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John Matthias & Jay Auborn

Race To Zero

    ‘Race To Zero’ is the new album by musician and composer John Matthias and producer, musician and composer Jay Auborn, via the Village Green label.

    The album’s starting point was a series of acoustic improvisations recorded in a variety of locations, from a 700-year-old chapel in the Devon countryside to a basement studio in Reykjavík, Iceland. In an attempt to create a fractured sense of space reflective of the digital condition, the duo found themselves working within a place that could only exist in the digital landscape. By crushing the recordings through a hundred different virtual rooms of reverb and other chaotic digital processes they collided, soared and splintered into sweeping new rhythms, melodies and drones. Pushing the computer’s processor beyond its limits threw up sonic ‘errors’ that wouldn’t be easily possible to create through standard methods. In response, these outcomes created new and unplanned inspiration for further composition. Elements of the album were then produced binaurally adding a three dimensional listening experience. The outcome is a unique landscape that blurs the line between the virtual and physical worlds.

    “Cerebral yet accessible” - Uncut (8/10)

    “A fascinating album that continually surprises with its neo-classical meets electronic template” - Clash

    John Moreland

    Big Bad Luv

      The new album from John Moreland is an honest, bruising experience. A beautiful record about love, faith and the human condition, Big Bad Luv is John’s fourth album to date and also his debut for 4AD.

      Hailing from Tulsa, OK, John composes both pointedly and prodigiously, and has released largely self-produced albums every other year since 2011. Playing an equally pivotal role in his rise have been his mesmeric solo performances (including his TV debut on The Late Show with Stephen Colbert last year), which coupled with his incredible records, has helped to create a real word-of-mouth about him. Big Bad Luv, was recorded in Little Rock, AK, and mostly with a crew of Tulsa friends: John Calvin Abney (piano and guitar), Aaron Boehler (bass), Paddy Ryan (drums), Jared

      Tyler (dobro) and Lucero's Rick Steff (piano). Coming together in three sessions over ten months, which were sandwiched between touring dates and life, the final album was then mixed by GRAMMY winning Tchad Blake, who has worked with iconic acts from Al Green to Tom Waits.

      Since 2012, Father John Misty, aka Josh Tillman, has unexpectedly emerged as a singular (if not undeniably, um, idiosyncratic) voice. Whether by virtue of his lyrics, which routinely defy the presumed polarities of wit and empathy; his live performances which may perhaps be described best as “intimately berzerk”, or the infuriating line he seems to occupy between canny and total fraud online or in interviews, Father John Misty has cultivated a rare space for himself in the musical landscape - that of a real enigma. Pure Comedy sees Tillman at the height of these powers: as a lyricist, and equally so a cultural observer - at times bordering on freakishly prescient. Tillman’s bent critiques, bared humanity and gently warped classic songwriting are all here in equal measure and - at 75 minutes - there’s a veritable fuck ton of it. The album navigates themes of progress, technology, fame, the environment, politics, aging, social media, human nature, human connection and his own role in it all with his usual candour, and in terms as timely as they are timeless.

      Tillman wrote the majority of Pure Comedy throughout 2015 and recorded all the basic tracking and vocals live to tape (in no more than two takes each) at United Studios (fka the legendary Ocean Way Studios, favored by Frank Sinatra and The Beach Boys) in Los Angeles March 2016.

      Pure Comedy was co-produced once again by Josh Tillman and long-time producer Jonathan Wilson; mixed by Tillman, Wilson and Trevor Spencer, and mastered by Bob Ludwig at Gateway Mastering Studios. The album features string, horn and choral arrangements from classical iconoclast Gavin Bryars (Jesus Blood Never Failed Me Yet, Sinking Of The Titanic), with additional contributions from Nico Muhly and Thomas Bartlett.


      1. Pure Comedy
      2. Total Entertainment Forever
      3. Things It Would Have Been Helpful To Know Before The Revolution
      4. Ballad Of The Dying Man
      5. Birdie
      6. Leaving LA
      7. A Bigger Paper Bag
      8. When The God Of Love Returns There’ll Be Hell To Pay
      9. Smoochie
      10. Two Wildly Different Perspectives
      11. The Memo
      12. So I’m Growing Old On Magic Mountain
      13. In Twenty Years Or So

      John Lennon & Yoko Ono

      Unfinished Music, No. 2: Life With The Lions

      The sound of Ono and Lennon validating their love as something impenetrable and timeless. It’s when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration and something closer to a performative documentary, a declaration of “Our life and our love is our art - every nitty, gritty part of it.”


      Cambridge 1969
      No Bed For Beatle John
      Baby’s Heartbeat
      Two Minutes Silence
      Radio Play

      John Cage, David Tudor & Christian Wolff

      San Francisco Museum Of Art, January 16th, 1965

        Recorded live by KPFA Radio in the halls of the sculpture court of the San Francisco Museum of Art on January 16, 1965, the day of 39th birthday of fellow pianist and longtime associate David Tudor, this historic concert with John Cage opens with a duet for Cymbal with contact microphones agitated by a wide gamut of objects and concludes with Variations IV in which loudspeakers outside the performance space interacted with speakers next to the audience. First release on vinyl for a very important piece in the history of minimalist music.


        Side A:
        JOHN CAGE, DAVID TUDOR - Duet For Cymbal

        Side B:
        CHRISTIAN WOLFF For 1, 2 Or 3 People

        Side C:
        JOHN CAGE - Variations IV Part 1

        Side D:
        JOHN CAGE - Variations IV Part 2

        John Heartsman & Circles

        Mr. Magic

        Back in 2009 the mighty Jazzman reissued John Heartsman's rare groove holy grail "Music Of My Heart", in deluxe double vinyl fashion. If you check the credits for that excellent release, you'll note that the mastering engineer was none other than Euan Fryer, Athens Of The North's super talented CEO! While labouring over those dusty old tapes, Fryer took the opportunity to concoct his own extended edit of funked up freakbeat spectacular "Mr Magic", fixing the DJ unfriendly fade-in and letting the organ led groove roll on for days. Since then it's lurked on the CDr and USB, becomming a staple of the Edinburgh DJ's superior sets. Well now it's on wax for the first time, paired with the wild funk rhythms and loved up melodies of "Talking About My Baby" for a double headed 7" of DJ delight!


        1 Mr. Magic (Fryers Edit)
        2 Talking About My Baby 

        John Chantler’s ever-searching sensibilities lead him back to Room40 for a suite of crystalline modular synth intricacies realised at his home studio, now located in Stockholm after stints in Japan and South London, with additional recordings made at his now-local, world renowned EMS facility.

        Which Way To Leave? can be read as a response to his new surroundings; a sort of reflexive reaction filtered and felt out thru finely meshed, gaseous layers of melody and timbral thizz with an absorbing, refreshing sense of strolling momentum and lush mindfulness allowing him to imperceptibly fold in guest contributions from Carina Thorén (his partner in For Barry Ray) on electric bass, and Okkyung Lee on cello.

        It’s a sound that lies on the border between new age optimism and the abstract traditions of 20th century concrète and electro-acoustic traditions, mixing the home-brewed, psychedelic potency of one discipline with the more studious processing, diaphanous dimensions and abstract textures associated to the other realm, making their putative borders porous and interchangeable via subliminal transitions and angular incision.


        Barry says: Modern musique concrete for the discerning synthesist (or those fond of a synth or two). This is a suite of modular synth excursions and woven ambient textures, based on pinging vactrols and glassine hammered tones. Though there is a certain sparseness to the developmental process, it soon becomes warming and full-bodied, introducing washes of close reverb and top-heavy tines. Reminiscent of some of the more stripped-back collections on spectrum spools (Brett Naucke, Outer Space etc). Magnificently engrossing and imbued with a rich and communicable vision.


        1. Falling Forward                03:38
        2. Two And Four                   02:18
        3. Clearing                            01:04
        4. Fixation Pulse                  06:22
        5. Lesser Demands             02:27
        6. All Visible Signs              06:31
        7. First December               10:28
        8. Second December         01:55
        9. Beginning Again             06.56

        John Zorn

        Sacred Visions

        Sacred Visions presents two Zorn masterpieces touching upon the mediaeval world. The Holy Visions is a Mystery Play in eleven strophes concerning the life, work and philosophy of 12th century composer, healer and visionary mystic Hildegard von Bingen, and is one of Zorn’s most beloved and acclaimed works for voice. Here is it coupled with Zorn’s latest string quartet The Remedy of Fortune, six tableaux depicting the changing fortunes of romantic love, which was inspired by the work of 12th century troubadour Guillaume de Machaut and receives a precise and passionate reading by the brilliant JACK quartet. Two brilliant modern compositions drawing on mediaeval spirituality, both sacred and secular! 

        John Paul White was formerly one-half of Grammy Award winning duo The Civil Wars. His first solo album in nearly a decade, 'Beulah' is a remarkably & assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, & dark acoustic pop. Gothic & ambitious, with a rustic, lived-in sound, it’s a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.

        White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible. He cut several songs at the renowned FAME Studios in Muscle Shoals. One product of those sessions is “What’s So,” which introduces itself by way of a fire-&-brimstone riff, as heavy as a guilty conscience with gritty & soulful vocals. At the other end of the spectrum is “The Martyr,” the spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons

        Some of the quieter songs were created in the Single Lock offices/studio, including the ominously erotic opener “Black Leaf” & the Southern gothic love song “Make You Cry.” As he worked, a distinctive & intriguing aesthetic began to grow clearer & clearer, one based in austere arrangements & plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse.


        1. Black Leaf
        2. What's So
        3. The Once And Future Queen
        4. I Want To Make You Cry
        5. Fight For You
        6. Hope I Die
        7. I've Been Over This Before – Featuring The Secret Sisters
        8. The Martyr
        9. Hate The Way You Love Me
        10. I'll Get Even

        Peter Bjorn And John

        Breakin' Point

        ‘Breakin’ Point’ is about the band's newfound search for another career high. “We started with some other album title ideas – like 'Thriller 2'. Then we realised we were pushing the envelope so got into the idea of a breaking point. If we broke it once, we can break it twice,” says Bjorn. That's why the album artwork features a hammer with three heads on it, not just to strike your nightmares, but to send a message out to everyone.

        The trio's previous record 'Gimme Some' was Peter Bjorn and John's “power pop, guitar statement”, focused on recreating in the studio what they were confidently doing live. This time they wanted to do the total opposite. “This was about doing big pop songs,” says Bjorn, who recalls sitting around listening to ABBA with his bandmates, marvelling at how they made it sound and look so easy.

        On ‘Breakin’ Point’ the band have worked with producers Patrick Berger (Icona Pop, Robyn), Paul Epworth (Florence And The Machine, U2, Paul McCartney), Greg Kurstin (Sia, Adele), Emile Haynie (Lana Del Rey, FKA Twigs, Kanye West) and Pontus Winnberg (Miike Snow).


        Love Is What You Want
        What You Talking About?
        Breakin' Point
        A Long Goodbye
        Nostalgic Intellect
        In This Town
        Hard Sleep
        It's Your Call
        Between The Lines
        Pretty Dumb, Pretty Lame

        John Williams

        Black Sunday - OST

          Available for the first time ever on vinyl, we are pleased to present John Williams' tremendous score for Black Sunday.

          The double vinyl is housed in a deluxe gatefold jacket featuring a Shrapnel pierced die-cut interior gatefold, original artwork and packaging concept by Jay Shaw and liner notes by Brian Satterwhite.


          1st Down
          A1. Beirut (0:37)
          A2. Commandos Arrive (1:15)
          A3. Commando Raid (5:30)
          A4. It Was Good / Dahlia Arrives / The Unloading (3:11)
          A5. Speed Boat Chase (1:50)
          A6. The Telephone Man / The Captain Returns (2:14)
          A7. Nurse Dahlia / Kabakov's Card / The Hypodermic (3:28)

          2nd Down
          B1. Moshevsky's Dead (1:57)
          B2. The Test (1:55)
          B3. Building The Bomb (1:53)
          B4. Miami / Dahlia's Call (2:26)
          B5. The Last Night (1:28)
          B6. Peparations (2:42)
          B7. Passed (0:31)
          B8. The Flight Check (1:49)
          B9. Airborne/ Bomb Passes Stadium (1:46)
          B10. Farley's Dead (1:33)

          3rd Down
          C1. The Blimp And The Bomb (3:12)
          C2. The Take Off (1:43)
          C3. Underway (0:39)
          C4. Air Chase, Part 1 (1:12)
          C5. Air Chase, Parts 2 & 3/ The Blimp Hits (7:19)
          C6. The Explosion (2:36)
          C7. The End (2:15)

          4th Down - Bonus Tracks
          D1. Hotel Lobby (Source) (1:49)
          D2. Fight Song #1 (Source) (0:51)
          D3. Fight Song #2 (Source) (1:45)
          D4. The End (Alternate Mix) (2:20)
          D5. The Explosion (Revised Ending) / End Title (Film Edit) (2:12)

          Zorn’s compositions for a cappella voice are some of his most sensual and sublime creations. This CD presents his two books of Madrigals scored for six female voices. Beautifully performed by his long time ensemble the “Sapphites” the music is even more varied and challenging than his previous masterpieces The Holy Visions and Shir Hashirim, touching upon minimalism, tonal and atonal counterpoint, textural experiments and more. Inspired by the visionary poetry of 19th century British Romantic Percy Blysse Shelley, a charming lyricism and subtle spirituality rides through the music from first note to last. 

          John Barry

          Soundtracks & Singles 1963 - 1966

          This 3CD set compiles the original soundtrack albums for Zulu and Four In The Morning, both composed and conducted by John Barry, together with other recordings he made for the Ember label.

          Barry was one of the best known composers of film music in the world. His early career found him working as in-house arranger for EMI, leader of hit instrumental combo the John Barry Seven, and composer, arranger and conductor on the first UK soundtrack album (the Adam Faith vehicle Beat Girl). After Barry’s involvement as arranger on the first James Bond film Dr No in 1962, he was appointed as primary composer for the film franchise.

          The BAFTA-nominated Zulu (1964) was directed by Cy Endfield. The film depicts the heroic defence of Rorke’s Drift mission station during the Anglo-Zulu War of 1879. Originally released in 1964, and here mastered from original stereo tapes, the album comprises soundtrack music (with two of the tracks incorporating narration by Richard Burton), followed by “A Selection of Zulu Stamps”, essentially southern African-influenced beat instrumentals, performed by the John Barry Seven.

          Originally released in 1965, the soundtrack album to Anthony Simmons’ Four In The Morning comprises John Barry’s original haunting score, plus four excerpts of dialogue featuring Judi Dench, Ann Lynn, Norman Rodway, Brian Phelan and Joe Melia. The dialogue only exists in mono, so we have presented the entire album in mono, followed by the music-only tracks in stereo, again mastered from original tapes.

          Both soundtrack albums were originally released on British independent label Ember, where John Barry was associate producer and head of A&R in the early sixties. A third disc spotlights other John Barry recordings for the label. These include two UK hit singles: the From Russia With Love theme (here also in an alternative version with organ) and the Barry-produced “Christine”, a satirical commentary on the Profumo affair, credited to the mysterious Miss X, as well as “Fancy Dance”, which served as the theme to the BBC’s twice-weekly soap The Newcomers from 1965 to 1967.


          Disk: 1 Zulu
          1. Main Title Theme - Isandhlwana, 1879
          2. News Of The Massacre Rorke's Drift Threatened
          3. Wagons Over
          4. First Zulu Appearance And Assault
          5. Durnford's Horse Arrive And Depart - The Third Assault
          6. Zulus Final Appearance And Salute
          7. The VC Roll And Men Of Harlech
          8. Stamp And Shake
          9. High Grass
          10. Zulu Stamp
          11. Big Shield
          12. Zulu Maid
          13. Monkey Feathers

          Disk: 2 Four In The Morning
          1. Four In The Morning
          2. River Walk
          3. Coffee Talk
          4. Lover's Clasp
          5. Norman's Return
          6. Cupboard Love
          7. River Ride
          8. Four In The Morning
          9. Lover's Tension
          10. Declaration And Rejection
          11. First Reconciliation
          12. Norman Leaves
          13. The Dawn Discussion
          14. Moment Of Decision
          15. Judi Comes Back
          16. Four In The Morning - Stereo
          17. River Walk - Stereo
          18. Lover's Clasp - Stereo
          19. Norman's Return - Stereo
          20. River Ride - Stereo
          21. Four In The Morning - Stereo
          22. Lover's Tension - Stereo
          23. First Reconciliation - Stereo
          24. Norman Leaves - Stereo
          25. Moment Of Decision - Stereo
          26. Judi Comes Back - Stereo

          Disk: 3 The Ember Singles Plus
          1. Christine (Miss X)
          2. S-E-X (Miss X)
          3. Kinky (The John Barry Seven And Orchestra)
          4. Fancy Dance (The John Barry Seven And Orchestra)
          5. 007 (The John Barry Seven And Orchestra)
          6. From Russia With Love (The John Barry Seven And Orchestra)
          7. Elizabeth (The John Barry Seven And Orchestra)
          8. The London Theme (The John Barry Seven And Orchestra)
          9. Zulu Stamp (The John Barry Seven)
          10. Monkey Feathers (The John Barry Seven)
          11. The Loneliness Of Autumn (The John Barry Orchestra)
          12. Troubadour (John Barry And His Orchestra)
          13. Aliki (The John Barry Orchestra)
          14. Kinky - Stereo (The John Barry Seven And Orchestra)
          15. Fancy Dance - Stereo (The John Barry Seven And Orchestra)
          16. From Russia With Love - Organ Version (The John Barry Seven And Orchestra)

          It’s been the most spectacular of journeys, from a place in time when John Grant feared he’d never make music again, to winning awards, accolades and Top 20 chart positions, collaborating with the likes of Sinead O’Connor, Goldfrapp and Elton John, as well as a Best International Male Solo Artist nomination at the 2014 BRITS Awards.

          Now comes Grant’s third album, the invitingly titled Grey Tickles, Black Pressure, a veritable tour-de-force that further refines and entwines his two principal strands of musical DNA, the sumptuous tempered ballad and the taut, fizzing electronic pop song. There are newer musical accomplishments across its panoply of towering sound, like the title track’s new steely demeanour, while the ominous drama of “Black Blizzard” echoes both John Carpenter and Bernard ‘Black Devil Disco Club’ Fevre’s beautiful and icy synthscapes. The contagious, gleeful “You And Him” marries buzzing rock with a squelchy electronic undertow, while orchestral drama swathes the bad-dreamy “Global Warming” and the album’s gorgeously aching widescreen finale “Geraldine”.

          Grey Tickles, Black Pressure was recorded in Dallas with producer John Congleton (St Vincent, Franz Ferdinand, Swans) - coincidentally the same state of Texas where Grant nailed his 2010 solo debut Queen Of Denmark in the company of Denton’s wondrous Midlake. After that landmark return, which MOJO made its album of 2010, 2013’s Pale Green Ghosts was made in Icelandic capital Reykjavik (where Grant has lived ever since), which entered the UK Top 20 in its first week and ended up as Rough Trade Shop’s Album of the Year 2013, The Guardian’s No.2 and in MOJO and Uncut’s Top Five). Such recognition, iced by years of sell-out shows across Europe and a recent US tour as special invited guest of the Pixies, should allow the notoriously self-critical and insecure Grant the passing thought that Grey Tickles, Black Pressure will deservedly cement his reputation as the most disarmingly honest, caustic, profound and funny diarist of the human condition in the persistently testing, even tragic, era that is the 21st century.

          “I do think the album’s great, and I’m really proud of it,” he says. “I wanted to get moodier and angrier on this record, but I probably had a lot more fun making it.” He cites “amazing” session keyboardist Bobby Sparks, “who really funked things up,” as part of that fun; likewise a month of Dallas sunshine “after a brutal dark winter in Iceland. And there was a lot of laughter.”

          That said, fun isn’t the first ingredient you’d expect when you know the roots of the album title. “‘Grey tickles’ is the literal translation from Icelandic for ‘mid-life crisis’, while ‘black pressure’ is the direct translation from Turkish for ‘nightmare’,” Grant explains, an unusually gifted linguist (he’s fluent in German, Russian and now tackling Icelandic).

          Nevertheless, there are plenty of positive streaks in Grey Tickles, Black Pressure. Grant, for one, is in fabulous voice throughout and has moved on from the specific subject matter that shaped both previous albums (though the concept of love always figures into the mix). “Disappointing” – featuring vocal guest Tracey Thorne – is an exuberant tribute to new love, against which Grant’s favourite Saturday Night Live comediennes, Russian artists and “ballet dancers with or without tights” pale in comparison. The album’s other two guests are vocalist Amanda Palmer and former Banshees drummer Budgie.

          But the end result is indeed a moody, angry record, laced with levering humour and wounded pathos, yet as dark as Reykjavik in February. It starts and ends with spoken word snippets called, simply, “Intro” and “Outro”, both taken from the same Biblical quote (from 1 Corinthians 13) regarding the divinity of love that young John was taught in church. In between are 12 songs that document the reality of love on planet Earth, corrupted by “pain, misunderstandings, jealousy, objectification and expectations,” as Grant puts it.

          The album’s last two songs are among its finest. “No More Tangles” fights against co-dependency “with narcissistic queers,” he sings, through the metaphor of hair care products. “It’s about not apologizing for who you are and not putting up with unnecessary bullshit from people who do not care about you”. But in “Geraldine” (as in the late Geraldine Paige, “one of freakiest, strongest, coolest actresses I’ve come across”), Grant’s latest actor-inspired song is Grant’s chance to ask her if she too had to “put up with this shit” that life dishes out.

          So Grant still manages to keep fighting the good fight, and writing his way out of trouble with another fantastic record. “I want to continue to challenge myself,” he says. “To keep collaborating, to get the sound or the direction that will take me where I need to go. To keep taking the bull by the horns.” 


          Andy says: Lush, deep production bringing throbbing electronics further to the fore, which when married to Grant's enormo ballads and hilarious lyrics, make this John's most complete album yet.


          1. Intro
          2. Grey Tickles, Black Pressure
          3. Snug Slacks
          4. Guess How I Know
          5. You & Him
          6. Down Here
          7. Voodoo Doll
          8. Global Warming
          9. Magma Arrives
          10. Black Blizzard
          11. Disappointing
          12. No More Tangles
          13. Geraldine
          14. Outro

          John Lennon


             Remastered from the original analogue masters in 2010, by Yoko Ono and a team of engineers led by Allan Rouse at Abbey Road Studios in London and by George Marino at Avatar Studios in New York. This LP has been newly cut to vinyl from those 96k digital files. Comes as an authentic reproduction of its UK original, in its sound and visual presentation.

            STAFF COMMENTS

            Andy says: Superb second solo album, produced by Phil Spector.

            TRACK LISTING

            1. Imagine
            2. Crippled Inside
            3. Jealous Guy - John Lennon, The Plastic Ono Band, The Flux Fiddlers
            4. It's So Hard
            5. I Don't Wanna Be A Soldier Mama
            6. Gimme Some Truth
            7. Oh My Love
            8. How Do You Sleep?
            9. How?
            10. Oh Yoko!

            John Foxx

            20th Century: The Noise

              Metamatic Records’ first major compilation of John Foxx material is the first part of a double release spanning 35 years as a solo artist. John Foxx – 20th Century: The Noise covers the years from his debut single ‘Underpass’ in January 1980 to the rest of the last century, up to his ‘comeback’ albums with Louis Gordon, Shifting City and The Omnedelic Exotour in 1997 and 1998.

              There’s also a precious Cathedral Oceans gem, ‘Splendour’ which has only ever been available on a rare album by various artists entitled Orphée and 20th Century also includes an unreleased instrumental track from the vaults, ‘Musique Electron’ – a melodic idea Foxx has had ‘for decades’. The Metamatic material is taken from the new 2014 master which is based on a set of 1979 analogue tapes recently discovered in John’s archive.

              20th Century also includes a Foxx/Gordon version of ‘Hiroshima Mon Amour’, a track that featured on Ultravox’s second album, Ha! Ha! Ha! A follow-up album, 21st Century: A Man, A Woman And A City is scheduled for early 2016.

              TRACK LISTING

              1. 20th Century (B-side To Burning Car)
              2. Underpass (Taken From Metamatic)
              3. No-One Driving (Single Version)
              4. Burning Car (Single)
              5. He's A Liquid (Alternative Version)
              6. A Long Time (B-side To Miles Away)
              7. Miles Away (Single)
              8. Europe After The Rain (Taken From The Garden)
              9. This Jungle (B-side To Europe After The Rain)
              10. Dancing Like A Gun (Taken From The Garden)
              11. Endlessly (Single Version)
              12. The Hidden Man (Taken From The Golden Section)
              13. The Noise - Foxx/Gordon (Taken From Shifting City)
              14. Through My Sleeping - Foxx/Gordon (Taken From Shifting City)
              15. Hiroshima Mon Amour – Foxx/Gordon (Taken From Omnidelic Exotour)
              16. Musique Electron (previously Unreleased)
              17. Splendour (previously Only Available On A Compilation, Orphée)

              Eltron John / Eddie C

              Ludzie Z Marsa / Stoneczna Promenada

              Brand new (and also the last one) treat in the The Very Polish Cut-Outs 7" series, usually devoted to quirkier and weirder tracks than the much acclaimed 12" samplers.

              Eltron John kicks off the A-side with a reggae influenced rework of a Polish children's song from late 80s called 'Ludzie z Marsa'.

              His modern, dubby production and close attention to the smallest details fuses perfectly with abstract lyrics. This serious-not-serious song treats about people who are from Mars and invade Earth, because 'they can't remember what the forest animals look like, what a farce!

              Already road tested by the members of TVPC, this Caribbean-East European depth of a groove works perfectly in late night drunk sets.
              On the B-side Eddie C visits executive suite of a cruise ship with his extended, melancholic rework of 'Stoneczna Promenada'. The original tune is an old Polish cocktail-lounge classic from the late 70s, transformed here into a psychedelic story of epic proportions. Moody loops evoke instant headnodding and added dub effects magnify the nostalgic, sunny vibe.

              TRACK LISTING

              A. Ludzie Z Marsa
              B. Stoneczna Promenada

              STANDARD VINYL EDITION, with a gatefold jacket with black vinyl and fold-out poster, featuring a collage of Emma Tillman’s intimate photos, designed by Alia Penner and an extensive “Exercises for Listening” written by Josh Tillman

              CD EDITION, which includes fold-out poster, featuring a collage of Emma Tillman’s intimate photos, designed by Alia Penner and an extensive “Exercises for Listening” written by Josh Tillman

              'I Love You, Honeybear' is the highly-anticipated follow up to his acclaimed debut, Fear Fun. The album, featuring “Bored In The USA,” “Chateau Lobby #4 (in C for Two Virgins),” “True Affection,” and the title track, was produced by Josh Tillman and Jonathan Wilson, mixed by Phil Ek, and mastered by Greg Calbi at Sterling Sound. 

              STAFF COMMENTS

              Andy says: Americana's answer to Jarvis Cocker, Josh Tillman uses his FJM persona to tease and torment (and behave like the coolest, sexiest, superstar ever!) whilst behind the guise casually writing some of this year's greatest songs! It's a superb record and a huge hit.

              TRACK LISTING

              01 I Love You, Honeybear
              02 Chateau Lobby #4 (in C For Two Virgins)
              03 True Affection
              04 The Night Josh Tillman Came To Our Apt.
              05 When You’re Smiling And Astride Me
              06 Nothing Good Ever Happens At The Goddamn Thirsty Crow
              07 Strange Encounter
              08 The Ideal Husband
              09 Bored In The USA
              10 Holy Shit
              11 I Went To The Store One Day

              John Grant And The BBC Philharmonic Orchestra

              Live In Concert

                Early October saw John Grant turn in a truly fabulous performance as part of the BBC Philharmonic Presents Series which was broadcast across 6Music and other BBC networks. This one-off live recording saw John performing much of his celebrated catalogue with the 60-piece BBC Philharmonic Orchestra, with arrangements by his long-time collaborator Fiona Brice.

                So good was the performance, and also in response to public demand, Bella Union are delighted to announce that the recording will be released in a few weeks time on 1st December. The recording should also serve as a memento (of sorts) for John's upcoming sold-out orchestral tour with the Royal Northern Sinfonia which will see him performing in some of the UK's most prestigious venues.

                TRACK LISTING

                It Doesn’t Matter To Him
                Sigourney Weaver
                Where Dreams Go To Die
                T C & Honeybear
                It’s Easier
                Pale Green Ghosts
                Outer Space
                You Don’t Have To
                Queen Of Denmark

                This unique collaboration was originally released in 1971 and saw Cale (fresh from his ground-breaking work as a member of the Velvet Underground and now finding his feet as a solo artist) and Riley (noted for his highly influential works “In C” and “A Rainbow in Curved Air”) create a work of atmosphere and uniqueness. All instrumental, with the exception of the song “The Soul of Patrick Lee”, “Church of Anthrax” was the perfect melding of the experimental genius of two unique musicians. Hard to catagorise, the album was recorded a year prior to its release by Columbia in February 1971 and actually preceded Cale’s first solo album.

                TRACK LISTING

                1: Church Of Anthrax
                2: The Hall Of Mirrors In The Palace Of Versailles
                3: The Soul Of Patrick Lee
                4: Ides Of March
                5: The Protege

                Stephen John Kalinich

                A World Of Peace Must Come


                  "A World Of Peace Must Come is his masterpiece. That was fantastic." - Brian Wilson
                  "'Be Still' is the only song I've ever heard that made me want to be a better person." - Brian Barr, The Seattle Weekly

                  "The only other artist as pure as him is Captain Beefheart." - Bill Bentley

                  Stephen John Kalinich was born in Endicott, New York and grew up in Binghamton. In his early teens, he stared writing poems and articles about World Peace. He first came to California around 1964, fell in love with it, and promptly transferred from Harper College in upstate New York to UCLA.

                  Kalinich found himself immersed in the vibrant anti-War culture of late 60’s California, often writing songs and poems against the War. He found a musical partner and kindred spirit in Mark Lindsey Buckingham. They cut a demo for a track called "Leaves of Grass," inspired by the famous Walt Whitman poem "Leaves Of Grass", and Kalinich started taking demos around.

                  In the mid 60s, it was either at Brother Records or while pumping gas that Kalinich first met the Beach Boys. He hit it off with Brian, Carl and Dennis right away. As the first artist signed to the Beach Boys new label Brother Records, Carl Wilson produced a record for him. His first songs that saw release were "Little Bird" and "Be Still," which he wrote with Dennis and were released on the Friends album. His relationship with Dennis would lead to a number of further collaborations and Kalinich / Dennis Wilson co-writes, including: 20/20 - "All I Want To Do," Hawthorne, CA - "A Time to Live in Dreams", Pacific Ocean Blue - "Rainbows," and Bambu - "Love Remember Me.”
                  A World of Peace Must Come was recorded at various LA studios and Brian's house in Bel-Air in 1969. The tapes were promptly lost, not to be heard again until our discovery of them in 2008. Following the CD-only reissue in that year, this is the first time this timeless snapshot of an era and an ethos will be available on vinyl for Record Store Day 2014.

                  'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

                  Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

                  TRACK LISTING

                  01 Fontana Mix With Aria 1958 / 13'36
                  02 Imaginary Landscape N°.5 1952 / 3'00
                  03 WBAI 1960 / 7'00
                  04 Cartridge Music 1960 / 10'00
                  05 0'00'' 1962 / 2'36
                  06 Variations I 1960 / 10'00 Tracklisting LP

                  SIDE A
                  01 Fontana Mix With Aria 1958 / 13'36
                  02 Imaginary Landscape N°.5 1952 / 3'00
                  03 WBAI 1960 / 7'00

                  SIDE B
                  01 Cartridge Music 1960 / 10'00
                  02 0'00'' 1962 / 2'36
                  03 Variations I 1960 / 10'00

                  John Zorn

                  The Alchemist

                  Zorn’s string quartets are some of the most important modern contributions to the canon and a new Zorn quartet is truly a cause for celebration. His sixth quartet is inspired by the hermetic Angelic actions of John Dee and his mystical medium Edward Kelley and contains some of the most intense contrapuntal writing he has yet achieved. Replete with the procedures of distillation, calcination, crystallization, sublimation, purification, rotation as well numerology, prayers, canons, contrapuntal complexity and the ghost of a familiar fugue, this music is part séance, part science, and all Zorn—in short, a trip through an alchemist’s laboratory! Performed here by Zorn’s own Quartet, this is the definitive recording of this important and powerful string quartet, already considered a modern classic. Also included is Zorn’s mystical response to the ancient Newgrange sacred site in Ireland, a beautiful and evocative setting of Amergin, one of the oldest Celtic sacred texts, written for three female voices.

                  John Zorn

                  The Hermetic Organ Vol. 2 - St. Paul's Chapel, NYC

                    Drawing upon traditions as varied as Messiaen, Xenakis, Ligeti, Bach, Tournemire,Ives, Korla Pandit and The Phantom of the Opera, Zorn’s organ improvisations are transcendent, inspiring, ecstatic experiences, offering a direct line to the workings of his rich compositional imagination. Performed at St. Paul’s Chapel at a time when the organ was undergoing extensive reconstruction, the limited number of stops available to him focused his imagination to new heights, resulting in Zorn’s most revelatory recital to date. The second volume documenting these legendary organ recitals is a transcendent experience filled with moments of passion, tenderness,
                    fragility and extraordinary power.

                    John Harle & Marc Almond

                    The Tyburn Tree - Dark London

                      Two legends from different worlds collide in what promises to be a seminal album of songs about London.

                      Composer/saxophonist John Harle and singer Marc Almond collaborate on ‘The Tyburn Tree - Dark London’ - an album of contemporary songs about the darkest sides of London’s history - from the Tyburn gallows to Jack the Ripper, and from settings of the words of William Blake to a unique take on the nursery rhyme ‘London Bridge is Falling Down’.

                      Following Marc’s much lauded guest appearance on Harle’s ‘Art Music’, this is an album full of driving rhythms, emotional impact and theatrical story telling of the highest order. Along for the ride are noted soprano Sarah Leonard and great London poet and author Iain Sinclair who reads from his own texts. But it is the voice of Marc Almond that is the spiritual medium from which appears the ghosts of ‘Dark London’.

                      “Marc is a true artist and true performer - showing total openness and vulnerability alongside an experimental, non-judgmental view of Art, and in ‘The Tyburn Tree’, London has found its Anti-Hero”. - John Harle

                      “We all know that Marc Almond can sing but it still comes as a shock to hear his thrillingly drawn-out climax to Harle’s “The Arrival of Spring”, emoting words adapted from William Blake with operatic oomph.” - The Independent.

                      ‘The Tyburn Tree’ has been in gestation for two years - Almond is the primary lyricist, having researched the subject matter and gradually formed his own take on ‘Dark London’, creating lyrics that have both historical relevance and an ear-catching quirkiness. Alongside this John Harle has been writing music that proves him to be at the height of his powers - after a canon of work that includes his “O Mistress Mine” for Elvis Costello, and as composer of the theme to BBC1’s Silent Witness, he has matched Almond’s lyrics with some punchy, compact and bitter-sweet songs full of emotion, percussive shock and humour. ‘The Tyburn Tree’ promises to be a concept album of cult-status.

                      John Carpenter

                      Halloween - Original Motion Picture Soundtrack

                        In celebration of its 35th anniversay, MONDO is pleased to present the original soundtrack to John Carpenter's HALLOWEEN. This release features the most comprehensive version of the soundtrack, never before released on vinyl, cut at 45RPM for the best possible sound quality.

                        Spare Parts is the first solo album from singer / songwriter / multi-instrumentalist John Davis since the release of Blue Mountains in 1997. In contrast to his collaborative work with The Folk Implosion, Davis’s solo work in the ’90s was about as solo as solo gets. He played all the instruments and did all of the cover art for records like Pure Night and Leave Home, as well as for assorted singles and compilation tracks. Having been there and done that, Davis charts a new course with Spare Parts, right down to the cover art, which was done by Boston-area painter and photographer Walter Crump.

                        No less than eight musicians and three engineers lend their talents to the ten tracks and 65+ minutes of this double-LP. (Be warned: the songs are long.) Appearing most frequently are drummer and percussionist Jose Medeles (Breeders, 1939 Ensemble, Portland Ore’s Revival Drum Shop) and cellist and violin player Megan Siebe (Anniversaire, Simon Joyner and The Ghosts). Siebe also appears as a member of a trio of backing vocalists that includes Laura Burhenn (Mynabirds, Bright Eyes, The Postal Service) and Sarah Gleason. Simon Joyner produced the strings and backing vocals, and contributes backing vocals himself to the track “Blood Feud.” Mike Friedman plays lap steel on “You Won’t Cry” and “Southwest,” and Chris Deden plays drums on “Upon a Train.” The record was mixed by Brandon Eggleston (Mountain Goats, Swans, Scout Niblet, tUnE-yArDs, Modest Mouse).

                        Spare Parts mines an acoustic singer-songwriter vein while avoiding a stylistic rut by veering back and forth between artistic formulas in a way that recalls Folk Implosion’s Dare to Be Surprised. Influences include the textural percussion work of Han Bennik and Andrew Cyrille, the electronic moonscapes of Stockhausen, the drawn-out ballardry of Leonard Cohen’s “Famous Blue Raincoat” and the spooky strings and reclusion of Scott Walker. Cue it up—Shrimper promises you won’t have to wait fifteen years for the followup this time.

                        TRACK LISTING

                        1. Spin
                        2. Silhouette
                        3. Southwest
                        4. You Won't Cry
                        5. Blood Feud
                        6. Masoch
                        7. Upon A Train
                        8. Shine Upon Me
                        9. Like The Moon
                        10. The Wrong Tree
                        11. What We Are & What We Seem

                        Barclay James Harvest


                          The album (featuring all new material) draws on the fine musical heritage of Barclay James Harvest whilst bringing the BJH legacy up to date with expansive compositions and thoughtful lyrics. The band’s roots in rural north-west England are explored on the album’s title track, along with another extended piece, ‘On Leave’. The album also includes the recent digital single ‘Unreservedly Yours’ and ‘Ancient Waves’, a song performed live in more recent times.

                          TRACK LISTING

                          1. If You Were Here Now
                          2. Ancient Waves
                          3. In Wonderland
                          4. On Leave
                          5. The Real Deal
                          6. On Top Of The World
                          7. Unreservedly Yours
                          8. North
                          9. The End Of The Day

                          John recently supported Paul Heaton and Richard Hawley and opens Alan McGee’s new 359 club night in Liverpool on 6th September. He will support The Enemy and Reverend & The Makers at the Doncaster Dome on 6th November, as well as playing shows with Alabama 3.• North South Divide is supported by a full press, radio and online marketing campaign.

                          This debut album will be preceded by the release of ‘North South Divide’ – the single – as both a download and limited 7” single in late September.

                          Clearly indebted to early Dylan, John’s influences also include Donovan, Paul Weller, Marc Bolan, Johnny Cash and Jake Bugg.

                          “An amazing talent for such a young kid!” Alan McGee

                          “Who is this kid doing Dylan better than Dylan?” Courtney Love

                          “John is a real talent, I'd happily take him on tour with me in the future. The real deal." Richard Hawley

                          TRACK LISTING

                          1. 55 Blues
                          2. North-South Divide
                          3. Long Long Way
                          4. The Ballad Of A Blue Poet
                          5. It Never Rains
                          6. Rivers Of Blood
                          7. The Ballad Of Mr Henderson
                          8. Colour Of The Sun
                          9. Slipping Away
                          10. Short Sharp Shock
                          11. White Rose
                          12. The Strand

                          John Grant

                          Pale Green Ghosts

                            After a breakthrough year that saw his exceptional solo debut "Queen Of Denmark" win MOJO’s album of 2010 and countless other accolades John Grant hasn’t rested on his laurels but created a follow-up that underlines his uncanny and charismatic talents. Recorded in Iceland and featuring Sinead O’Connor on guest vocals, the brilliant "Pale Green Ghosts" adds sublime notes of dark, gleaming electronica to the anticipated velveteen ballads, calling on all of Grant’s influences and tastes, presenting an artist at the peak of his powers.

                            It’s been an extraordinary journey for John Grant, from a point where he thought he would never make music again or escape a life of substance abuse to winning awards and accolades, collaborating with Sinead O’Connor, Rumer and Hercules & Love Affair and having his music featured in the award-winning film Weekend.

                            It’s a journey that’s taken him from his birthplace in Buchanan, Michigan to be raised in Parker, Colorado, studying languages in Germany and, after his band The Czars split up, basing himself in New York, London, Berlin and, most recently, Iceland, where the bulk of Pale Green Ghosts was recorded. It’s also been a journey from The Czars’ folk/country noir to the lush ‘70s FM alchemy of Queen Of Denmark to the astonishing fusion of sounds that lifts Pale Green Ghosts to even giddier heights.

                            As if to acknowledge his journey, Grant has named the album after the opening title track, which documents the drives that he’d regularly take through the ‘80s, from Parker to the nearby metropolis of Denver, to the new wave dance clubs that have inspired the electronic elements of Pale Green Ghosts, and later on to visit the boyfriend - the ‘TC’ of Queen Of Denmark’s ‘TC & Honeybear’ - that inspired many of that album’s heartbreaking scenarios.

                            “I’d take the I-25, between Denver and Boulder, which was lined with all these Russian olive trees, which are the pale green ghosts of the title: they have this tiny leaves with silver on the back, which glow in the moonlight,” Grant explains. “The song is about wanting to get out of a small town, to go out into the world and become someone and made my mark.”

                            That Grant has made his mark is blatantly clear from how Queen Of Denmark was rapturously received. “Like a couple of similarly intense classics before it – Antony & The Johnsons’ I Am A Bird Now and Bon Iver’s For Emma… Queen Of Denmark sounds like a record its creator has been waiting his whole life to make,” MOJO concluded. Another measure of achievement, and the journey, is that one classic that Grant first heard in those new wave clubs was Sinead O’Connor’s ‘Mandinka’. Two decades later, O’Connor has not only covered the title track of ‘Queen Of Denmark’ on her latest album How About I Be Me (And You Be You)?, but supplies goose-bumping backing vocals on Pale Green Ghosts.

                            Sinead’s presence is a surprise, but not compared to the album’s portion of synthesisers and beats – unless you already know Grant’s enduring love of vintage synth-pop and industrial dance, and more current electronic acts such as Trentemøller and Mock & Toof. “Electronica is a huge part of my personality and my influences, though I don’t think many people see that fitting in to the John Grant image, whatever that is,” he says. There were occasional electronic undertows to Czars songs and two tracks (‘That’s the Good News’ and ‘Supernatural Defibrillator"’) on the deluxe edition of Queen Of Denmark were dance tracks.

                            One of those prime influences has even produced Pale Green Ghosts with Grant: Birgir Þórarinsson, a.k.a. Biggi Veira, of Iceland’s electronic pioneers Gus Gus. Queen of Denmark had been recorded in Texas with fellow Bella Union mates Midlake as his backing band, and Grant intended to return there to record again with the band’s rhythm section of McKenzie Smith and Paul Alexander. But a trip beforehand to see more of Iceland, after he’d first played the Iceland Airwaves festival in 2011, led to meeting Biggi, who invited Grant to his studio in Reykjavik. The two tracks the pair recorded – ‘Pale Green Ghosts’ and ‘Black Belt’ – convinced Grant he had to make the entire record there.

                            If Queen Of Denmark is Grant’s ‘70s album, channeling the spirits of Karen Carpenter and Bread, then Pale Green Ghosts is his ’80s album. Of the electronic tracks, the title track is a panoramic, brooding classic, while ‘Sensitive New Age Guy’ and ‘Black Belt’ are the tracks that you might dance to in new wave clubs. ‘You Don’t Have To’ is a classic example of Grant’s influences blending together, in a reworked arrangement of a track unveiled during concert tours in 2011. It also features the distinct spacey Moog sounds that are familiar to lovers of Queen Of Denmark, while McKenzie and Alexander play on ‘Vietnam’ and ‘It Doesn’t Matter To Him’. Grant’s touring partner, keyboardist Chris Pemberton, plays the gorgeous piano coda on the album’s tumultuous finale ‘Glacier’.

                            TRACK LISTING

                            1. Pale Green Ghosts
                            2. Black Belt
                            3. GMF
                            4. Vietnam
                            5. It Doesn’t Matter To Him
                            6. Why Don’t You Love Me Anymore
                            7. You Don’t Have To
                            8. Sensitive New Age Guy
                            9. Ernest Borgnine
                            10. I Hate This Town
                            11. Glacier

                            John Maus

                            A Collection Of Rarities And Previously Unreleased Material

                              Ribbon Music releases, on behalf of John Maus, a sixteensong collection of music spanning eleven years of creative output, titled ’A Collection Of Rarities And Previously Unreleased Material’.

                              Of the sixteen songs showcased, five (‘This Is The Beat’, ‘Castles In The Grave’, ‘Bennington’, ‘My Hatred Is Magnificent’, and ‘No Title (Molly)’), have appeared on previous compilations. Most notably ‘No Title (Molly)’ was originally released on a flexi disc as part of Domino/Ribbon Music's Record Store Day release ‘Smugglers Way’.

                              Two songs (‘Angel Of The Night’ and ‘Lost’) have never been released on any format, nor across any media. The same cannot be said of the remaining nine songs, the majority of which initially appeared on ’Demos 2011’, a bundle of tracks originating from where they had been uploaded by their creator (John Maus) to be appreciated, if not reviewed, by those eager enough to search them out.

                              ‘A Collection Of Rarities And Previously Unreleased Material’ has been entirely remixed and remastered and features artwork and design by Turner Prize winning artist Wolfgang Tillmans.

                              John Herring

                              It Starts Again

                              John’s second release sees the return of the same melodic beauty but somehow more driving than his previous offering, ‘Tales From a Northern City.’ When asked why he wrote the album Herring says, ‘The last album was admittedly nostalgic whereas the challenge in the writing for these songs was to focus on now. Musicians often write about the past or the future in the same way we all think in life and I wanted to write an album that was about ‘Here’.

                              As one reviewer reflected, ‘Herring bridges that difficult divide between “popular music”, melody and “legitimate” rock with effortless aplomb... John can easily be compared to the likes of Kurt Wagner and Nick Drake as a master craftsman both lyrically and musically.”

                              'The Last Donkey Show' is the latest album from everyone's favorite freaky Texas troubadour John Wesley Coleman. While Coleman's particular madman swerve still recalls Doug Sahm and Roky Erickson, this collection covers more territory than his earlier work. Does this mean the half-mad misfit has grown up? Not quite-but the songwriting chops are all there, from carney kookiness to fuzz rockers to barstool tearjerkers to dustbowl pop.

                              In his own words: "That's right. My new album is called The Last Donkey Show. It is a fucking roller-coaster recorded in Oakland, California, at Greg Ashley's studio The Creamery and also in the country near Lockhardt, Texas, at my good buddy's childhood home. Aaron Blount is his name. He is a bad-ass songwriter friend of mine. We ate BBQ all day and shot BB guns and had a bonfire. There is a cast of characters on this record... It's a floodgate of memories. Every song has a crazy story. I will tell them to you some time. The donkey is a symbol of hard work, humor and death. I love it! See you at town near you. Eat Gus's Fried Chicken!"

                              Says Yoko: 'In this very special year which would have seen my husband and life partner reach the age of 70, I hope that this remastering/reissue programme will help bring his incredible music to a whole new audience. By remastering almost 150 songs spanning 8 of his most brilliant albums, I hope also that those who are already familiar with his work will find renewed inspiration from his incredible gifts as a songwriter, musician and vocalist and from his power as a commentator on the human condition'.

                              TRACK LISTING

                              1. Imagine (2010 Digital Remaster)
                              2. Crippled Inside (2010 Digital Remaster)
                              3. Jealous Guy (2010 Digital Remaster)
                              4. It's So Hard (2010 Digital Remaster)
                              5. I Don't Wanna Be A Soldier Mama I Don't Wanna Die (2010 Digital Remaster)
                              6. Gimme Some Truth (2010 Digital Remaster)
                              7. Oh My Love (2010 Digital Remaster)
                              8. How Do You Sleep? (2010 Digital Remaster)
                              9. How? (2010 Digital Remaster)
                              10. Oh Yoko! (2010 Digital Remaster)

                              John Lennon

                              Plastic Ono Band

                              Says Yoko: 'In this very special year which would have seen my husband and life partner reach the age of 70, I hope that this remastering/reissue programme will help bring his incredible music to a whole new audience. By remastering almost 150 songs spanning 8 of his most brilliant albums, I hope also that those who are already familiar with his work will find renewed inspiration from his incredible gifts as a songwriter, musician and vocalist and from his power as a commentator on the human condition'.

                              TRACK LISTING

                              1. Mother (2010 Digital Remaster)
                              2. Hold On (2010 Digital Remaster)
                              3. I Found Out (2010 Digital Remaster)
                              4. Working Class Hero (2010 Digital Remaster)
                              5. Isolation (2010 Digital Remaster)
                              6. Remember (2010 Digital Remaster)
                              7. Love (2010 Digital Remaster)
                              8. Well Well Well (2010 Digital Remaster)
                              9. Look At Me (2010 Digital Remaster)
                              10. God (2010 Digital Remaster)
                              11. My Mummy's Dead (2010 Digital Remaster)

                              John Grant

                              Queen Of Denmark

                              John Grant, former singer/songwriter with Bella Union cult favorites The Czars, finally returns in April 2010 with an extraordinary debut solo album made with Midlake.

                              Everyone has a favorite band or singer they reckon is subject to criminal neglect. That John Grant’s effortlessly rich, expansive baritone, couched in typically heartbreaking, lush melody, hasn’t found a wider audience many would consider a crime. But no longer. Because Grant’s first solo album is so undeniably great that the world will surely listen.

                              It’s a record of gravitas and grace, of FM melody magic laced with raw emotional bleeding. It asks why relationships are roulette and love is hell in a last-ditch attempt at self-improvement and atonement after years of alcohol and cocaine dependency. And on top, to further the album’s brilliance, Grant’s backing band on the album are Bella Union label-mates Midlake, contributing their most empathic ‘70s-style soft-rock know-how. Put simply, “Queen Of Denmark” is the record Grant’s been waiting his whole life to make.
                              Not that the Czars didn’t hit their own heights. After emerging from Denver, Colorado, rave reviews were the norm… “Long distinguished by John Grant’s superlative baritone, ‘Goodbye’ reeks of wistful, melancholic class… as meticulous and complete-sounding as the best works by Mercury Rev or The Flaming Lips” said Uncut about The Czars’ final album.
                              “Queen Of Denmark” was recorded in Denton in late 2008 through 2009 in the studio downtime while Midlake were recording their own record. The album moves through simple piano settings via an infusion of period-perfect synths that epitomise the lonely mood. There’s flute from Midlake frontman Tim Smith on the dreamiest cut ‘Marz’ and velvet strings on ‘Dreams’, which imagines Scott Walker influenced by Patsy Cline. There is pure longing in the opening ‘TC And Honeybear’ and bitterly sarcastic anger in the magnificent title track finale… Pain, hope, fear, regret and self-discovery… “Queen of Denmark” has it all… framed within some of the finest songs you’ll hear in this or any other year…

                              TRACK LISTING

                              1. TC & Honeybear
                              2. Marz
                              3. Where Dreams Go To Die
                              4. Sigourney Weaver
                              5. Chicken Bones
                              6. Silver Platter Club
                              7. It’s Easier
                              8. Outer Space
                              9. Jesus Hates Faggots
                              10. Caramel
                              11. Leopard & Lamb
                              12. Queen Of Denmark

                              Fol Chen

                              Part 1: John Shade Your Fortune's Made

                              Fol Chen sound like Prince with Amon Duul II and a children's religious revival, not to mention Hot Chip, Pink Floyd, Gwen Stefani, Pere Ubu, Danielson Famile, Scritti Politti, Boards of Canada, The Blow and Pulp. Fol Chen features Samuel Bing, guitarist for The Liars, and appearances from Karin Tatoyan, Rafter, members of Castanets and Liars. Two of their songs have been featured in the major motion picture 'Noah's Arc: Jumping the Broom'. Fol Chen will also soon be heard via their remixes of High Places, Frightened Rabbit and No Kids. Cryptic and Joyful and Asking you to Dance.

                              Peter, Bjorn & John

                              Peter, Bjorn & John

                                Everyone's current favourite Swedes, Peter, Bjorn & John, issue this album in the UK for the very first time, complete with sleeve notes written by the band and five bonus tracks.

                                John Clarke

                                Visions Of John Clarke

                                  John Clarke - not to be confused with Johnny Clark - had been running with the Wackies operation for six years, ever since moving from Jamaica to New York. He'd cut memorable sevens with co-founder Munchie Jackson for the Tafari label, and with Lloyd Barnes for such Bullwackies imprints as Versatile and Wackies. "Visions Of John Clarke" was a little thrown together for its original release in 1979. Still, its sleeve carried a ringing endorsement from Bullwackies himself and the album attracted the interest of no less than Studio 1 boss Coxsone Dodd, whose bid for distribution-rights was thwarted when the Brooklyn label Makossa quickly put in for a full licence. Out soon afterwards, the new version - entitled "Rootsy Reggae" - duplicated five tracks, but with markedly different mixes, fresh edits, and sometimes new instrumentation.

                                  John Martyn

                                  London Conversation - Remastered

                                    John's debut solo album from 1967 has been digitally remastered from the original master tapes and now comes complete with the previously unreleased bonus track "She Moved Through The Fair". The enhanced booklet also contains sleevenotes by John Hillarby.

                                    John & Beverly Martyn


                                      John and Beverley Martyn's classic album from 1970 has now been digitally remastered from the original master tapes and has been expanded with four previously unreleased demos: "One Of Those Days", "I Don't Know", "John The Baptist" and "Traffic-Light Lady". This was actually Martyn's third album for Island but since he'd got married in 1969 and Beverley was already established on the London folk scene, a collaboration made good sense. They recorded it with a bunch of groovy dudes in Woodstock ( The Band's drummer, and John Harris on keys) and it just oozes that mellow, warm, laid-back vibe. It's a beaut.

                                      John Coltrane

                                      A Love Supreme

                                        Quite simply "A Love Supreme" is an essential jazz classic. Not only Coltrane's best-known work, but one he regarded as his gift to God. It's undeniably one of the most important and influential jazz records ever made. This newly remastered deluxe two CD set is breathtaking in its scope. The first disc consists of the 1965 version but the second disc has the Coltrane Quartet's only live performance of the suite, recorded at the Antibes jazz festival that summer and receiving its first authorized release. Most notably, it also includes the long-rumoured sextet version of the opening movement, receiving its first release of any kind. Mastered by the original recording engineer, Rudy Van Gelder, and containing extensive annotation and many photographs, this is the definitive edition of an indisputable masterpiece.

                                        Malcolm Middleton

                                        5:14 Fluoxytine Seagull Alcohol John Nicotine

                                          After the Lucky Pierre (AKA Aidan Moffat) album last week, it's now the turn of the other half of Scottish misery legends Arab Strap. Originally recorded as acoustic tracks, but reworked for this album, with a little help from friends Aidan Moffat (Arab Strap), Jenny Reeve (Eva) and Barry Burns (Mogwai).

                                          John Cowan

                                          Always Take Me Back

                                            John Cowan was in the legendary group New Grass Revival, joining in 1974. Along with Sam Bush, Pat Flynn and Bela Fleck, New Grass Revival took the acoustic music world by storm over the next few years. Now as a solo artist he's still producing top quality rock roots for the Sugar Hill label and this is his brand new album.

                                            John Coltrane

                                            Ballads (Deluxe Edition)

                                              Coltrane's classic "Ballads" album now issued in a deluxe edition with a second CD of extra tracks. These late 1961 sessions are amongst his most beautiful and tender recordings and features the quartet that came to be regarded as the definitive Coltrane group, McCoy Tyner on piano, Elvin Jones on drums and Jimmy Garrison on bass. This is Coltrane on majestic, yet restrained form. There's an melodic ease and lyrical approach to these tracks which make it an all time favourite for late night / early morning sessions and the spakling remastered sound simply adds towards making this an essential jazz purchase.

                                              John Coltrane

                                              The Olantunji Concert

                                                Already suffering from the liver cancer that would end his life three months later "The Olatunji Concert" was the last live recording to be made by the legendary saxophonist John Coltrane. On it, his power remains undiminished and the intensity of the performance is both noble and intimidating with drummer Rashid Ali in a brutal mood whilst Alice Coltrane's piano and Pharoah Sanders' tenor sax add a tenderness and edge respectively to a concert of challenging proportions and undeniable historical significance.

                                                John Coltrane


                                                  It's an often overlooked fact that apart from being one of the greatest innovators in jazz and an intense live improviser, John Coltrane could also demonstrate a mellow, melodic side with equal aplomb. This compilation of ten tracks shows the more restrained 'ballad' style of the jazz legend.

                                                  John Hartford

                                                  Gum Tree Canoe

                                                    With over thirty albums Hartford has an impressive discography and "Gum Tree Canoe" is a gem - a collection of some of Hartford's most endearing performances backed by an all-star crew of acclaimed instrumentalists including Sam Bush and Jerry Douglas.

                                                    John Herald

                                                    Roll On John

                                                      The first album in 18 years from Greenwich Village troubadour John Herald, formerly of the Greenbriar Boys and The Woodstock Mountain Review. It was recorded between shows on a rare trip to Scotland with local musicians from Radio Sweethearts, Battlefield Band and Belle & Sebastian. Past favourites ("Roll On John", "I Heard The Bluebirds Sing"), country standards ("Walking The Floor Over To You", "Dark As A Dungeon")and some excellent originals (the Jimmy Rogers-esque "Hitch Hike Fever", the swampy rocker "Martha & Me") and turns his excellent singing voice to some inspired gospel songs ("Saved" and "Gone Home"). "Buy it and throw your Steve Earle albums in the bin . Roll On John, indeed. Doggone, lawdy, lawdy" - Country Music People.

                                                      John Mayall

                                                      Along For The Ride

                                                        This is, quite simply, one of Mayall's best albums ever. He uses some of the best guitarists in the business: Billy Gibbons, Peter Green, Johnny Lang, Jeff Healy, Steve Miller and Mick Taylor and some of the best Blues rhythm men around, Mick Fleetwood and John McVie amongst them, to produce a sparkling set of good rockin' blues tracks second to none.

                                                        John Fred And His Playboy Band

                                                        With Glasses: Absolutely The Best Of 1964-69

                                                          Remembered primarily for the 1968 smash #1 hit "Judy In Disguise." Seventeen tracks include "Judy In Disguise," "Leave Her Never," "Anges English and more. Pure psychedelic bubblegum.

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