. Released in 1983, Violent Femmes became one of the most distinctive records of the early alternative movement and an enduring cult classic. By combining elements of Jonathan Richman and The Modern Lovers with new wave and acoustic-folk and punk rock, the Femmes forged a sound all their own.

                                                                                                                                          Currently out of print on vinyl, this new 180-gram LP reissue faithfully reproduces the album’s original artwork, which features one of the iconic album covers of the 1980s.

                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Laura says: A bona fide 80s indie classic. "Blister In The Sun", "Kiss Off", "Add It Up", "Gone Daddy Gone". Need I say more?

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                                                                                                                                          Cover of Biology by Young Marco.

                                                                                                                                          Young Marco

                                                                                                                                          Biology

                                                                                                                                          ESP Institue

                                                                                                                                          Another week, another cracking long player on ESP, this time courtesy of Amsterdam’s rising star Young Marco. Over a handful of releases and as many remixes Marco Sterk has charmed the serious house heads and the Balearic beards with his playful and exotic melodies and forward thinking approach to vintage equipment. The dutchman stepped into Lovefingers’ ESP Institute one day in 2012 with a flash disc packed full of undeniably brilliant music, and has ever since maintained an integral role within the the label. On this debut LP he takes a whistle stop journey around the globe, exploring the futuristic city scape of ‘Psychotic Particle’ and basking in the reverential awe of ‘Out Of Wind’ via the aquatic bliss of ‘Sea World’; and that’s just on the A-side. Over the course of this album, Marco takes us to more territories than an episode of Crystal Maze without a jumpsuit in sight.

                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Patrick says: Superb repress of Young Marco's future primitive masterpiece. Lush like a Rousseau, lively like a lion...

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                                                                                                                                          Cover of Small Change - Remastered by Tom Waits.

                                                                                                                                          Tom Waits

                                                                                                                                          Small Change - Remastered

                                                                                                                                          Epitaph UK

                                                                                                                                            Small Change is a masterpiece that contains some of Waits’ best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom’s unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like “Step Right Up”, “Tom Traubert’s Blues”, “I Wish I Was in New Orleans”, “The Piano Has Been Drinking”, and “Invitation to the Blues” are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change is a classic and stands as one of Tom Waits most popular recordings.

                                                                                                                                            FORMAT INFORMATION

                                                                                                                                            Coloured LP Info: RSD Stores Exclusive Blue Vinyl - Ltd to 1000 copies.

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                                                                                                                                            Cover of Righteously Recharged - Remastered Vinyl by Thee Hypnotics.

                                                                                                                                            Thee Hypnotics

                                                                                                                                            Righteously Recharged - Remastered Vinyl

                                                                                                                                            Beggars Banquet

                                                                                                                                              “Thee Hypnotics brought the house down with their Stooges-like raw power, singer Jim Jones prowling like a feral Rob Tyner-meets-Jerry-Lee and backed by a cut-price Heartbreakers build around flamboyant guitarist Ray Hanson.” - Mojo (4 stars)

                                                                                                                                              “Thee Hypnotics care only for their own generic past and frenetic present. The future doesn’t even get a look in... forget regression, this is reincarnation! Past, present and future!” - Melody Maker

                                                                                                                                              Nineties hell-raising rock ‘n’ rollers Thee Hypnotics announce the release of ‘Righteously Recharged’, a coloured, heavyweight vinyl anthology including rare and unreleased material via Beggars Arkive. The band have also reformed for live EU and UK dates.

                                                                                                                                              ‘Righteously Recharged’ will feature four LPs including Thee Hypnotics’ acclaimed debut album ‘Come Down Heavy’ (on violet coloured vinyl), the swamp-rock follow-up ‘Soul, Glitter & Sin’ (on red coloured vinyl) and their Chris Robinson, Black Crowes produced third album ‘The Very Crystal Speed Machine’ (which never saw a UK release and will be on clear vinyl), along with a fourth disc, called ‘In A Trance’ on white vinyl, with their very first single ‘Love In A Different Vein’ plus early demos and Peel Sessions.

                                                                                                                                              The set also contains in-depth liner notes by journalist Julian Marszalek, featuring interviews with the band and a savvy look at the band’s rip-roaring career, featuring outrageous tales of rock ‘n’ roll excess and exhilaration.

                                                                                                                                              Taking their cues from the Detroit militancy of The MC5, the corrupting output of The Stooges and the gospel according to The Cramps, Thee Hypnotics’ devastating brand of rock ‘n’ roll was propelled by near punishing decibel levels and a fervour bordering on the evangelical.

                                                                                                                                              Blazing a devastating trail of high-octane thrills and annihilation, Thee Hypnotics occupied a bizarre hinterland that sat somewhere between the British neo-psychedelic scene of the late 80s and the detonation of garageinfluenced rock from the Pacific northwest of the early 90s. Little wonder that a band that shone so bright would burn out before the end of the century.

                                                                                                                                              For the first time in 20 years, the classic line-up of co-founders Jim Jones (vocals) and Ray Hanson (guitar), with Phil Smith (drums) and Jeremy Cottingham (bass), have hit the road with all the power of a Viking raiding party. Still harbouring an intense belief in assaultive rock ‘n’ roll as liberation and delivering their sonic payload with a savage intensity, this influential and legendary group is back to testify one more time.

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                                                                                                                                              Cover of Something On My Mind - LP And Bonus CD by Pale Fountains.

                                                                                                                                              Pale Fountains

                                                                                                                                              Something On My Mind - LP And Bonus CD

                                                                                                                                              Les Disques Du Crepuscule

                                                                                                                                                Les Disques du Crépuscule presents an anthology of classic early recordings by The Pale Fountains, the pioneering indie-pop band from Liverpool whose first single appeared on the label in 1982.

                                                                                                                                                Something On My Mind combines a 12 track vinyl album with a bonus 19 track live CD. Side one of the album features six studio tracks, including all tracks from the maxi single released by Crépuscule/Operation Twilight in June 1982, as well as unreleased second single Longshot For Your Love plus two songs recorded for the Crépuscule compilation albums Ghosts of Christmas Past and Moving Soundtracks.

                                                                                                                                                Side two features 6 live tracks recorded in October 1982 on the celebrated Crépuscule package tour Move Back-Bite Harder, which saw the Paleys matched with Antena, 23 Skidoo, Cabaret Voltaire and Tuxedomoon. The bonus live CD packaged with the album includes complete performances by Pale Fountains from Brussels (5 October) and Leuven (6 October).

                                                                                                                                                At the end of 1982 the group signed to Virgin and went on to release the acclaimed albums Pacific Street and From Across the Kitchen Table. Praised as “our greatest songwriter” by NME, Michael Head went on to form Shack in 1987 with brother John, while percussionist Nathan McGough moved into management. Trumpet player Andy Diagram also played in Diagram Brothers, Dislocation Dance and James. Sadly bassist Chris ‘Biffa’ McCaffrey passed away in 1989; a donation from the proceeds of sale of this album will be made to The Brain Tumour Charity in his memory. www.thebraintumourcharity.org

                                                                                                                                                TWI 119 cover art by Benoît Hennebert. Liner notes by Paleys historian Geoff King.

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Coloured LP Info: Limited edition clear vinyl pressing (500 copies).

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                                                                                                                                                Cover of Cave Vaults Of The Moon by Joanne Forman.

                                                                                                                                                Joanne Forman

                                                                                                                                                Cave Vaults Of The Moon

                                                                                                                                                Seance Centre

                                                                                                                                                Created in 1987 for an exhibit of sculptures in Taos, New Mexico, Joanne Forman’s "Cave Vaults of the Moon" is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, "Cave Vaults of the Moon" sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars.

                                                                                                                                                We humans, the nascent beings that we are, still haven’t quite figured out the full potential of music. Dancing, meditating, emoting, protesting; these are all pretty basic. But what if we communicated more complex ideas with music? What if we codified all of our activities with music? This idea came to composer Joanne Forman when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose? Joanne Forman imagined that Earth’s moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. "Cave Vaults of the Moon" became a collection of sonic texts describing the recreational activities that went on there; earth-viewing, collecting information, building and playing.


                                                                                                                                                STAFF COMMENTS

                                                                                                                                                Patrick says: More esoteric excellence for Canada's Seance Centre here via a welcome reissue of Joanne Forman's exhibition accompaniment "Cave Vaults Of The Moon". Entirely otherworldly, the set sweeps through imposing electronic suites, dark fourth world excursions and blissful new age pieces, perfectly in keeping with the sculptures it soundtracked.

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                                                                                                                                                Cover of African Dances by Shina Williams & His African Percussionists.

                                                                                                                                                Shina Williams & His African Percussionists

                                                                                                                                                African Dances

                                                                                                                                                Mr Bongo

                                                                                                                                                First official reissue of the extremely rare full-length album by Lagos-based bandleader Shina Williams. Clean copies of the original currently sell for up to £500.

                                                                                                                                                The record was born in 1979 when Shina put Biddy Wright, Fred Fisher, Saliu Alabi, Prince Bola, Tutu Shoronmu, Tunde Willimas and several other decorated Nigerian musicians - who played with the likes of Fela Kuti, SJOB Movement, Sonny Okoson, King Bucknor amongst others - together to record. The result is ‘African Dances’, a timeless fusion of afrobeat, electronics, boogie and disco.

                                                                                                                                                Includes his most well-known song, ‘Agboju Logun’ that Williams knew was ground breaking - “I want to show the whole wide world that Africa is alive with modern musicians to reckon with anywhere,”. This album version is a different mix to the two-track 12” that came out under on Earthworks, Rough Trade in 1984.

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                                                                                                                                                Cover of Mr Scruff by Mr Scruff.

                                                                                                                                                Mr Scruff

                                                                                                                                                Mr Scruff

                                                                                                                                                Ninja Tune

                                                                                                                                                At last, Mr Scruff's 1997 self-titled (although often referred to as "Mrs Cruff") debut album gets re-issued! It's a fantastic collection of instrumental tracks indelibly marked with Scruff's sampladelic cheekiness and fat, deep BASS heavyness. Opening with the soundsystem-like "Sea Mammal", the album works its way through head-nodding hip hop breakers like "Bass Baby" and "Bonce", via the warm jazz moods of "Jazz Potato" and "Night Time" to the funky jazz-breaking "Crisps" and club smash "Chicken In A Box", setting out a statement of intent (fun, funky and fat) for all his future tracks. A welcome return of this northwest classic, I remember obsessing about Scruff early on in my music discovery and I'm proud to see after just over twenty years I wasn't wrong! - this still sound mega today! (not something that can be said about all of Matt's furtive musical steps... - ed).

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                CD Info: CD includes three bonus tracks.

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                                                                                                                                                Cover of Ipan In Xiktli Metztli by Luis Perez.

                                                                                                                                                Luis Perez

                                                                                                                                                Ipan In Xiktli Metztli

                                                                                                                                                Mr Bongo

                                                                                                                                                  Official Mr Bongo reissue. Replica original artwork, including the insert with listening instructions, in Spanish and English.

                                                                                                                                                  Luis Perez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of pre-Columbian instrumentation. This research that allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico.

                                                                                                                                                  He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more. His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old.

                                                                                                                                                  He continuously utilises these instruments in performances, concerts, lectures, exhibitions and recordings, in a sense, keeping them alive. Following a decade playing in Mexico City’s psychedelic rock scene, his early solo work was a mixture of sounds derived from his vast array of pre-Hispanic and ethnographic wind and percussions which he managed to blend with electronic devices including tape delay units, electric guitars and synthesisers. During this time, he was given the name ‘Ixoneztli’ (or “one who makes music”) by the legendary ‘curandera’ Pachita and her son Enrique, to whom, like Alejandro Jodorowsky before him, Luis served as assistant. In 1981, the Mexican government became very interested Perez work and sponsored the production of what became the first recording of the fusion of native mexican instruments with electronics - entitled ‘Ipan In Xiktli Metztli,’ in the Nahuatl language, or ‘En el Ombligo de la Luna’ in Spanish... ‘In the Navel of the Moon.’

                                                                                                                                                  The impact of this recording and subsequent performances among media, ethnomusicologists and audiences alike established Luis Perez ‘Ixoneztli’ as a precursor to a new musical genre followed by a generation of young Mexican musicians - Ethno-Rock, Ethno-Jazz, Ethno-Experimental and the like. ‘El Ombligo de la Luna’ reaches us from deep in the past but it also exists entirely outside of time, as Luis Perez ‘Ixoneztli’’s offering to the world - the soul of Mexico channeled through the hands of a master musician.

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                                                                                                                                                  Cover of Funky Nassau: The Definitive Collection by The Beginning Of The End.

                                                                                                                                                  The Beginning Of The End

                                                                                                                                                  Funky Nassau: The Definitive Collection

                                                                                                                                                  Strut

                                                                                                                                                  Strut presents the definitive reissues of two all-time classic Caribbean soul and funk albums, The Beginning Of The End’s "Funky Nassau" (1971) and "Beginning Of The End" (1976).

                                                                                                                                                  Emerging from Nassau in the Bahamas in 1971, the band was formed around the Munnings brothers (Ray, Leroy and Frank) and the first song they recorded, "Funky Nassau", became a No. 1 Billboard R’n’B hit, selling over a million copies. 'We wanted to create something new,' remembers Ray Munnings, 'something that was truly Bahamian. We loved funk but wanted to include elements of junkanoo, the indigenous music of The Bahamas.' An album was written within a week and recorded at Criteria Studios in Miami. 'We brought in more Bahamian themes, like "Monkey Tamarind", a wild fruit that grows there.'

                                                                                                                                                  By the time of their second album in 1976, the band was managed by Don Taylor, also Bob Marley’s manager. 'Don took us to Byron Lee’s studio in Jamaica and used Teddy Randazzo (Little Anthony & The Imperials) to direct the sessions,' recalls Munnings. 'He gave us more of an uptempo jazz funk sound with Chicago-style horns.' The album led to a run of incredible bad luck. Booked to support Marvin Gaye’s 'What’s Goin’ On’ tour, the US Musicians Union stepped in and ordered a US group to fill the slot. They were then added onto a major Bob Marley tour in 1976 before he injured his foot, cancelling all dates.

                                                                                                                                                  These definitive official reissues of "Funky Nassau" and "Beginning Of The End" are remastered by The Carvery from original tapes and feature full length tracks from the studio sessions. Both albums feature a history of the albums and the band by vocalist Ray Munnings, alongside rare photos. "Beginning Of The End" appears on loudpress 2LP for the first time. The CD edition features both albums + all extra singles recorded by the band.


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                                                                                                                                                  Cover of The Beginning Of The End by The Beginning Of The End.

                                                                                                                                                  The Beginning Of The End

                                                                                                                                                  The Beginning Of The End

                                                                                                                                                  Strut

                                                                                                                                                  Strut presents the definitive reissues of two all-time classic Caribbean soul and funk albums, The Beginning Of The End’s ‘Funky Nassau’ (1971) and ‘Beginning Of The End’ (1976).

                                                                                                                                                  Emerging from Nassau in the Bahamas in 1971, the band was formed around the Munnings brothers (Ray, Leroy and Frank) and the first song they recorded, ‘Funky Nassau’, became a No. 1 Billboard R’n’B hit, selling over a million copies. “We wanted to create something new,” remembers Ray Munnings, “something that was truly Bahamian. We loved funk but wanted to include elements of junkanoo, the indigenous music of The Bahamas.” An album was written within a week and recorded at Criteria Studios in Miami. “We brought in more Bahamian themes, like ‘Monkey Tamarind’, a wild fruit that grows there.”

                                                                                                                                                  By the time of their second album in 1976, the band was managed by Don Taylor, also Bob Marley’s manager. “Don took us to Byron Lee’s studio in Jamaica and used Teddy Randazzo (Little Anthony & The Imperials) to direct the sessions,” recalls Munnings. “He gave us more of an uptempo jazz funk sound with Chicago-style horns.” The album led to a run of incredible bad luck. Booked to support Marvin Gaye’s ’What’s Goin’ On’ tour, the US Musicians Union stepped in and ordered a US group to fill the slot. They were then added onto a major Bob Marley tour in 1976 before he injured his foot, cancelling all dates.

                                                                                                                                                  These definitive official reissues of ‘Funky Nassau’ and ‘Beginning Of The End’ are remastered by The Carvery from original tapes and feature full length tracks from the studio sessions. Both albums feature a history of the albums and the band by vocalist Ray Munnings, alongside rare photos. ‘Beginning Of The End’ appears on loudpress 2LP for the first time. The CD edition features both albums + all extra singles recorded by the band.

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                                                                                                                                                  Cover of RKT! by The Heads.

                                                                                                                                                  The Heads

                                                                                                                                                  RKT!

                                                                                                                                                  Rooster

                                                                                                                                                    Timely reissue of the first 3 releases The Heads put out on the ROCKET label, form their first split 7” release (with Lilydamwhite) in 1998 to their much lauded SESSIONS 2 freakout 12” from 2002… compiled here in their remastered glory, the Heads we quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowhere album and Undersided album they released their jams and raw rehearsals via the burgeoning ROCKET Label..

                                                                                                                                                    Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3LP (1000 copies) and 2CD (1000 copies) set captures the band at their most laconic and free… psychedelic sprawling morass or sound and aural distortion grooves akin drawing from their wide influences…also from simply plugging in and letting go…

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                                                                                                                                                    Cover of One Understanding by Christy Essien.

                                                                                                                                                    Christy Essien

                                                                                                                                                    One Understanding

                                                                                                                                                    Afrodisia

                                                                                                                                                    Nigeria's "First Lady of Song" , Christiana Uduak Essien-Igbokwe was born in Akwa Ibom State, Nigeria in 1960. Tragically she lost her mother early at the age of 12. In the mid-70s she started singing professionally at a relatively early age in the music clubs of Aba. Extensive TV work soon followed and in 1977 she launched her professional music career with the album "Freedom". Her fourth album "One Understanding" was signed by Afrodisia and released in 1979.

                                                                                                                                                    "One Understanding" was produced by Pal Akalonu. It is an infectious mix of Afroboogie ("What Love Is About", "Mind Your Biz"), Swinging afro groove ("You Can't Change A Man") Smooth Afro Soul ("Take Life Easy"), Reggae tinged grooves ("I'll Be Your Man", "Respect Your Man") and -of course- one smooth ballad, "Understanding". Christy's lyrics show a depth of understanding and wisdom way beyond her 19 years (at the time).

                                                                                                                                                    Having conquered the music and TV worlds Christy moved on to feature in some of the early Hollywood films such as "Flesh and Blood" and "Scars of Womanhood", both of which addressed issues of child abuse and female circumcision. With a desire to make life better for Nigerian artists. She is also credited as having initiated the first meeting that brought about the formation of the Performing Musicians Association of Nigeria in 1981.

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

                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                    Patrick says: After a proper iffy bootleg a while back, us Afro-disco fans finally get a chance to own Christy Essien's "You Can't Change A Man" in wonderfully restored quality. Though there are other treats on offer here, it's the relentless groove, warbling vocals and chiming keys of the B1 that'll have you coming back again and again.

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                                                                                                                                                    Cover of Visible Cloaks by Visible Cloaks.

                                                                                                                                                    Visible Cloaks

                                                                                                                                                    Visible Cloaks

                                                                                                                                                    Musique Plastique

                                                                                                                                                    Musique Plastique deliver a fresh 20018 repress of the debut full length LP from Spencer Doran and Ryan Carlile's Visible Cloaks project. Initially recorded in 2013 and issued on cassette by Sun Ark in 2014 (as Cloaks), this first offering uses conceptual processes to weave many of the same threads as their later work; synthetic FM tones, tuned mallet percussion, and electronically modulated voice, all arranged in a gossamer web, spun with neon electronics. On this release the duo set off on the sonic journey they are still on today, refracting their influences through East<>West feedback loops, augmenting traditions with technology. Remastered 45rpm DMM version with additional surprises!

                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                    Patrick says: Musique Plastique take it back to the beginning for Piccadilly faves Visible Cloaks, treating us to a first vinyl release for their self titled 2014 album. As you'd expect the duo deliver fractal sonic massages assembled from a broad synthetic palette.

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                                                                                                                                                    Cover of Everybody Knows We Got Nowhere by The Heads.

                                                                                                                                                    The Heads

                                                                                                                                                    Everybody Knows We Got Nowhere

                                                                                                                                                    Rooster

                                                                                                                                                      LTD copies available of the TOUR / CLEAR PINK VINYL VERSION .

                                                                                                                                                      Much acclaimed as the Heads finest album. Originally released in 2000, then remastered and reissued in 2014, now sold out on any format. Comes with WAV/FLAC DL codes.   

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                                                                                                                                                      Cover of Good Together by A Certain Ratio.

                                                                                                                                                      A Certain Ratio

                                                                                                                                                      Good Together

                                                                                                                                                      Mute

                                                                                                                                                      Springing forth from the punk era of the late 70s, A Certain Ratio carved their own niche by marrying the gloom and gristle of the Manchester's Factory era with a whole load of groove. Hailed universally as pioneers of what became known as ‘punk funk’ thanks to the success of ‘Shack Up’ on both sides of the Atlantic, their sound is not easily pigeon holed and their influence can never be understated. The band introduced the avant-garde elements of funk, jazz, electronics, tape loops and technology to the pop song, wrapping it in a post punk aesthetic, adding great clothes and the coolest haircuts. 

                                                                                                                                                      Alive and well and on A&M after the Factory split, A Certain Ratio were in euphoric and emotive form for 1989’s Good Together. Bursting with the boundless positivity of the acid house era, the LP sees ACR divert their usual funk into the baggy sound of the time, exploiting conventional song structures to convey themes of togetherness and hope. Soulful, smooth and packed with proper anthems, including the saucy eyed serenade ‘The Big E’ and the wriggling acid pop of the title track, ‘Good Together’ remains the ACR of choice for ageing ravers everywhere.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      2xColoured LP Info: Double white vinyl.

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                                                                                                                                                      Cover of Up In Downsville by A Certain Ratio.

                                                                                                                                                      A Certain Ratio

                                                                                                                                                      Up In Downsville

                                                                                                                                                      Mute

                                                                                                                                                      Springing forth from the punk era of the late 70s, A Certain Ratio carved their own niche by marrying the gloom and gristle of the Manchester's Factory era with a whole load of groove. Hailed universally as pioneers of what became known as ‘punk funk’ thanks to the success of ‘Shack Up’ on both sides of the Atlantic, their sound is not easily pigeon holed and their influence can never be understated. The band introduced the avant-garde elements of funk, jazz, electronics, tape loops and technology to the pop song, wrapping it in a post punk aesthetic, adding great clothes and the coolest haircuts. 

                                                                                                                                                      If Good Together saw A Certain Ratio translating the acid house ethos through conventional song, Up In Downsville was a sweat drenched return to the heart of the dance floor. Released on Rob Gretton’s plainly named imprint, the LP shuffles through melodic house, slick acid jazz and brooding electro-funk, pulling together the disparate strands of Manchester’s clubland into one infectious whole. The groove is king throughout but never hits harder than on LP closer Up In Downsville Pt.2, a flute led masterpiece of Mancunian funk which forms a wonderful contrast to enduring Balearic classic ‘Salvador’s (Fish)’, the album’s finest moment.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      2xColoured LP Info: Light blue vinyl!

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                                                                                                                                                      Cover of The Deirdre Wilson Tabac by The Deirdre Wilson Tabac.

                                                                                                                                                      The Deirdre Wilson Tabac

                                                                                                                                                      The Deirdre Wilson Tabac

                                                                                                                                                      Be With Records

                                                                                                                                                      Recorded in Philadelphia in 1969, The Deirdre Wilson Tabac's sole album is a beautiful blend of funk, jazz and soulful pop. Possessing the complex grooves, thrilling breaks and ethereal weirdness that The Rotary Connection pedalled so brilliantly, the LP failed to connect with audiences upon its original release.

                                                                                                                                                      In the decades since, it has deservedly attracted a considerable cult following. However, almost inevitably, it has become increasingly tricky to pick up a copy in good condition for anything less than eye-watering sums. As such, we're delighted to present the first officially licensed vinyl reissue of this undoubted masterpiece of freaky funk-rock, limited to just 500 copies.

                                                                                                                                                      The Tabac were, in fact, a trio. Discovered, managed and produced by Svengali Sonny Casella (who'd earlier managed garage band The Magic Mushrooms), they comprised Deirdre Wilson, Stu Freeman (formerly of said Mushrooms) and Barbara Payne (formerly with the James Brown Revue). They were backed by session players including jazz guitarist Chuck Anderson, bassist Hugh McDonald and keyboardist Roy Bittan (who went on to be a long-term Bruce Springsteen sideman).

                                                                                                                                                      Their first single coupled two fine Casella compositions, each featuring powerhouse vocal workouts; the supremely funk-fuelled blues beat of "The Other Side Of Life" and the psychedelic-flavoured "Look In My Face" - both of which are featured here. This 7" picked enough up airplay to merit an album, which duly appeared early the following year, but, as is often the way with these lost classics, it received barely any press. Correspondingly, sales where low and the trio didn't last long.

                                                                                                                                                      And herein lies the real tragedy. The rest of the LP deserves to be heard from start-to-finish - it's that good. A beguiling mix of funky folk and rocky jazz tracks, with some deep, string-drenched harmony soul ballads and a handful of remarkable covers elegantly presented througout. Indeed, they put some sauntered head-nod funk into The Beatles' "Get Back" whilst tearing through a version of "Sittin' On The Dock Of The Bay" which gives Otis' original a real run for its money.

                                                                                                                                                      But the real standout cut for most - with its soulful, haunting vocals, swinging hammond organ and stabbing horns, is the incredible 6/8 time jazz dancer "I Can't Keep From Cryin' Sometimes." Staggering.

                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      David says: A key release in my recent re-evaluation of jazz, The Deirdre Wilson Tabac effortlessly married 70s folk arrangements, carefree soul and jazzy tonality.

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                                                                                                                                                      Cover of Genes And Spirits by Moses Taiwa Molelekwa.

                                                                                                                                                      Moses Taiwa Molelekwa

                                                                                                                                                      Genes And Spirits

                                                                                                                                                      Matsuli

                                                                                                                                                      When pianist and composer Moses Taiwa Molelekwa died in February 2001, fans and fellow musicians alike were swept away by grief. He was so young – not yet 30 – and had shown such musical promise.
                                                                                                                                                      Genes and Spirits was his second album, released a year before his death. While the composer’s voice and pianist’s touch are instantly recognisable from his debut, Finding One’s Self, the ideas underlying the music mark a conscious step into the unknown: what he called “finding a range of rhythmic alternatives,” inspired by the rhythmic complexity he was hearing in both pan-African music and the New Music he had been exploring in Europe; and by the possibilities of electronic club music – jungle in London, and kwaito in Soweto.
                                                                                                                                                      Inspired like many of his musical age-mates by the optimism of the post-liberation 1990s in South Africa, Taiwa crafted what he described as ragga with a kalimba groove; Tswana vocals over a programmed drum
                                                                                                                                                      track; a duet with Chucho Valdez and more, across eleven tracks combining the talents of multiple South African and world musicians, including Valdez, Flora Purim and Cameroonian drummer Brice Wassy. With Genes and Spirits, Molelekwa was stepping into the kind of genre-busting territory we associate today with players such as Robert Glasper, but he was doing it almost a decade earlier: asserting a new jazz identity that was young, popular and African. This re-release also includes one additional track, Wa Mpona, recorded for, but omitted from, the original release.


                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      Patrick says: Currently killing it for the Piccadilly Jazz Club, this is an overlooked masterpiece of modern jazz. Released in 2000, a year before the South African pianists’ untimely death, “Genes And Spirits” marries the African jazz stylings of Dollar Brand or Hugh Masekela with jungle, soul, kwaito and hip hop, sounding like a lost studio session between Brand, Masekela, Hancock, Larry Heard and Goldie. Sublime!

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                                                                                                                                                      Cover of Dock Of The Bay Sessions by Otis Redding.

                                                                                                                                                      Otis Redding

                                                                                                                                                      Dock Of The Bay Sessions

                                                                                                                                                      Rhino

                                                                                                                                                      “Dock Of The Bay Sessions” was compiled with input from Roger Armstrong of Ace Records and Otis biographer Jonathan Gould and has the Redding family’s full endorsement. Although the individual tracks have been previously released across a smattering of posthumous albums and compilations, this marks the first time they have been assembled to resemble what this album could possibly have been.

                                                                                                                                                      This year marks the 50th anniversary of the album’s opening track “(Sittin’ On) The Dock Of The Bay,” one of the last songs Redding ever recorded. Released in January 1968, it soon topped the charts in March 16th in the US becoming the first posthumous #1 single in the history of the U.S. music charts. It also reached number 3 in the UK, and went on to sell more than four million copies worldwide.


                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      Ltd LP Info: 180 gram black vinyl, direct to board jacket.

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                                                                                                                                                      Cover of Mother Juno by The Gun Club.

                                                                                                                                                      The Gun Club

                                                                                                                                                      Mother Juno

                                                                                                                                                      Cooking Vinyl

                                                                                                                                                        May 18th see’s the reissue of Mother Juno, The 1987 album released by The Gun Club. It was produced by Robin Guthrie of the Cocteau Twins. "Yellow Eyes" was originally entitled "Funky Junkie"; "Nobody's City" was originally "Sleepy Times Blues". The original recordings of Mother Juno were released as Mother Berlin in 2015 on Bang! Records containing an additional track,"Country One".

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Coloured LP Info: Limited edition coloured vinyl.

                                                                                                                                                        Coloured LP includes MP3 Download Code.

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                                                                                                                                                        Cover of Relics - 2018 Remastered Edition by Pink Floyd.

                                                                                                                                                        Pink Floyd

                                                                                                                                                        Relics - 2018 Remastered Edition

                                                                                                                                                        Pink Floyd Records

                                                                                                                                                          Pink Floyd re-release their 1971 compilation album ‘RELICS’ on heavyweight 180-gram vinyl. Remastered in 2018 by James Guthrie, Joel Plante and Bernie Grundman. This re-release comes almost 50 years since the original pressing.

                                                                                                                                                          ‘RELICS’, Pink Floyd’s first ‘compilation’ album, includes singles, B-sides, tracks from their first three albums ‘The Piper At The Gates Of Dawn’, ‘A Saucerful of Secrets’ and ‘More’. Also, the then-previously unreleased Roger Waters song, Biding My Time, recorded in July 1969 and first released on ‘Relics’ in May 1971. ‘Relics’ was the first album to include Arnold Layne and See Emily Play, which previously had only been released as singles, and the original studio recording of Careful with That Axe, Eugene, the B-side of Point Me At The Sky in 1968.

                                                                                                                                                          Keeping true to the original artwork, the sleeve features the black and white drawings by Nick Mason, carrying the iconic subtitle ‘A Bizarre Collection of Antiques & Curios’. All tracks are the original stereo versions, which sit alongside the Syd Barrett-era, mono mixed singles Arnold Layne and See Emily Play.


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                                                                                                                                                          Cover of Pod by The Breeders.

                                                                                                                                                          The Breeders

                                                                                                                                                          Pod

                                                                                                                                                          4AD

                                                                                                                                                            The Breeders were formed by The Pixies Kim Deal and Throwing Muses Tanya Donelly. This was their debut album originally released by 4AD in May 1990. The album, produced by Steve Albini combines the energy and angular pop sensibilities of their other bands, bolstered by creative songwriting and clever arrangements. It features iconic Vaughan Oliver artwork.

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                                                                                                                                                            Cover of Last Splash by The Breeders.

                                                                                                                                                            The Breeders

                                                                                                                                                            Last Splash

                                                                                                                                                            4AD

                                                                                                                                                              Originally released by 4AD in August 1993, ‘Last Splash’. By the time this album was released, Tanya Donelly had left the band to for Belly and Kim Deal had been joined by her sister Kelley. The album features possibly their best known song, the late 90s indie-disco classic ‘Cannonball’.

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                                                                                                                                                              Cover of Title TK by The Breeders.

                                                                                                                                                              The Breeders

                                                                                                                                                              Title TK

                                                                                                                                                              4AD

                                                                                                                                                                Originally released by 4AD in May 2002. The Deal sisters recruited new personnel to play several live shows in 2001 and returned to the studio with guitarist Richard Presley, bass player Mando Lopez and drummer Jose Medeles to record this third Breeders studio album with Steve Albini.

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                                                                                                                                                                Cover of Mountain Battles by The Breeders.

                                                                                                                                                                The Breeders

                                                                                                                                                                Mountain Battles

                                                                                                                                                                4AD

                                                                                                                                                                  Fourth studio album, originally released in April 2008. This reissue of ‘Mountain Battles’ includes 12” size, 28 page booklet.

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                                                                                                                                                                  Cover of Graveyard Tramps Eat The Forbidden City Dog Food by Various Artists.

                                                                                                                                                                  Various Artists

                                                                                                                                                                  Graveyard Tramps Eat The Forbidden City Dog Food

                                                                                                                                                                  Stag-O-Lee

                                                                                                                                                                    Nearly 30 years ago, a now legendary LP by the name of Forbidden City Dogfood was unleashed on an unsuspecting public. What few folk knew was that Forbidden City Dogfood was actually less than half of the compilation made by Cramps frontman Lux Interior. Here, for the very first time, the entire recording is now available. Fully complete and weighing in at well over an hour of crazy, whacky sounds from the Maestro of Mad himself. Remastered from the original source, these obscure Rockabilly, Surf and R&B tracks will wow you now as they did then - interspersed with B-Movie trailer clips and wigged out voice overs, you just know it’s better than good! Limited edition of 1.000 copies. Get it while you can. 

                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                    2x10" LP Info: Double 10" vinyl.

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                                                                                                                                                                    Cover of Nighthawks At The Diner - Remastered by Tom Waits.

                                                                                                                                                                    Tom Waits

                                                                                                                                                                    Nighthawks At The Diner - Remastered

                                                                                                                                                                    Epitaph UK

                                                                                                                                                                      Recorded in front of a live audience at the Record Plant recording studio in Los Angeles in 1975, Nighthawks at the Diner debuts some of Waits’ greatest classics like “Warm Beer, Cold Women” and “Eggs and Sausage” with a crack Jazz ensemble backing him up and some of the greatest stage patter ever committed to record.

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                                                                                                                                                                      Cover of Wildlife by The Lovely Eggs.

                                                                                                                                                                      The Lovely Eggs

                                                                                                                                                                      Wildlife

                                                                                                                                                                      Egg Records

                                                                                                                                                                        Their third album 'WILDLIFE. The Eggs returned with an album that encapsulates the isolation of extensive touring and brief time back in their home town Lancaster. The two piece raucous noise pop duo combine their gritty British northern surreal lyrics with thunderous guitars and crashing drums on this their third self-recorded gem. Working alongside Gruff Rhys who produced Allergies and Cornershop's Tjinder Singh who has remixed Food for a special digital download, Wildlife is yet another wonderful and unique album from a band who continue to cement their reputation as one of the most genuinely exciting and essential bands around today. Already lead track Allergies, the first single taken from Wildlife, released on the Too Pure Singles Club, has won the BBC 6 Music Rebel Playlist - with 82% of the public vote and declared winner of Steve Lamacq's 6 Music Round Table as well as Artrocker's single of the month. For The Lovely Eggs being in a band is a way of life. True to this, they live the way they play. Fiercely, constantly in search of the good times. With this their third album in three years The Lovely Eggs explore further into their own world and the bizarreness of reality and invite you to come inside to join the party, strange as it is! 

                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                        Coloured LP Info: Clear frosted vinyl repress.

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                                                                                                                                                                        Cover of Hookworms (Repress) by Hookworms.

                                                                                                                                                                        Hookworms

                                                                                                                                                                        Hookworms (Repress)

                                                                                                                                                                        Faux Discx / Gringo

                                                                                                                                                                          Repress!!!

                                                                                                                                                                          Faux Discx and Gringo Records are psyched (no pun intended) to announce the debut vinyl release of Leeds' Hookworms. The Hookworms 12" features 4 songs, clocks in at around 27 minutes, and is limited to 500 copies on 180g black & white splattered vinyl. 

                                                                                                                                                                          The release was previously only available on tape via Sun Araw's Sun Ark label and that sold out in a matter of weeks. Hookworms formed in late 2009 at a time when most of the group’s members were also playing together in a snappy punk group. The punk and garage background is important, because it has a lot to do with the energy that makes Hookworms so noticeable. Many groups think they can make good on psych-rock by just wigging out to their own ends, during interminable jam sessions that only come to a halt when someone decides “That’s long enough.” Most of Hookworms’ songs are around the six minute mark, which isn’t long at all, and each one is constantly doing something. The singer and keyboard player delivers his vocals like The Gun Club’s Jeffery Lee Pierce on Fire of Love - frantic and impassioned. The guitars colour in and around the lines, informed just as much by Flipper’s Ted Falconi as ‘Sister Ray’. Bass grooves lead the way, sage in their wisdom over which path to take. This is tidy stuff, a purposeful and fully conscious journey into the realms of Zoss. It’s also a journey taking place on increasingly large stages, where they’re just as confident at filling the sonic space as at the small venues where they started out.

                                                                                                                                                                          “Hookworms fling themselves headlong into classic 80’s/90’s psych-rock like they’re trying to break something. Hailing from Leeds and cramming themselves giddily within the well established formal properties of the genre, they walk the scorched road behind Loop, Spectrum, and any other titan of two-chord songs who’s ever slowly wah-ed a chord until they saw colors. Most excellent burners!” Cameron Stallones, Sun Ark / Sun Araw.

                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                          Coloured LP Info: Long awaited repress on Black & White splatter vinyl! 500 copies only.

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                                                                                                                                                                          Cover of The Chisa Years by Hugh Masekela.

                                                                                                                                                                          Hugh Masekela

                                                                                                                                                                          The Chisa Years

                                                                                                                                                                          BBE

                                                                                                                                                                          "The Chisa Years: 1965–1975 (Rare and Unreleased)" is a compilation album by South African jazz trumpeter Hugh Masekela. The album consists of 14 rare or forgotten tracks recorded by Stewart Levine and Hugh Masekela from 1965 to 1975 when they ran their own Chisa Records label. Thom Jurek of Allmusic wrote 'In sum, there isn’t a weak moment on this entire collection. It’s appeal is wide and deep and one can only hope this is the first of many volumes of this material to appear. BBE Records has done a stellar job in making this slab available.' Dan Nishimoto of the Prefix Magazine stated 'The compilation focuses on Masekela’s original idea of African American Music. From the early experiments of the Zulus (a group featuring M’Bulu) in mixing doo-wop, rhythm & blues and South African gospel and the mbaqanga/'Grazing in the Grass'-style work of the generically named Johannesburg Street Band to the clearly Fela-influenced Ojah (Masekela’s band in the mid-’70s, consisting of players from Ghana and Nigeria) and the readyfor-primetime belting of M’Bulu, each track reveals a multi-pronged effort to find and challenge the notion(s) of how African and American cultural forms could interact.'

                                                                                                                                                                          Another sterling collection from BBE, pressed across two discs and sounding super! 


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                                                                                                                                                                          Cover of Music Of The Five Elements by Sam McClellan.

                                                                                                                                                                          Sam McClellan

                                                                                                                                                                          Music Of The Five Elements

                                                                                                                                                                          Seance Centre

                                                                                                                                                                          Acupressurist and electronic composer Sam McClellan's "Music of the Five Elements" is a work of perfectly tuned healing music. A deeply felt distillation Minimalism (in the Tony Conrad / La Monte Young school), American Primitive guitar (Fahey & Basho) and even psychedelia. The album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction. As McClellan himself wrote on the original liner notes:

                                                                                                                                                                          "The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect.”

                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                          Patrick says: Draw the curtains and light a candle. Draw three chalk figures on the floor and feel the air in the room tremble - incredible esoteric psych-folk here unearthed by the excellent Seance Centre - don't sleep.

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                                                                                                                                                                          Cover of It Takes Two by Rob Base & DJ EZ Rock.

                                                                                                                                                                          Rob Base & DJ EZ Rock

                                                                                                                                                                          It Takes Two

                                                                                                                                                                          Legacy / SONY BMG Music

                                                                                                                                                                            As hip-hop moved into the mainstream in 1988, Harlem duo Rob Base and DJ E-Z Rock changed the game with "It Takes Two", one of the undisputed classic singles of the genre. The group's debut album, It Takes Two, which featured the title track as well as the dance hits "Joy and Pain" and "Get On The Dance Floor" has been newly remastered in high definition from the original tapes and pressed on red opaque vinyl--its first appearance on the format since its original release thirty years ago.

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                                                                                                                                                                            Cover of Bastards by Tom Waits.

                                                                                                                                                                            Tom Waits

                                                                                                                                                                            Bastards

                                                                                                                                                                            Anti- Records

                                                                                                                                                                              For the first time, Tom Waits will make available as individual records his 2006 classic 56 song release Orphans: Brawlers, Bawlers and Bastards. 

                                                                                                                                                                              The collection of 56 songs went far beyond a simple career retrospective. It dipped back as far as 1984 with the bulk of it’s songs hailing from the mid-nineties onward. Over 2/3 of the material had never been heard when originally released in 2006 and had 30 newly recorded songs. Orphans also featured a number of songs finding a home on a Waits’ album for the first time. They included Waits’ unique interpretations of songs by such diverse talents as The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht and Leadbelly. These outtakes, rarities and the previously unreleased material were separately grouped into themes and named, Brawlers, Bawlers, and Bastards. And now these titles will be released individually.

                                                                                                                                                                              Bastards is a collection of experimental music and strange tales.

                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              2xColoured LP Info: Exclusively for RSD on grey vinyl.

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                                                                                                                                                                              Cover of Brawlers by Tom Waits.

                                                                                                                                                                              Tom Waits

                                                                                                                                                                              Brawlers

                                                                                                                                                                              Anti- Records

                                                                                                                                                                                For the first time, Tom Waits will make available as individual records his 2006 classic 56 song release Orphans: Brawlers, Bawlers and Bastards. 

                                                                                                                                                                                The collection of 56 songs went far beyond a simple career retrospective. It dipped back as far as 1984 with the bulk of it’s songs hailing from the mid-nineties onward. Over 2/3 of the material had never been heard when originally released in 2006 and had 30 newly recorded songs. Orphans also featured a number of songs finding a home on a Waits’ album for the first time. They included Waits’ unique interpretations of songs by such diverse talents as The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht and Leadbelly. These outtakes, rarities and the previously unreleased material were separately grouped into themes and named, Brawlers, Bawlers, and Bastards. And now these titles will be released individually. 

                                                                                                                                                                                Brawlers is a collection of raucous blues and full-throated juke joint stomps.

                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                2xColoured LP Info: Exclusively for RSD on blue vinyl.

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                                                                                                                                                                                Cover of Bawlers by Tom Waits.

                                                                                                                                                                                Tom Waits

                                                                                                                                                                                Bawlers

                                                                                                                                                                                Anti- Records

                                                                                                                                                                                  For the first time, Tom Waits will make available as individual records his 2006 classic 56 song release Orphans: Brawlers, Bawlers and Bastards. 

                                                                                                                                                                                  The collection of 56 songs went far beyond a simple career retrospective. It dipped back as far as 1984 with the bulk of it’s songs hailing from the mid-nineties onward. Over 2/3 of the material had never been heard when originally released in 2006 and had 30 newly recorded songs. Orphans also featured a number of songs finding a home on a Waits’ album for the first time. They included Waits’ unique interpretations of songs by such diverse talents as The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht and Leadbelly. These outtakes, rarities and the previously unreleased material were separately grouped into themes and named, Brawlers, Bawlers, and Bastards. And now these titles will be released individually. 

                                                                                                                                                                                  Bawlers is a collection of Celtic and country ballads, waltzes, lullabies, piano and classic lyrical Waits’ songs.

                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                  2xColoured LP Info: Exclusively for RSD on red vinyl.

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                                                                                                                                                                                  Cover of Wriggle Out The Restless by This Is The Kit.

                                                                                                                                                                                  This Is The Kit

                                                                                                                                                                                  Wriggle Out The Restless

                                                                                                                                                                                  Brassland

                                                                                                                                                                                    THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                                                                                                                    This Is The Kit have had a banner year, with their Rough Trade Records debut "Moonshine Freeze" becoming BBC 6 Music's most played record of 2017, and making it onto numerous other year-end Top 10 lists. It also found them doing their most extensive touring to date — both in the UK and abroad, including extensive support dates in London & North America with indie rock kingmakers The National.‘Wriggle Out The Restless’ was This Is The Kit's first breakout release — 6 Music host Guy Garvey said "it should have been nominated for the Mercury Prize." — and this is its first time on vinyl in over a decade. (It was pressed in a limited edition of 500 copies with an alternative cover in 2010). Includes download code. 700 coloured vinyl limited edition (splatter orange + blue). Features exclusive track never before on vinyl ‘Treehouse’ as well as fan favorite ‘Earthquake’. “Absolutely gorgeous, like an aural bath with the warm water lapping over you” - Cerys Matthew / BBC Radio 6 Music.

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                                                                                                                                                                                    Cover of If You Were Fruit by The Lovely Eggs.

                                                                                                                                                                                    The Lovely Eggs

                                                                                                                                                                                    If You Were Fruit

                                                                                                                                                                                    Egg Records

                                                                                                                                                                                    “You won't hear another band like this anywhere between now and the the end of the millenium. The Lovely Eggs are just brilliant!” Huw Stephens, Radio One // “They have the off the wall look that is perfect pop and the cutting stripped down dynamic of a cool art crew in love with underground rock n roll” John Robb  //  The Lovely Eggs re-release their critically acclaimed debut album 'If You Were Fruit'. Originally released in 2009 on Cherryade Records, 'If You Were Fruit' includes the hit tracks 'Have You Ever Heard a Digital Accordion?' and 'I Like Birds (But I Like Other Animals Too)'.

                                                                                                                                                                                    The Lovely Eggs continue to cement their reputation as one of the most genuinely exciting and essential bands around today. This, their first full-length record, was nominated by XFM for 'Debut Album of the Year' and showcases all the magic of their unique, funny, sad, moving, bewildering and beautiful sound.

                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                    Coloured LP Info: Lemon 'Eat Shit' coloured vinyl.

                                                                                                                                                                                    Coloured LP includes MP3 Download Code.

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                                                                                                                                                                                    Cover of Exile In Guyville - Reissue by Liz Phair.

                                                                                                                                                                                    Liz Phair

                                                                                                                                                                                    Exile In Guyville - Reissue

                                                                                                                                                                                    Matador

                                                                                                                                                                                      2018 marks the 25th anniversary of Liz Phair’s landmark Exile in Guyville album. On May 4th, Matador Records will reissue the album on vinyl and CD. Re-mastered by Emily Lazar at The Lodge, the album is set for a remembrance worthy of its greatness. In addition to the straight reissue, Matador is also releasing Girly-Sound To Guyville, an extensive vinyl box set to celebrate the anniversary.

                                                                                                                                                                                      Originally released in 1993, Exile In Guyville is a seminal album and a feminist landmark. Its legendary status has only grown over the years. It’s continually included in countless lists…Rolling Stone’s 500 Greatest albums of all time + 100 best albums of the 90s, Pitchfork’s Top 100 albums of the 90s, etc. Numerous essays and think pieces have been written about it and the number of accolades piled on is endless.

                                                                                                                                                                                      Since the release of Exile in Guyville, Liz Phair has continued to defy expectation and break barriers. She has released five albums, and is currently working on a new one with Ryan Adams. She has also composed music for television shows and received awards for that work. In November, it was announced that she would be fulfilling a longtime dream to be an author, having received a two-book deal with Random House. Her first book will be called Horror Stories which focuses on “heartbreak, motherhood, and everything in between.

                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      2xLtd LP includes MP3 Download Code.

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                                                                                                                                                                                      Cover of Return To Jeka by Michal Turtle.

                                                                                                                                                                                      Michal Turtle

                                                                                                                                                                                      Return To Jeka

                                                                                                                                                                                      Music From Memory

                                                                                                                                                                                      Amsterdam's archival experts Music From Memory are back with more ‘Music From The Living Room’. Delving further into the archives of British musician Michal Turtle, "Return To Jeka" brings together eight previously unreleased works recorded between 1983 and 1985. Drawn from a larger archive of works the compilation highlights a fascinating period of material Michal recorded after the release of his only album.
                                                                                                                                                                                      Working as an accompanist musician at The Laban Centre in New Cross at the time, Michal there met Jonathan Smart who was currently studying Dance. After being invited to add spoken word vocals to a few of Michal’s tracks, Michal discovered Jonathan was also an accomplished guitarist; and Jonathan would add guitar to a number of recordings from this period. Vocalist Lucianne Lassalle who Michal was working with in local bands ‘The Duplicates’ and ‘The Wicked Kitchen Staff’ and who had worked with Michal on recordings for his album, would also collaborate with Michal again during this period.
                                                                                                                                                                                      While some tracks were produced with the idea in mind of a follow up to his album ‘Music From The Living Room’ which UK label Shout proposed but which would sadly not materialise, others were in fact demos written for student dance choreographies. Produced in the living room of his parents' home in Croydon, South London and later in his apartment in Camden Town, Michal Turtle’s home recordings featured on ‘Return To Jeka’ continue his unique musical explorations; drawing extensively on the use of percussion and electronics they bring together elements which were not only in many aspects visionary but also sound like little else.

                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                      Patrick says: Drifting between dream and nightmare, Michal Turtle's otherworldly electronic suites beguile, bewitch and transport you to another place entirely.

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                                                                                                                                                                                      Cover of Improvisations And Edits, Tokyo 26.09.2001 by Jan Jelinek & Computer Soup.

                                                                                                                                                                                      Jan Jelinek & Computer Soup

                                                                                                                                                                                      Improvisations And Edits, Tokyo 26.09.2001

                                                                                                                                                                                      Faitiche

                                                                                                                                                                                      Faitiche releases the album "Improvisations And Edits, Tokyo 26.09.2001" on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori - trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio's living room in Tokyo.

                                                                                                                                                                                      Languid and jazz influenced, it received criticism at the time for being 'cluttered' and 'unstructured' but this has only helped to bury, away from site in the plethora of other CD-only projects released at the time. With revived interest in all things glitch and a see set of ears, 20 years later this is sounding super! Like being lost in a computerized enchanted forest - a synthesized collage of mellowed out yet haunting sounds.

                                                                                                                                                                                      'Improvisations and Edits is a warm and mellow ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections' -ambientexotica.com, 2003. 


                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      Ltd LP Info: Re-Issue of 2001 recordings, never before on vinyl. Ltd. edition of 500 copies incl. download code.

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                                                                                                                                                                                      Cover of Zwischen by Jan Jelinek.

                                                                                                                                                                                      Jan Jelinek

                                                                                                                                                                                      Zwischen

                                                                                                                                                                                      Faitiche

                                                                                                                                                                                      Faitiche releases a short version of the radio play "Zwischen" (German for 'between'). Devised and produced by Jan Jelinek for German public broadcaster SWR2, "Zwischen" brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures. The opening questions in the various interviews are answered by: Alice Schwarzer, John Cage, Hubert Fichte,, Joseph Beuys, Lady Gaga, Ernst Jandl, Karlheinz Stockhausen, Marcel Duchamp, Friederike Mayracker, Yoko Ono and Max Ernst.

                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      Ltd LP Info: Ltd to 500 inc download code.

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                                                                                                                                                                                      Cover of Howlin Rain - Reissue by Howlin Rain.

                                                                                                                                                                                      Howlin Rain

                                                                                                                                                                                      Howlin Rain - Reissue

                                                                                                                                                                                      Silver Current Records

                                                                                                                                                                                        Never before issued on vinyl, Silver Current presents Howlin Rain’s selt-titled 2006 debut album, originally on CD only on Birdman Records! Formed in 2004 in San Francisco, the band features Ethan Miller (Comets On Fire, Heron Oblivion), John Moloney (shaman leader and percussionist for Boston’s Sunburned Hand Of The Man) and Ian Gradek (bassist, iron worker, banjo-picker and world traveler). For a group of musicians who spend most of their time playing napalmwrecked avant-rock or underground improv, this is an opportunity to downshift and ease into some classic good-time jams—some yin to the more experimental yang of their better known projects.

                                                                                                                                                                                        They draw from the resonance of The Dead, The Allman Brothers, Richard Brautigan, Exuma, Terry Reid, Golden Earring, CSNY (as well as Neil Young and Crazy Horse), Bob Dylan, Blue Cheer, CCR, Simon and Garfunkel, Randy Holden, White Heaven, Jimi Hendrix, Joe Walsh and anyone who’s played piano on an album without actually knowing how to. They’re equal parts dust, groove, folk, rock, dirt, mercury, earth, beer, watermelon, the Eel River and the great land that surrounds it. Howlin Rain came together with the intention of making a good, old-fashioned, free-wheeling rock album with a bared soul and a body that hangs joy, hysteria and darkness on the same rambling bones. They play unfiltered music in all its grit and all its glory; music to beat the steering wheel of your van to or sing along with while drinking whiskey in the bathtub with your dog on a Saturday night.

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                                                                                                                                                                                        Cover of Squadro Antigangster by Goblin.

                                                                                                                                                                                        Goblin

                                                                                                                                                                                        Squadro Antigangster

                                                                                                                                                                                        BTF

                                                                                                                                                                                        "Squadra Antigangsters" (The Gang that Sold America) is one of over ten films produced between the '70s and '80s in which the actor Tomas Milian plays the role of Police Marshal / Inspector Nico Giraldi, probably the most famous character out of the typical Italian detective films of that period, which were in practice Giallo movies with a strong comedy component.

                                                                                                                                                                                        The film is set in the United States, and the soundtrack sounds very American, starting from the first two songs, interpreted by the warm voice of Asha Puthli, an Indian singer who is also an actress in this movie, "The Whip" and "The Sound of Money" seem to belong to one of the many Stax productions of those years, only that they're played by... Goblin! The Roman band, whose line-up consisted of Claudio Simonetti (keyboards), Agostino Marangolo (drums), Fabio Pignatelli (bass) and Carlo Pennisi (guitar) was in those years nothing less than hyper-productive, but this did not prevent them from producing high-quality works. In fact, the album songs go through various genres - disco music, country, funky, soul, samba ... - with little concessions to some typical 'Goblinian' moments."Squadra Antigangsters" (The Gang that Sold America) is one of over ten films produced between the '70s and '80s in which the actor Tomas Milian plays the role of Police Marshal / Inspector Nico Giraldi, probably the most famous character out of the typical Italian detective films of that period, which were in practice Giallo movies with a strong comedy component.


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                                                                                                                                                                                        Cover of Atiza Y Ataja by Los Supremos.

                                                                                                                                                                                        Los Supremos

                                                                                                                                                                                        Atiza Y Ataja

                                                                                                                                                                                        Vampisoul

                                                                                                                                                                                        The only album released by Los Supremos, "Atiza y ataja" (1971), was the debut recording for Edulfamid Molina Díaz, aka Piper Pimienta, who would soon make his mark as Fruko's lead singer and later with The Latin Brothers and his own orchestra. Grounded firmly in the Cuban style of La Sonora Matancera, with a prominent piano and crisp trumpet sound augmented by an additional double sax section, Los Supremos were also influenced by the NYC salsa dura and bugalú of Willie Colón, while managing to include coastal Colombian tropical music like cumbia and currulao, throwing in some improvised descarga jamming as well, making for a varied and hard-edged mix for one of Discos Fuentes' first, and finest, forays into making salsa records. Presented in facsimile artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs.

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                                                                                                                                                                                        Cover of Aladdin Sane - 45th Anniversary Limited Edition Silver Vinyl by David Bowie.

                                                                                                                                                                                        David Bowie

                                                                                                                                                                                        Aladdin Sane - 45th Anniversary Limited Edition Silver Vinyl

                                                                                                                                                                                        Parlophone

                                                                                                                                                                                          2017 saw gold vinyl versions of ‘Hunky Dory’ and ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars,’ released 45 years to the day of the first issuing of Ziggy. To celebrate the 45th Anniversary of the ALADDIN SANE album; there will be a special limited edition silver vinyl version released.

                                                                                                                                                                                          This strictly limited one run only silvery vinyl edition of ALADDIN SANE will contain Ken Scott’s approved 2013 remaster and will be released on 20th April, 2018, 45 years to the day since the original release date for the album. Previously thought to have been issued on 13th April, 1973, new evidence has come to light that proves the release date was officially the 20th, but being Good Friday in the UK the album was 'made available' on the 19th.

                                                                                                                                                                                          Recorded in London in late 1972 and early 1973 in New York and Nashville while Bowie and the Spiders were on the Ziggy Stardust Tour and coming on the back of two top ten UK singles, ‘The Jean Genie’ and ‘Drive-In Saturday’. Aladdin Sane was described by David as "Ziggy goes to America".


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                                                                                                                                                                                          Cover of Changestwobowie by David Bowie.

                                                                                                                                                                                          David Bowie

                                                                                                                                                                                          Changestwobowie

                                                                                                                                                                                          Parlophone

                                                                                                                                                                                            This follow up to David’s hugely successful first Best Of compilation CHANGESONEBOWIE, has not officially been available since the late 1980’s. Featuring iconic cover photography by Greg Gorman, it was first released in 1981 and was only briefly available on CD in 1985 but has long since been deleted.

                                                                                                                                                                                            Drawing on material spanning from HUNKY DORY (1971) to SCARY MONSTERS (AND SUPER CREEPS) (1980) it achieved gold status in the U.K. album chart in 1982. It will be reissued on the 13th April with all tracks remastered on CD in a digipak sleeve, high-resolution 192/24 and 96/24 digital and standard digital for streaming and download,

                                                                                                                                                                                            The 180gram vinyl edition will be available randomly on its initial limited manufacturing run in black and blue vinyl before reverting solely to black vinyl.


                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                            Ltd LP Info: 180g vinyl available randomly on black or blue vinyl.

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                                                                                                                                                                                            Cover of Jehovahkill - Vinyl Reissue by Julian Cope.

                                                                                                                                                                                            Julian Cope

                                                                                                                                                                                            Jehovahkill - Vinyl Reissue

                                                                                                                                                                                            UMC

                                                                                                                                                                                              Jehovahkill is the eighth album by Julian Cope, released in 1992. Its original version was titled Julian H. Cope.

                                                                                                                                                                                              The album cover depicts the Callanish Stones, a site with a cruciform layout that predates Christ by at least 2,000 years 

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                                                                                                                                                                                              Cover of Peggy Suicide - Vinyl Reissue by Julian Cope.

                                                                                                                                                                                              Julian Cope

                                                                                                                                                                                              Peggy Suicide - Vinyl Reissue

                                                                                                                                                                                              UMC

                                                                                                                                                                                                Peggy Suicide is the seventh album by Julian Cope. It is generally seen as the beginning of Cope's trademark sound and approach, and as a turning-point for Cope as a maturing artist. 

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                                                                                                                                                                                                Cover of Tangerine Dream - 50th Anniversary Remastered Edition by Kaleidoscope.

                                                                                                                                                                                                Kaleidoscope

                                                                                                                                                                                                Tangerine Dream - 50th Anniversary Remastered Edition

                                                                                                                                                                                                Kaleidoscope Sounds

                                                                                                                                                                                                  Look through any self respecting quality music publication or web site and peruse through a list of the most important and influential psychedelic albums of all time and you can be pretty sure to see KALEIDOSCOPE’S ‘Tangerine Dream” ranked high up there, along with your ‘Sgt Peppers’, your ‘Forever Changes’ ‘Satanic Majesties Request’ ‘Axis Bold As Love’ ‘Odyssey & Oracle’ and ‘The Psychedelic Sounds of the 13th Floor Elevators’……..

                                                                                                                                                                                                  This seminal album of quintessential English psychedelia is one of the most highly prized artifacts that define the psychedelic genre and like some of the most highly collected and prized albums from that time, mint copies can now go for way in excess of £1000.

                                                                                                                                                                                                  Thus given the record`s rarity & collectability, matched to the recent explosive interest in all things psyche, garage & underground, you would be excused for thinking that this slice of perfect late 60’s progressive underground pop would have been given the full reissue and remastering treatment already. Surprisingly though, you would very much be mistaken. But to those of you who know the checkered history of Kaleidoscope this will perhaps come as no surprise!?!!

                                                                                                                                                                                                  Thankfully after 3 years of painstaking detective work, chance encounters with Universal archivists, heavy negotiations with major label legal executives and some good fortune, we are delighted to announce that this record will finally not only get its first proper official reissue in over 5 decades, but thanks to a lot of pure persistence it can now be presented to its listeners in the manner in which it was supposed to have been heard, following the discovery of a batch of the original master tapes that were languishing in the vaults of Universal that have laid largely unheard for 50 years!

                                                                                                                                                                                                  Furthermore following a couple of shared festival billings at Austin and Copenhagen Psyche Festival, with another legend of the scene, Mr Pete Kember aka SONIC BOOM of SPACEMEN 3 fame, Sonic has been holed up in his Lisbon studio, painstakingly remastering the album from the original ¼” tapes.

                                                                                                                                                                                                  The remastering of these ¼” tapes though is only part of the story, as along with the discovery of these a significant number of ½” tapes and other material was also discovered which is penned for a future release when the band`s entire works will be presented in a definitive boxset of all four of their studio albums (including all their Fairfield Parlour recordings) plus BBC Sessions, live recordings, alternative takes, new mixes, unreleased tracks and material from the band`s own archive including pre-Kaleidoscope demos when they were known as both The Sidekicks and The Key.

                                                                                                                                                                                                  For now though, this 50th Anniversary release comes with a flavor of what is to come, with the inclusion of two unreleased out-takes tracks from 1967 on a bonus 7” housed in a replica original paper thin Fontana sleeve which, includes an early version of the track that gave the band their name, the suitably titled: ‘Kaleidoscope’. Whilst the flip presents an alternative earliest known recorded version of the album’s follow-up single: “Dream For Julie’.

                                                                                                                                                                                                  The album itself, has been cut onto 180g heavyweight vinyl, housed in a deluxe high-end gatefold tip-on sleeve with the lyrics printed and new artwork.

                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                  Barry says: Kaleidoscope write unbelievably beautiful pop tunes about diamonds in eyes, and soft voices and 'Beckoning' people, which nobody really does anymore. This is haunting, pastoral psych-pop, with echoes of classic early Floyd, twee jangles and ditties abound. Stunning.

                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                  Ltd LP Info: 180g black vinyl.

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                                                                                                                                                                                                  Cover of Burnier & Cartier by Burnier & Cartier.

                                                                                                                                                                                                  Burnier & Cartier

                                                                                                                                                                                                  Burnier & Cartier

                                                                                                                                                                                                  Mr Bongo

                                                                                                                                                                                                  Mr Bongo keep the hits coming with a welcome reissue of Burnier & Cartier's self-titled LP, which has soared to the top of many a wantlist after appearing in many a setlist and sample-jam. A gorgeous set which touches on MPB, soul, jazz, disco and boogie, the LP has been championed by the likes of Jazzanova, Floating Points and Hunnee while Andres and KDJ and Kaytranada have all slammed it into the MPC and made good use of these exquisiste grooves. The perfect marriage of breezy South American rhythms, sunkissed melodies and smooth vocals, the album is a testament to the songwriting talents of the duo and the production and arrangement expertise of Arthur Verocai and Luis Bonfa.
                                                                                                                                                                                                  Remastered for 2018 and presented in replica artwork, this Brazilian fusion gem is finally available without securing a second mortgage.

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                                                                                                                                                                                                  Cover of The Freewheelin' Bob Dylan by Bob Dylan.

                                                                                                                                                                                                  Bob Dylan

                                                                                                                                                                                                  The Freewheelin' Bob Dylan

                                                                                                                                                                                                  Columbia

                                                                                                                                                                                                    Thirteen song, second studio album by American singer-songwriter Bob Dylan, released on May 27, 1963 by Columbia Records. Where as his self-titled debut album Bob Dylan had contained only two original songs, Freewheelin' represented the beginning of Dylan's writing contemporary words to traditional melodies. Eleven of the thirteen songs on the album are Dylan's original compositions.

                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                    LP includes MP3 Download Code.

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                                                                                                                                                                                                    Cover of Scientist And Jammy Strike Back! by Scientist & Prince Jammy.

                                                                                                                                                                                                    Scientist & Prince Jammy

                                                                                                                                                                                                    Scientist And Jammy Strike Back!

                                                                                                                                                                                                    Real Gone

                                                                                                                                                                                                    Jedi dub riddims from King Tubby protege's Scientist and Prince Jammy, bringing their mastery of the studio to tracks written by Lee Perry acolyte Linval Thompson. Backed by the Roots Radics band no less, this 1982 album is about as good as early ‘80s dub gets, with sopping wet flange, endless spring reverb and catchy perc parts. It predates Jammy's move to digital techniques around '83 / '84 and as such, still exists in a solely analogue realm. Although traditionally 'dub' in its arrangement and execution, there's some interesting nuances: an aggressive, stepped flanger, ridiculously splashy reverbs and a highly percussive rhythm section (which would later be adopted across Jammy's productions). The artwork pays tribute to all sorts of sci-fi tropes, from Star Wars to Star Trek to Ming the Merciless, is just a bonus. All in all a groundbreaking and important addition to the reggae / dub cannon. Jah!




                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                    Coloured LP Info: Mega limited Coke Bottle Clear with Blue Swirl Vinyl Edition of only 300 copies.

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                                                                                                                                                                                                    Cover of Fancy Pants by Lightmen Plus One.

                                                                                                                                                                                                    Lightmen Plus One

                                                                                                                                                                                                    Fancy Pants

                                                                                                                                                                                                    Now-again

                                                                                                                                                                                                    Revolutionary, spiritual jazz from the unlikely city of Houston, Texas, reissued for the first time. Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for Peacock and Back Beat Records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane.
                                                                                                                                                                                                    Fancy Pants is his second LP with his Lightmen band and, like the deep-set, maverick jazz issued by the likes of Tribe and Strata East, is amongst the best of the 1970s jazz underground, a collective voice of resistance to the musical and cultural status quo. Presented in both stereo and mono mixes. Extensive booklet, download card for WAV files and footage of live performances included. 

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                                                                                                                                                                                                    Cover of Recurring - Reissue by Spacemen 3.

                                                                                                                                                                                                    Spacemen 3

                                                                                                                                                                                                    Recurring - Reissue

                                                                                                                                                                                                    Space Age

                                                                                                                                                                                                    Space Age Recordings are pleased to announce an official limited edition release of the fourth and final Spacemen 3 studio album "Recurring"; the follow up to their seminal “Playing with Fire” album. By the time the album was recorded, relations between the band had soured to the extent that the record is essentially in two parts; the first seven tracks written and performed by Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.), and the last seven tracks written and performed by Jason Pierce (Spiritualized) punctuated by the cover version of Mudhoney’s ‘When Tomorrow Hits’ the only track on which both Kember and Pierce appear together. 

                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                    LP Info: Black vinyl edition.

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                                                                                                                                                                                                    Cover of Forever Changes (50th Anniversary) by Love.

                                                                                                                                                                                                    Love

                                                                                                                                                                                                    Forever Changes (50th Anniversary)

                                                                                                                                                                                                    Rhino

                                                                                                                                                                                                      Love’s Forever Changes is the psychedelic folk-rock pioneers’ finest achievement. Mostly overlooked when it was released in 1967, today the album is considered an indispensable masterpiece. In 2008, it was inducted into the Grammy Hall of Fame, and – in 2012 – the Library of Congress added it to the National Recording Registry.

                                                                                                                                                                                                      Love are celebrating the acclaimed album’s golden anniversary with an extensive 4CD/DVD/LP collection housed in a beautifully illustrated 12 x 12 hardbound book that features a newly written essay and track-by-track notes by music historian Ted Olsen.

                                                                                                                                                                                                      Recorded during the Summer of Love in Hollywood, CA, Forever Changes is the group’s most fully realized studio effort, featuring Arthur Lee (vocals, guitar), Johnny Echols (lead guitar), Bryan MacLean (rhythm guitar, vocals), Ken Forssi (bass) and Michael Stuart (drums, percussion). The original album introduced classics like “Andmoreagain,” “Red Telephone,” “A House Is Not A Motel” and “Alone Again Or.”

                                                                                                                                                                                                      The set features a few firsts for the album, including the CD-debut of a remastered version made by its original co-producer and engineer Bruce Botnick, as well as the first-ever release of the mono version on CD. Also included are alternate mixes of the album, as well as a selection of rare and unreleased singles and studio outtakes. Botnick’s stereo remaster of the original album makes its vinyl debut on the LP included with this set. It was cut from high resolution digital audio by celebrated audio engineer Bernie Grundman.

                                                                                                                                                                                                      The DVD that accompanies the anniversary collection includes a 24/96 stereo mix of the album version of the original album remastered by Botnick. Also featured is “Your Mind And We Belong Together,” a rare promotional video directed by Elektra producer Mark Abramson that was originally released in 1968.

                                                                                                                                                                                                      Forever Changes: 50th Anniversary Edition boasts more than a dozen rarities, including single versions of “Alone Again Or” and “A House Is Not A Motel” that are available now for the first time since 1967. Two other recordings on the set have never been released: the backing track for “Live And Let Live” and an outtake backing track for “Wonder People (I Do Wonder).”


                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                      Ltd Box Set Info: 4CD/DVD/LP collection in 12x12 hardbound book.

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                                                                                                                                                                                                      Cover of Voor Adeline by Walter Verdin.

                                                                                                                                                                                                      Walter Verdin

                                                                                                                                                                                                      Voor Adeline

                                                                                                                                                                                                      Stroom

                                                                                                                                                                                                      Theater De Kreet was a short lived theatre collective that existed between 1979 and 1981. In that period the troupe presented just one performance, a musical called 'Adeline' which had a run of six shows during 1981.

                                                                                                                                                                                                      The members of Theater De Kreet were originally part of a bigger group called Grasgroen, which was founded by art history students from the Leuven University. The collective mainly focused on so called ‘animations’ in the public space. After a while, Grasgroen split into two different groups (theatre and performance), and Theater De Kreet came into existence. Its core members were Walter Verdin, Guy Dermul, Hilde Wils, Gaby Geysens and Nicole Boffin. Mainly using improvisatory methods, the collective started working on 'Adeline' in 1979. The premiere took place in October 1981 and was met with very mixed critical reviews. Walter Verdin was in charge of the music for 'Adeline'. Originally an art history and visual art student, Verdin was introduced to the Belgian music scene through his record sleeve and poster designs. Prior to the music for 'Adeline', he released a solo album and a 7” white man reggae project with Grasgroen ('Storingen' by Specimen & The Rizikoos). Later in his career, he had his biggest commercial success with Pas de deux, the band that represented Belgium at the Eurovision Song Contest in Munich (1983). After the Pas de deux adventure, Verdin gave up on popular music and had a blooming career in video art, working on video concerts and installations and later on with renowned theatre and dance companies from all over the world.

                                                                                                                                                                                                      To write the soundtrack for 'Adeline', Verdin took to the studio of the Audiovisual Services of the KU Leuven, which was his audio and video laboratorium for around 20 years, and subsequently to the ICP Recording Studios in Brussels for post-production. Verdin & co. didn't compose behind a writing desk or a piano. Music for them meant playing - with an instrument, but also with non-traditional instruments. The spring of a desk lamp for instance, could be used to produce music too. 

                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                      Patrick says: Stroom just don't slip up! The Belgian label keep us coming back with a wonderful collection of improvisational electronic grooves from Pas De Deux man Walter Verdin. Combining all your favourite bits of minimal wave, Balearic, synth funk and cosmic pop, the eight tracks on "Voor Adeline" are the kind of wonderful oddities that litter all the best mixtapes.

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                                                                                                                                                                                                      Cover of Original Pirate Material - Reissue by The Streets.

                                                                                                                                                                                                      The Streets

                                                                                                                                                                                                      Original Pirate Material - Reissue

                                                                                                                                                                                                      Rhino

                                                                                                                                                                                                      Big Brother, Dom Jolly, Playstation 2, Ronaldinho, Rivaldo and Ronaldo, weak pills and cheap skunk, 3310s, foot and mouth, Soham and Pual Burrell - that was the world when "Original Pirate Material" first dropped in 2002 - blowing up Kazaa and Audiogalaxy and finding its way to your mate's CD player on an iffy CDr. To say it was a breath of fresh air is an understatement, this groundbreaking album filled the air with a green fug, challenged the yanks for the MCing crown and twisted the polished sheen of UKG into a laptop-crafted fusion of skanking bass and housey beats. While breakthough hit "Has It Come To This?", "Turn The Page" and "Let's Push Things Forward" remain era-defining anthems, every single track here is the tits. "Sharp Darts" sounds like an utterly wrong Wu Tang joint, "Same Old Thing" and "Geezer's Need Excitement" are rough, tough and proper grimey and "It's Too Late" is bloke-poetry on a heartbreaking anthem tip. Elsewhere "Don't Mug Yourself" royally takes the piss out of you on the back of the bus and "The Irony Of It All" offers a hilarious review of boozed up townies and stoned students. And then there's "Weak Become Heroes", the e'd up ravers anthem that's still the best track of that decade. 

                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                      Patrick says: A lot's changed since 2002, but "Original Pirate Material" retains a flawless, genre defining classic and the best thing Mike Skinner's ever done. Stick it on, and stick your middle finger up at the Criminal Justice Bill - mega!

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                                                                                                                                                                                                      Cover of Everything All The Time by Band Of Horses.

                                                                                                                                                                                                      Band Of Horses

                                                                                                                                                                                                      Everything All The Time

                                                                                                                                                                                                      Sub Pop

                                                                                                                                                                                                        Folks, you don't need to buy any records by My Morning Jacket, Flaming Lips or Mercury Rev anymore, Seattle's Band Of Horses have combined all three and only gone and made one of the albums of the year! These are huge, emotive, yearning songs. The sound is reverb-drenched and lonesome: enormo guitars chime whilst Ben Bridewell whacks out his vocals like Perry Farrel's little, lost brother. OK, they sound very similar to M.M. Jacket, but there's a directness here that's exhilarating. The whole record flows, but there's some absolute anthems lurking amidst the drift and echo. It's a towering, beautiful thing.

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                                                                                                                                                                                                        Cover of A Grand Don't Come For Free - Reissue by The Streets.

                                                                                                                                                                                                        The Streets

                                                                                                                                                                                                        A Grand Don't Come For Free - Reissue

                                                                                                                                                                                                        Rhino

                                                                                                                                                                                                        When faced with the unenviable task of following up the instant classic that was his genre defining debut, Mike Skinner decided to channel his observational lyricism and home made beats into a concept album about a geezer on holiday, on the prowl, on the con and out of luck. Whereas 'Original Pirate Material' was a record that garnered acclaim from the electronic / dance fraternity and the forward-thinking wings of the rock / mainstream press, 'A Grand Don’t Come For Free' swept the board in prompting critical praise. This was the album that saw Skinner compared to the likes of Ray Davies and Paul Weller in evoking the glorious mess of everyday life. A striking concept album set to an inventive sonic backdrop, the seemingly prosaic tale of a young man unlucky in love (and, so it seems, money) is brought brilliantly to life in a barrage of astute lyrics, lurid tales and memorable hooks. Deservedly awarded a 9.1 review from Pitchfork, the record sees Skinner reveal his most vulnerable self: 'Dry Your Eyes' and 'Blinded By The Lights', in particular, manage to articulate painfully familiar feelings that appeal to music fans of every hue. This record marked Skinner’s creative peak, received international acclaim and, thanks to its distinctiveness, propelled its maker to the top of the musical tree.


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                                                                                                                                                                                                        Cover of Cease To Begin by Band Of Horses.

                                                                                                                                                                                                        Band Of Horses

                                                                                                                                                                                                        Cease To Begin

                                                                                                                                                                                                        Sub Pop

                                                                                                                                                                                                          Band Of Horses 2006 debut, "Everything All The Time" was a big favourite here at Piccadilly and so naturally we're very excited about this follow up. For a lot of reasons, "Cease to Begin" is the perfect title for this record. Not only do the songs themselves weave this theme through the record, but stopping and starting anew is also a reflection of the past year and a half for Band Of Horses. Though they worked with producer Phil Ek again, as they did on "Everything All The Time", much has changed between the fairly recent then and now. There have been band members who have come and gone, including Mat Brooke, who left the band to pursue other interests and his own band. For core members Ben Bridwell, Rob Hampton and Creighton Barrett, there has been a move from Seattle, WA to Mt. Pleasant, SC, a relocation that had been planned for some time so that they could all be closer to their families. And, close friends and family have come and gone-some far too early. Necessarily shot through with these experiences, the songs on "Cease To Begin" are strikingly beautiful, if less elliptical and more straightforward, with more sophisticated arrangements than the last record. It certainly doesn't disappoint.

                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                          Coloured LP Info: Indies exclusive coloured vinyl.

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                                                                                                                                                                                                          Cover of Oh, Inverted World by The Shins.

                                                                                                                                                                                                          The Shins

                                                                                                                                                                                                          Oh, Inverted World

                                                                                                                                                                                                          Sub Pop

                                                                                                                                                                                                          The Shins carry the indie rock torch with their own subtle orchestral stamp. Think the pop side of Built To Spill or a more out-there Beachwod Sparks. Perfect pop sounds with an edge of weirdness.

                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                          Coloured LP Info: Indies exclusive mint coloured vinyl.

                                                                                                                                                                                                          Coloured LP includes MP3 Download Code.

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                                                                                                                                                                                                          Cover of Chutes Too Narrow by The Shins.

                                                                                                                                                                                                          The Shins

                                                                                                                                                                                                          Chutes Too Narrow

                                                                                                                                                                                                          Sub Pop

                                                                                                                                                                                                          Quite a departure from their "Oh Inverted World" debut. Gone is the 60s Beach Boys / Byrdsian low key production, "Chutes Too Narrow" has a much more updated sound. The same off-kilter songs are still there, but the vocals are brought right up front, and give the whole album a crisp, bright feel, while in the background, guitars jangle and backing harmonies intertwine beautifully.

                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                          Coloured LP Info: Indies exclusive orange vinyl.

                                                                                                                                                                                                          Coloured LP includes MP3 Download Code.

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                                                                                                                                                                                                          Cover of Wincing The Night Away by The Shins.

                                                                                                                                                                                                          The Shins

                                                                                                                                                                                                          Wincing The Night Away

                                                                                                                                                                                                          Sub Pop

                                                                                                                                                                                                          It could be said that The Shins’ third album, ‘Wincing The Night Away’, was one of the most heavily anticipated record of 2007. Post ‘Garden State’ notoriety, the band have reached beyond their indie-darling status to something approaching mainstream recognition.

                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                          Coloured LP Info: Indies exclusive silver vinyl.

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                                                                                                                                                                                                          Cover of Señora by Señora.

                                                                                                                                                                                                          Señora

                                                                                                                                                                                                          Señora

                                                                                                                                                                                                          Growing Bin

                                                                                                                                                                                                          Following the freak beat festival of Wolf and Wandt’s ‘Instrumentalmusik’ comes a release that’s been in the pipeline since the organic imprint first took root; the first reissue of the beautiful ’Señora’. Beguiling and brilliant, this private press princess makes you want to dance, dream and do cartwheels, then breaks your heart when you realise you’ll never meet her - a rare beauty indeed. So it’s time to let Basso play cupid and introduce you to the love of your life.

                                                                                                                                                                                                          Eagle eyed associates might recognise the sleeve as Basso’s everyday avatar, chosen in tribute to his favourite jazz-funk record of all time. Originally released in limited quantities back in 1981, the self titled ‘Señora’ was the sole release from a quartet of German groove greats, coming together in one ecstatic union of rhythmic precision, smooth riffing and melodic mastery.
                                                                                                                                                                                                          Take opener ‘Paul’ for example; a continent away from the West End, this sublime slice of raw guitar, silken keys and gliding bass could have made Mel Cheren proud. From there we’re taken on a journey through the syncopated slide of the jazzy ‘My Way, Your Way’, the samba sway of the mild and mellow ‘Easy Going’ and the poetic piano of ‘Pearl’, a triumphantly esoteric tone poem to close the A-side. ‘Señora’ ups the tempo on the flipside, galloping through tight triplets, fusion guitar and mind expanding synth play. The B2 brings a strolling bassline and tender tonality, executed with all the ease of the Sunday morning which dawns on the extended and expansive cooler which brings the LP to its final emotional release.

                                                                                                                                                                                                          Light a candle, change the linen and put the rosé on chill, you’re about to fall in love with Señora.

                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                          Patrick says: Gorgeous, glorious and groovy, 'Señora' is the German jazz-funk holy grail, long lusted after but only rarely spotted. Now, thanks to Hamburg's Growing Bin, you can finally put this masterpiece of rhythmic precision, melodic magic and soothing samba on your turntable and in your ears.

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                                                                                                                                                                                                          Cover of I'd Like To See You Again by A Certain Ratio.

                                                                                                                                                                                                          A Certain Ratio

                                                                                                                                                                                                          I'd Like To See You Again

                                                                                                                                                                                                          Mute

                                                                                                                                                                                                            Following the new wave classic Sextet, this Manchester/New York post-punk funk unit's third album, I'd Like to See You Again, points toward a more minimal, stripped-down funk sound. This was apparently influenced heavily by the New York club scene of the early '80s, in which A Certain Ratio immersed themselves following their formation in Manchester. The departure of vocalist Martha Tilson left the band working in a more rhythmic instrumental approach, eschewing the pop forms of Sextet and focusing on a harder electro-funk sound. While this revealed the influence of time spent in club culture and marked a radical departure from the melancholy Manchester sound of their previous albums, the band kept their melodic passages intact, which created a tension between bright and dark moods that was the striking characteristic of their best work. The fact that this album fared well on the dancefloor some 20 years after its release may indicate that A Certain Ratio was ahead of their time. Their influence could be heard cropping up in strains of the Brit-pop, techno, post-rock, and house of the late '90s. Hence, I'd Like to See You Again is an album that deserves a revisit. Essential listening for fans of the Factory sound that spawned the British club sound exemplified by New Order and the New York wave of minimal funk groups, like Liquid Liquid and ESG.. 

                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                            Coloured LP Info: Transparent Yellow Vinyl.

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                                                                                                                                                                                                            Cover of ACR:MCR by A Certain Ratio.

                                                                                                                                                                                                            A Certain Ratio

                                                                                                                                                                                                            ACR:MCR

                                                                                                                                                                                                            Mute

                                                                                                                                                                                                              As part of the ongoing collaboration with Mute Recordings Several of their albums will be released, including the long out of print albums 'acr:mcr' and 'Good Together.'A Certain Ratio embraced the ethic and culture of the late seventies post-punk explosion, but sounded like nothing else around them and refused to fit in. Formed in 1978, the band had various members throughout their career, and a core line-up of Jez Kerr, Martin Moscrop and Donald Johnson.

                                                                                                                                                                                                              Hailed universally as pioneers of what became known as “punk funk” thanks to the success of ‘Shack Up’ on both sides of the Atlantic, their sound is not easily pigeon holed and their influence can never be understated. The band introduced the avant-garde elements of funk, jazz, electronics, tape loops and technology to the pop song, wrapping it in a post punk aesthetic, adding great clothes and the coolest haircuts. They have gone on to influence generations of musicians - from LCD Soundsystem, Happy Mondays, Franz Ferdinand, ESG, Factory Floor and Andrew Weatherall. 


                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                              2xColoured LP Info: Double clear vinyl remastered at 45rpm for optimum sound quality

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                                                                                                                                                                                                              Cover of Batteaux by Batteaux.

                                                                                                                                                                                                              Batteaux

                                                                                                                                                                                                              Batteaux

                                                                                                                                                                                                              Be With Records

                                                                                                                                                                                                              A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

                                                                                                                                                                                                              Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

                                                                                                                                                                                                              Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

                                                                                                                                                                                                              It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

                                                                                                                                                                                                              The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

                                                                                                                                                                                                              This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.



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                                                                                                                                                                                                              Cover of Englabörn & Variations - Reissue by Jóhann Jóhannsson.

                                                                                                                                                                                                              Jóhann Jóhannsson

                                                                                                                                                                                                              Englabörn & Variations - Reissue

                                                                                                                                                                                                              DG

                                                                                                                                                                                                                Fresh perspectives unveiled on poignant reissue of the late Jóhann Jóhannsson’s debut album, set for release by Deutsche Grammophon in remastered form with additional album of reworkings.

                                                                                                                                                                                                                During the weeks before his untimely passing on February 9, award-winning Icelandic composer Jóhann Jóhannsson was closely involved in preparations for the reissue of his debut album, “Englabörn”. Originally released in 2002, the record had been especially remastered, and a second disc containing reworkings of a number of its tracks had also been assembled.

                                                                                                                                                                                                                Some were by Jóhannsson himself – including a piano version of the title track, performed by fellow Deutsche Grammophon artist Víkingur Ólafsson – while others involved included Ryuichi Sakamoto, A Winged Victory for the Sullen and his close friend and long-time collaborator Hildur Guðnadóttir.

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                                                                                                                                                                                                                Cover of How The West Was Won (Remastered) by Led Zeppelin.

                                                                                                                                                                                                                Led Zeppelin

                                                                                                                                                                                                                How The West Was Won (Remastered)

                                                                                                                                                                                                                Rhino

                                                                                                                                                                                                                  HOW THE WEST WAS WON highlights the best performances from Led Zeppelin’s legendary concerts at the Los Angeles Forum and Long Beach Arena on June 25 and 27, 1972. Melded together and sequenced to replicate a single concert from beginning to end, the four-LP collection capture the band at the height of its formidable powers.

                                                                                                                                                                                                                  Standouts include a 25-plus minute version of “Dazed And Confused” and a 21-minute medley based around “Whole Lotta Love.” The performances also capture the band introducing songs from its then-unreleased album Houses of the Holy, which would be released nine months later.

                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                  4xDeluxe LP Info: Remastered audio on four 180-gram vinyl LPs.

                                                                                                                                                                                                                  FREE SHIPPING This item has FREE UK shipping!

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                                                                                                                                                                                                                  Cover of Disco Club by Tim Maia.

                                                                                                                                                                                                                  Tim Maia

                                                                                                                                                                                                                  Disco Club

                                                                                                                                                                                                                  Mr Bongo

                                                                                                                                                                                                                  Latin LSD maverick and champion, Tim Maia returns to our shelves as Mr. Bongo dig deep into this funky tripper's arsenal to reveal an album of wide-eyed disco and riotous soul from later on in his career. That original batch of sunshine still resting in the recesses and pineal glands as the Maia clan deliver this excessive hit of Brazian disco funk from 1978,

                                                                                                                                                                                                                  The album kicks off with a trio of floor fillers: the exuberant party starter "A Fim De Voltar", a sing-a-long anthem in "Acenda O Farol" and the undeniably funky hit "Sossego" (file that one next to Fatback). But then Maia drops it down and gets existential on "All I Want", questioning the meaning of happiness. He also shows his tender side on slow burners such as "Murm Rio" (written by the great Cassiano) and "Pais E Filhos"; the latter featuring a supersoft bed of harmonies you can’t help but lay down on. But the party ain’t over and mid-tempo groover "Juras" gets the feet moving again before "Jhony" sends us swaying off into the night.

                                                                                                                                                                                                                  Maia’s appetite for excess would eventually get the better of him. But "Disco Club" is the sound of an unpredictable genius on top form. Get ready for the time of your life.

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                                                                                                                                                                                                                  Cover of La Vie Electronique Volume 1.0 by Klaus Schulze.

                                                                                                                                                                                                                  Klaus Schulze

                                                                                                                                                                                                                  La Vie Electronique Volume 1.0

                                                                                                                                                                                                                  One Way Static

                                                                                                                                                                                                                    Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as ‘Tangerine Dream’, ‘The Cosmic Jokers’ & ‘Ash Ra Tempel’ before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville… just to name a few.

                                                                                                                                                                                                                    Klaus Schulze’s proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as ‘Ambient’, ‘Electronic’, ‘New Age’, ‘Berlin School’, ‘Experimental’, ‘Kosmische Musik’ & ‘Krautrock’. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

                                                                                                                                                                                                                    On occasions he would also compose film scores such as Body Love (1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song ‘Freeze’ has been used in films like Manhunter (1986) and more recently in Sofia Coppola’s ‘The Bling Ring’ from 2013.

                                                                                                                                                                                                                    In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique (“The Electronic Life”), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70’s masterworks that will appeal to both fans and collectors.

                                                                                                                                                                                                                    Now available for the first time on vinyl, One Way Static Records presents the first volume in our new archival series ‘La Vie Electronique’. This volume (1.0) focuses on the years 1968-1971 and is spread over two glorious LP’s containing +78 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes.


                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                    2xDeluxe LP Info: Released for the first time on vinyl.
                                                                                                                                                                                                                    The ultimate collection of rare early materials by this electronic music pioneer.
                                                                                                                                                                                                                    Comes as a deluxe double LP set with insert and extensive liner notes.
                                                                                                                                                                                                                    Limited black vinyl pressing (700 copies) with obi strip.

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                                                                                                                                                                                                                    Cover of You've Come A Long Way Baby - Deluxe 20th Anniversary Edition by Fatboy Slim.

                                                                                                                                                                                                                    Fatboy Slim

                                                                                                                                                                                                                    You've Come A Long Way Baby - Deluxe 20th Anniversary Edition

                                                                                                                                                                                                                    Skint Records

                                                                                                                                                                                                                    One of Fatboy Slim's crowning glories, "You've Come A Long Way Baby" saw the Brighton luminary take the big beat grenade and detonate it overground, taking the sound to the clubs, beaches, adverts and coffee tables of Great Britain and beyond. If you were conscious in 1998 it was impossible to ignore this album, with companies queuing up to align themselves with the coolest new trend in club land. Fatboy himself used the platform to elevate his Big Beach Boutique brand - two phenomenal parties on Brighton beach (the first seeing 65K revellers, the second - 250K!!); the likes of which sadly, I doubt, we will ever see again. I can personally remember exactly where I was the first time I heard "Rockafella Skank" and to me this is up there with "Dig Your Own Hole", "Music For The Jilted Generation" and "Homework" as one of the most iconic dance music albums of the nineties. I wasn't old enough to hear the tracks in the club, but its cultural impact travelled up and down the generational ladder from everyone at high school to people's Mum's cleaning the kitchen.

                                                                                                                                                                                                                    A celebratory 20th anniversary reissue as part of BMG’s ‘Art of The Album’ series showcasing seminal albums that broke new ground in concept, production, song writing, and genre, leaving a lasting legacy as a complete album work of art. Deluxe edition CD and LP format packaging including 180g gatefold vinyl, 6 page 12” roll-fold booklet (LP), 12” display art card (LP) and 28 page booklet (CD).

                                                                                                                                                                                                                    Exclusive anniversary sleeve notes from Ralph Moore (Editor at Large, Mixmag) and album timeline from Damian Harris (Skint Records).
                                                                                                                                                                                                                    Number one on the UK albums chart, number one in New Zealand, number two in Australia and number thirty-four on the US Billboard 200 containing four top ten singles. These tell a beautifully story much better than I can hear and really give creedence to this golden age of dance music that Norman was spearheading.

                                                                                                                                                                                                                    Ranked number 81 in Q magazine's readers' poll of the "100 Greatest British Albums Ever".

                                                                                                                                                                                                                    Brit Awards: Best Dance Act 1999, 2001. Brit Awards: British Single 1999 (nominee), Male Solo Artist 1999 (nominee).


                                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                                    Matt says: Makin' me all teary eyed comes this 20th anniversary of THAT, seminal, big beat opus. The one that broke the sound overground, if you don't end up watching youtube videos of Brighton Beach I'll eat me slipmats...

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                                                                                                                                                                                                                    Cover of Just Another Diamond Day by Vashti Bunyan.

                                                                                                                                                                                                                    Vashti Bunyan

                                                                                                                                                                                                                    Just Another Diamond Day

                                                                                                                                                                                                                    Branch Music

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

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


                                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                                      Ltd LP Info: First UK vinyl pressing since 2000.
                                                                                                                                                                                                                      Limited edition of 1000 180g black vinyl.
                                                                                                                                                                                                                      Deluxe replica gatefold sleeve with lyric inner sleeve and restored artwork.

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                                                                                                                                                                                                                      Cover of Treasure - Vinyl Reissue by Cocteau Twins.

                                                                                                                                                                                                                      Cocteau Twins

                                                                                                                                                                                                                      Treasure - Vinyl Reissue

                                                                                                                                                                                                                      4AD