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

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

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

TRACK LISTING

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

Another shot of classic DnB history presented on Tempo's Collectors Series - picture disc versions of classic UK ruffage and underground jungle.

Originally from Hartlepool, brothers Mark and Jason Goodings began releasing records in the mid-1990's and spread the output across labels like Metalheadz, Creative Source and Straight Ahead. Mark sadly died in 2016 causing an outpouring of love, respect and gratitude from the scene.

Three tracks here representing some of the creme of the duo's output. From the high paced liquid of "One Time" through the dark, neurofunk of "Just Me" and onto the slower, hardcore informed "Something Nu?".

Limited, one off, picture disc pressing. 

STAFF COMMENTS

Matt says: Tempo follow up on the Source Direct release with another imperative piece of UK DnB history - pressed onto slick picture disc. Hidden Agenda brilliantly combined liquid funk and dark styles of DnB into their own heady concoction that garnered respect from literally every corner of the jungle map - with both dancers, DJs and producers respecting their incredible legacy.

TRACK LISTING

A. One Time
B1. Just Me
B2. Something Nu?

A facsimile LP edition of the classic album from Van der Graaf Generator. Newly remastered from the original first-generation master tapes, featuring “Killer”, “House With No Door”, “Pioneers Over C”. One of the defining progressive rock releases of its era.

Having spent two years rebuilding a Georgian farmhouse in the wild Welsh countryside, Rebecca Rose Harris and Franklin Mockett filled their car with a refined selection of instruments and a tape machine and headed to France for a three-week residency in early 2020. However, the world had different ideas and before the end of the first week they were given a simple choice: head home immediately or stay and ride out the incoming lockdown which would force the closure of all borders indefinitely.

They decided to stay and keep working, a decision which would lead to a new record - the duo’s second full-length album following 2019’s ‘Ascension’ LP, which was richly championed by Elbow’s Guy Garvey. 'All One Breath’, continues Samana’s enthralling musical journey, weaving between various musical styles and influences, from progressive folk to an experimental, transcendental take on soul, blues, and rock.

Bound by the limitations of those select few instruments and tape machine they had brought with them, Samana used their work to mirror the environment where it was brought to life. “We were guided by the pulse and narrative of each song as it came into fruition,” they say of the songwriting experience they undertook, “be that as a subconscious improvisation, or as a deep reflection and rumination on a dream. ‘All One Breath’ feels to be more of an archipelago than that of a single world or landscape.”

Though many of the songs on ‘All One Breath’ were improvisations - led both by specific moments and the days and nights that Rebecca and Franklin spent wandering the surrounding hills and forests - there is still plenty of structure here. ‘The Beach’ blends meditative guitar parts with a far more focused vocal, one which repeats the question ‘Should I turn back?’ as the darkness of the composition winds around it.

“‘The Beach’ is a song that encompasses expansion. It is an interpretation of empty space; a walk upon a shoreline that stretches in between our waking consciousness and the liminal space of dreams.”

In another world, Samana made a quick getaway back to Wales at the start of 2020 and concocted something entirely different. Thankfully, we have ‘All One Breath’ an emotional, mysterious, and mesmerising snapshot of a time and place that was, initially, uniquely informed by its own limitations but found its release, its spark and energy in the great depths of intrigue and imagination. And aren’t we the lucky ones?

TRACK LISTING

Side A
A1 Melancholy Heat
A2 Live For The Road
A3 The Glory Of Love
A4 The Spirit Moving
A5 The Beach
Side B
B1 Patience
B2 All One Breath
B3 Passing Me By
B4 Leaving
B5 Begin Again

Dinked Edition - Flexi Disc Bonus Track:
1. Ymlaen

One of Alan Vega’s greatest talents was his ability to bring the past and the future together into a suspended place of timelessness. His groundbreaking duo Suicide was often seen as future primitivism and most of his musical output has exemplified this blending of the primordial human condition and visionary thinking. With Invasion b/w Murder One, the next release from the now infamous Vega Vault following 2021’s Mutator, we see this innate power in full effect.

The two tracks “Invasion” and “Murder One” were recorded two decades apart from one another in New York City. “Invasion” was recorded toward the end of the 2012-2015 studio sessions for the posthumous album IT and was one of his last recordings, while “Murder One” was recorded in 1997-1998, (after the Mutator sessions) and is part of a cluster of material that was recorded but never mixed prior to the sessions for his album 2007, released in 1999. Pairing these two songs together as a release illustrates the timelessness of the 30 plus years of unreleased material that he deemed the Vega Vault.

This release continues the collaboration of Mutator’s mixing and producing team, Liz Lamere and Jared Artaud. Liz provides a bridge to the past, having performed throughout the recording process of “Murder One” and “Invasion” while Jared opens a bridge to the future having been chosen by Alan himself to carry the torch and ensure the vision stays intact. Alan trusted no one more than Liz and Jared, and gave his blessing and encouragement to continue releasing material from the Vault. As Alan stated in the song “Vision” from IT, “If you destroy the vision, you will suffer the whirlwind.”

Listening to the various tracks during these mixing sessions brought up vivid recollections of how the sounds (such as the haunting voices in “Murder One”) were created and the constant experimentation that was involved, memories that informed Liz’s approach in the mixing process. Together with Jared’s technical skills, intuition, and deep understanding of the feeling these sounds were intended to evoke, the two were able to preserve the authenticity of the recordings while enhancing the quality of sound so the listener can fully experience the nuances of these unique auditory creations.

TRACK LISTING

1. Invasion
2. Murder One 

There’s an ancient Japanese legend in which a horde of demons, ghosts and other terrifying ghouls descend upon the sleeping villages once a year. Known as Hyakki Yagyō, or the Night Parade of One Hundred Demons, one version of the tale states that anyone who witnesses this otherworldly procession will die instantly—or be carried off by the creatures of the night. As a result, the villagers hide in their homes, lest they become victims of these supernatural invaders.

Such is the inspiration for the latest album from EARTHLESS. “My son is really into mythical creatures and old folk stories about monsters and ghosts,” bassist Mike Eginton explains. “We came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories. I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”

Whereas 2018’s Black Heaven featured shorter songs and vocals from guitarist Isaiah Mitchell on much of the album—an unprecedented move for the San Diego power trio—their latest is a return to the epic instrumentals EARTHLESS made their unmistakable name on. Night Parade Of One Hundred Demons is comprised of two monster songs—the 41-minute, two-part title track and the 20-minute “Death To The Red Sun.”

The scenario that allowed for this kind of exploration was a stark contrast to that of Black Heaven. At that point, Mitchell was living in the Bay Area, which made it difficult for the band to get together and work on the type of long instrumental pieces they’re known for. But in March 2020, the guitarist moved back to San Diego. More specifically, he moved back the night the pandemic lockdown kicked in. Bad timing, perhaps—or maybe perfect timing.

Plus, they were all on the same page about not wanting to do another record with vocals. “In a way, I think this album was a reaction to our last record,” Eginton says. “Black Heaven was outside our comfort zone. I think it was a good record, but it was challenging to write songs in a more traditional verse-chorus-verse format. This one was more enjoyable. I’m sure we’ll do more vocal tracks in the future, but for the time being I see that album as a one-off.”

Given the record’s inspiration, it should come as no surprise that Night Parade of One Hundred Demons strikes a more sinister tone than the rest of the band’s catalogue. “It definitely has a darker, almost evil kind of vibe compared to stuff we’ve done in the past,” Rubalcaba says. “There’s more paranoia and noise, and some of Isaiah’s whammy-bar stuff kind of reminds me of these Jeff Hanneman moments in Reign In Blood, where it just seems like everything is going to hell. It’s pretty fun.”

Night Parade of One Hundred Demons was recorded in San Diego with Rubalcaba’s childhood friend Ben Moore, who’s worked with everyone from DIAMANDA GALAS and BURT BACHARACH to CEREMONY and HOT SNAKES. When Eginton wasn’t tracking his bass parts, he worked on the album’s incredible sleeve art. “He really dedicated himself to the project,” Rubalcaba says. “He’d be drawing in the studio with, like, a coal-miner’s lamp on his head while we were doing overdubs. He really knocked it out of the park.”

All told, Night Parade of One Hundred Demons isn’t just a return to the band’s traditional format—it’s a return to their very beginnings. “This album actually has the very first Earthless riff in it,” Eginton reveals. “We just recorded it 20 years after we wrote it. But we’re really happy with how this record came out. We feel it might be our finest to date.” 

‘Arise, Dan Sartain, Arise’, the latest studio album by America’s infamous rock ‘n’ roll troubadour Dan Sartain, will be released by One Little Independent Records. Made up of thirteen wickedly wisecracking, vintage surf-rock bangers, this concise and classic record incorporates everything that’s made Dan Sartain the genres favourite underdog over the last two decades.
Seeped in obsidian black humour with tracks like ‘Glasses Houses’, ‘Rooster In The Henhouse’ and ‘I Heard Laughing’ ruthlessly calling out those who would slight him while also riding the hard line of self-awareness, the biting witticism of these tracks pair wonderfully with the playful tone of Sartain’s slick-back dark doo-wop.

Elsewhere on the likes of ‘True Love’ and ‘Fires and Floods’ the crooner gets a chance to flex his punk muscles, pushing the guitars further into distorted territory taking the late 50s garage-rock influence via the late 70s in much the same way The Ramones and The Damned did. But we’re transported right back again when Sartain slows down for ballad standouts such as ‘Kisses In The Morning’ and ‘Personal Injury Law’. Throughout ‘Arise, Dan Sartain, Arise’ searing surf guitars intertwine with beautifully haunted organ jabs, with rhythms pulled straight from saloon bars way out west, and cheeky wink-to-the-camera lyrical whimsy.

Somewhere along the rich lineage of Swedish psychedelic music – the type forged in communes and smoky rooms alike on a kosmische continuum that spans over half a century, lies Nova Express – unheralded purveyors of timeless cyclical repetition and trance[1]inducing soundscapes. Torbjörn Abelli of national icons Träd, Gräs Och Stenar was even heard to remark in 2001 on the release of ‘One’ - their sole album - that “This album will mature and be perfect twenty years from now”Somewhat serendipitously, two decades on, ‘Twenty One’ – the remastered and resequenced version of this maverick gem on Rocket Recordings - make it clear he wasn’t kidding. These free-flowing extrapolations take minimalist shapes and expand them into dizzying spirals of improvisatory abandon and heat-haze atmospherics. Redolent of the serene celestial shapes of Can’s ‘Future Days’ and the summer sunset climes of Cluster’s ‘Sowiesoso’ alike, tracks also blossom from mechanical Casio rhythms into Terry Riley-esque bursts of beatific abandon (as on the fifteen minute long title track) not to mention Organic Music Society style exaltation. On the closing ‘Spektra’, a majestic drone-odyssey even takes flight that connects the interstellar dots between the classic earthy strains of International Harvester, the droogy bliss of Spacemen 3 and the devotional mind-melt of Catherine Christer Hennix. Yet at all times, Nova Express essentially sound like no-one but themselves - an unassuming band (whose members have also reared their heads before and since in outfits like The Janitors, Klotmystik, Audionom and Josefin Öhrn & The Liberation) whose ability to alchemically transform simple ingredients into psychic monuments has only gained potency as the years have rolled by. Indeed, the buried audial treasure that is ‘Twenty One’ - like all truly transcendent music - exists beyond time and space alike.

TRACK LISTING

Side A:
01. Fredhäll
02. Wave To Each Other
03. Trees Grass And Stonehenge
Side B:
04. Nova Express
05. Spektra

Spoken word recordings from Gregory Corso, Tina May Hall, Sam Lipsyte, Christine Schutt, Gary Lutz, Allen Ginsberg, Dawn Raffel, Jason Schwartz, Kathryn Scanlan, Scott McClanahan, & Terry Southern. About 40 years ago, in a record shop on Long Island during a weekend visit there to see my parents, i found a double-LP that looked like something i should definitely buy. It was called "BIG EGO", by the The DIAL-a-POEM POETS. On the cover was a picture of John Giorno (a great poet Ed Sanders had turned me on to) on a NYC rooftop with Philip Glass, Meredith Monk, and two kids. It cost $2. I bought it and rushed back to my parents house, where i still had my old turntable in the basement, not far from my Jimi Hendrix and Zappa Crappa posters, and my framed portrait of John Cage.

My copy of Eno's "Discreet Music" was still on the turntable, having been left there years before, when i'd fled Long Island for good. I lifted it from the platter, gently slid it back into its sleeve, like a priceless religious artifact, and put Side A of the Dial-a-Poem LP on. I almost lost my mind while listening to it. The next day i went back to the same record shop looking for more DIAL-A-POEM LP's. i found two. One had a long list of names on the back, some famous, and some i'd never heard of before. I bought both LP's, and an hour later, for the first time in my life, i was exposed to the art of Laurie Anderson, whom i'd never heard of before. This was 1978. Her contribution was a piece called "Time To Go". It changed my life. Or at least, that’s how I remember it. I was just a kid, so there were a lot of moments like that, around then. Nowadays, these moments can be had in seconds, with a click of the cursor. That evening, as i sat alone by my imaginary campfire (ie; that record player in my parents basement), i promised myself that someday, somehow, i would embark upon a WORDS & MUSIC project that might move people the same way i was moved when i first heard Laurie, and Robert Wilson & Christopher Knowles, and Burroughs, and Ginsberg, and Corso, and Anne Waldman, and John Ashbery, and the great Charles Olson, and so many others.

Words, for the very first time, had wielded the same power as music. And it was visceral. Just like music. It ran deep. It was a FEELING. John Giorno died in 2019, but he kept poetry alive like nobody's business. I was lucky enough to have spent some time with him in the early 1980's, when i was briefly a member of The Fugs, and often found myself surrounded by those Ginsberg called, "...the greatest minds of my generation". Ed Sanders (who'd ushered me into that scene) once told me that when he came to NYC, it was easy to go to a cafe, or to St Marks Church, and hear Burroughs, Corso, Ginsberg, and all the greats, reading their poetry. He said that even if you were just a bum on the street, you could just walk right up to them, and start a conversation.

They were totally accessible, if they were in the right mood at that particular moment. So i was shocked when Sanders told me he didn't approach any of them, not even once, til he'd been going to their readings for nearly ten years. "For almost a decade, I went to every reading, every lecture, every panel discussion. But I never went near them. Never approached them. Not even once", Sanders told me. "For ten years, all I did, was listen." It took me four decades, but ... better late than never. I finally made WORDS & MUSIC, Book One.

TRACK LISTING

Side A

1. Army
2. The Extinction Museum
3. Home Land
4. An Unseen Hand Passed Over Their Bodies
5. It Collects In Me

Side B

6. At Apollinaire’s Grave
7. Fresh, Blood
8. Jackal Pattern
9. Vagrants
10. James
11. Surrealist Dialog / A Proclamation

one hand on the steering wheel the other sewing a garden is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop/folk songs, on the other it’s a book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. Due on September 24th from Saddle Creek and Next Door Records in Canada, the physical record will be released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.

Levy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer/engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.

The resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.

Inspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).

Whether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rearview mirror is so full of car exhaust?

STAFF COMMENTS

Barry says: Ada Lea's new album is a wonderful mix of honest, hearfelt lyricism and psychedelic instrumentation, ranging from subtly swaying indie-pop to jagged punky drive. It's a beguiling and beautiful outing, and one that deserves to be heard.

TRACK LISTING

01. Damn 4:21
02. Can't Stop Me From Dying 3:09
03. Oranges 4:54
04. Partner 3:45
05. Saltspring 4:23
06. And My Newness Spoke To Your Newness And It Was A Thing Of Endless 0:56
07. My Love 4 U Is Real 4:31
08. Backyard 2:56
09. Writer In Ny 3:19
10. Violence 4:26
11. Hurt 3:31

World renowned handpan player and composer Manu Delago presents his unique new album, ‘Environ Me’, via One Little Independent Records. Constructed using his signature percussive skills as well as electronic manipulation and sounds recorded directly from an array of natural sources, the LP is a dynamic and poignant exploration that harnesses the best of his adventurous spirit and singular vision.

An audio-visual journey accompanied by a collection of expertly made films, each track also represents a different element and contains its own inspired and individual concept, varying from the use of wildlife, fire and water to the manmade steel, gears, Velcro and more.

On ‘Environ Me’ Manu Delago asks his listener to join him on a multisensory adventure with their eyes wide open, an intriguing experience that constantly evolves over the course of its 12 tracks, through electronica and ambient and carries with it an important environmental message at its core.

Manu Delago has performed in prestigious venues in more than 50 countries around the world. The Grammy-nominated artist runs his own band and has collaborated with various artists such as Björk, Anoushka Shankar and Olafur Arnalds and has appeared as a soloist with the London Symphony Orchestra.

TRACK LISTING

1. Interference
2. Liquid Hands
3. Transformotion
4. Curveball
5. ReCycling
6. Autoshred
7. Pattern Pulse Popcorn
8. FaunaSauna
9. Trees For The Wood
10. Acoustic Aviation
11. Footsteps (feat. Isobel Cope)

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

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

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

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

TRACK LISTING

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

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

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

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


A Mountain Of One return to the musical landscape with their brand new track “Custard’s Last Stand” on newly minted label Amore. It is the first new piece of music the band have released in over a decade.

”Custard’s Last Stand” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, it is a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own. Spheric bass bounces out the speakers, electronics whoosh and swirl and folkish guitar? Banjo? Mandolin? strums away giddily. It's good to have them back.

TRACK LISTING

A1. Custards Last Stand
A2. Custards Last Stand (Instrumental)
B1. Stars Planets Dust Me

Electronic Ambient Remixes One was originally released in 2000 and includes ambient remixes and reinventions of the album ‘The Space Between’. Tracks from this instrumental series have been used internationally in gallery installations, performed at numerous electronic music festivals, featured on TV and radio broadcasts and within Hollywood movie trailers. Electronic Ambient Remixes One is now available for the first time on double violet coloured vinyl as well as CD, download and streaming.

The KVB is the audio/visual project of London youngsters Nicholas Wood & Kat Day, who combine reverb heavy wall of sound guitars, minimal haunting strings and grinding bass synths, messed up motorik drum machine beats and delay drenched vocals with a backdrop of imagery to accompany the symphony, that’s nothing short of life affirming. the KVB's music evokes the ominous chill of abandoned factories; burning wreckage on the post-industrial wasteground just outside of the city; a conflation of romantic betrayal and socioeconomic collapse; end times, and bad things waiting on the periphery, but the kind of bad things that many of us are unerringly drawn to.

TRACK LISTING

1. Again & Again 
2. Something Inside
3. Passing By 
4. Live Or Die
5. Endless
6. Dominance / Submission 
7. Kill The Lights 
8. Radiant Hour

Inspired by the psychological effects of modern life and their direct personal experiences, The Steoples are back with their second album for Stones Throw, ‘Wide Through The Eyes Of No One’.

Drawing on an eclectic range of sounds from Latin rhythms to 1980s soul and sombre tones of folk fused with R&B, ‘Wide Through The Eyes Of No One’ incorporates live instrumentation from a new cast of players. The album also explores social commentary, with confessional lyrics that contemplate the nuances of isolation.

The Steoples are the LA-based avant-soul duo of Gabriel Reyes-Whittaker and Yeofi Andoh. The pair’s second album for Stones Throw follows on from their debut ‘Six Rocks’.

Gabriel has released two albums as Frankie Reyes on Stones Throw: ‘Boleros Valses y Mas’ in 2016 and ‘Originalitos’ in 2020. He has also released music under the alias Gifted & Blessed. Yeofi has previously collaborated with artists including Theo Parrish and DJ Spinna under the moniker A Race of Angels.

For fans of Frankie Reyes, A Race Of Angels, The Black Pumas, Earl St. Clair, Steve Arrington, Georgia Anne Muldrow, Michael Kiwanuka, Little Dragon.

STAFF COMMENTS

Matt says: The illusive and erratic The Steoples switch tact from Gifted & Blessed to Stones Throw, pushing a more avant-soul sound for the adventurous.

TRACK LISTING

Everybody’s Song
The Good News
In The Dance
Cotton
Lonely Behavior
Wide Through The Eyes Of No One
Leaning On Me
The Real Wealth
Procession
Alas Alice

Tim Burgess is lead singer of one of the defining bands of the ’90s, The Charlatans. In One Two Another, the singer presents and annotates his lyrics – from The Charlatans to The Chemical Brothers – allowing an insight into a very idiosyncratic and creative song-writing process.

As Tim writes: ‘That’s the thing. I imagine almost everybody writes songs in different ways, but then again each person may use all the different ways to come up with the lyrics to a song. From lists to experiences and stories, there are no rules. A good song is a good song whoever writes it and however the writing happens. I only know what I do. In this here book I have collected some of the ideas and thoughts and words.’

‘Tim Burgess is a crusader and vinyl’s epic voyager. He knows why pop’s art, a culture and a cure. Learn and listen. He knows good things’ Johnny Marr

‘You can’t feel blue around Tim. He makes you feel happy, not just about music but about life. Even the most cynical of souls (mine) become infected by his gorgeous energy. Plus he gives good vinyl’ Sharon Horgan

On “Get Up Sequences Part One” Ian, Ninja, Nia, Simone, Sam and Adam have created a musical world distinctly of their own making. A place where routine is outlawed and perfection is the enemy. Where Ennio Morricone meets the Monkees armed with flutes, glockenspiels, steel drums and a badass analogue attitude. We’re talking widescreen, four- track, channel hopping sounds that are instantly recognisable.

In The Go! Team's world, old’s cool, the future's bright and melody is the star. Just check the second cut “Cookie Scene” with a bouncing flute and junk shop percussion it introduces guest rapper Indigo Yaj who delivers an old school vocal that continues this sonic trip. Pow channels Curtis Mayfield and enter stage centre, the inimitable Ninja in full flow and you don’t stop, you wont stop to this flute driven free for all.

By way of demonstrating The Go! Team’s old school manifesto, comes the 'needle-in-the-red' “I Love You Better” a defiant message to an ex love, spelling out exactly how he’s fucked up – and then there’s those steel drums. Following that comes the soda fountain soul courtesy of “A Bee Without Its Sting”, a groovy protest song that makes its point with a tambourine – hey only The Go! Team.

The musical wagon train then takes you into the wide screen, windswept western that is Tame the Great Plains heading off into a polyrhythmic panorama that’s full of hope. Slappin’ you back to reality comes “World Remember Me Now”, a timely reminder that when you’re lost in the routine of life, you can always count on The Go! Team.

STAFF COMMENTS

Barry says: It's exactly what you'd expect from the Go! Team, this it's bright and bold and chaotic and absolutely on-brand. Summery steel drums and syncopated percussion, offset tinny melodies and jangling percussion, topped with jubilant vocal swathes. Brilliantly bright and wonderfully fun.

TRACK LISTING

1. Let The Seasons Work
2. Cookie Scene
3. A Memo For Maceo
4. We Do It But Never Know Why
5. Freedom Now
6. Pow
7. I Loved You Better
8. A Bee Without Its Sting
9. Tame The Great Plains
10. World Remember Me Now

Returning with their first new music in 8 years, Stubborn Heart have announced their anticipated new album ‘Made Of Static’, released on June 4th via One Little Independent Records.

Luca Santucci and Ben Fitzgerald, who have spent the last few years developing the ten brooding electro-soul tracks that make up the successor to their lauded 2012 self-titled debut, have once again struck a fine balance between ominous synth-soundscapes and introspective songwriting.

Balance is the key theme here. With Fitzgerald leading the production and manning the machines, the sound is rawer than on their previous album. Left-field pop with dark, icy edges, it finds a home somewhere in between r&b and cold wave. Santucci brings the heart and with it his aching, obsessive lyrics and a desire for something grittier in its presentation. The duo’s talents complement each other perfectly throughout.

Santucci has amassed an impressive list of writing and vocal credits in his time, with the likes of XL and Warp signee Leila Arab, Plaid, Riton and Soulwax amongst them. Fitzgerald has also been hard at work at his home studio programming various styles of music for artists and producers from around the world. As Stubborn Heart, they come armed with some serious experience and a wealth of influences. There’s an honest simplicity in the way they create, with lyrics written in an immediate, direct fashion with the aim to catch a feeling rather than emulate one. 

TRACK LISTING

1. Talking Gold
2. Proves To Be
3. Against The Tide
4. Mum’s The World
5. Points Of View
6. Everything Matters
7. To Make You Happy
8. Oh Stephanie
9. Drop The Ball
10. Out Of My Hands

Soul Jazz Records’ new Studio One collection ‘Fire Over Babylon: Dread, Peace and Conscious Sounds at Studio One’ features a stellar selection of 70s roots music - classic and rare tracks recorded at Clement Dodd’s musical empire at 13 Brentford Road in the 1970s.

Rastafarian-inspired Roots music was an ever-important aspect of Studio One’s output from the start of the 1970s onwards and this album features many of the groundbreaking groups and artists that established the sound of Jamaica during this decade and beyond.

Featured here are seminal artists such as Freddie McGregor, The Wailing Souls, The Gladiators, Horace Andy, Devon Russell, Cedric Brooks, Count Ossie and Judah Eskender Tafari alongside a host of lesser-known rare cuts made at Studio One from artists such as The Prospectors, Viceroys and Pablove Black.

Studio One and founder Clement Dodd’s connection with Rastafarianism dates back to the early 1960s, with Dodd accompanying members of the Skatalites up to the hills of Kingston to listen to the music of the Rastafarian Count Ossie and his drummers. The album sleevenotes discuss how Clement Dodd’s musical links, as well as his role in heading the most important record label in Reggae, are in many ways linked to the beliefs of Rastafarianism.

TRACK LISTING

Freddie McGregor - I Am A Revolutionist
The Silvertones - Burning In My Soul
Wailing Souls - Without You
Devon Russell - Jah Jah Fire
Trevor Clarke - Sufferation
The Gladiators - Sonia
Judah Eskender Tafari - Always Trying
The Viceroys - Ya Ho
Im And Count Ossie - Give Me Back Me Language And Me Culture
The Gladiators - Serious Thing
The Prospectors - Glory For I
Wailing Souls - Things And Time
Pablove Black - Inner Peace
The Gladiators - Peace
Horace Andy - Mr. Jolly Man
Wailing Souls - Rock But Don’t Fall
Albert Griffiths And The Gladiators - Righteous Man
So Many Problems - The Viceroys

‘Kick The Ladder’ the anticipated debut album from Icelandic composer and songwriter Kaktus Einarsson, frontman of post-punk outfit Fufanu, will be released by One Little Independent on May 7th. It was produced by Kaktus, alongside Swiss electronic composer Kurt Uenala, and finished in New York City. It draws heavily on the concept of how we as a society relate to our surroundings, whether it’s environmental or personal. 

TRACK LISTING

Kick The Ladder
Ocean’s Heart
Hypnotized
No Runaway
Daydream Echo
Gone To Bed
My Driver
45rpm
Story Of Charms
One Of Those
Space Soul
Chimes

Composer and violinist Sarah Neufeld is a career-long touring and recording member of Arcade Fire. Her third solo LP ‘Detritus’, confronts anguish with beauty, turmoil with grace, gliding through the present like a dancer mid-motion, reaching through space 'til she's caught.

The album is wistful and emotive, and carries the listener on a journey of euphoric and complex looped violin dusted with mesmeric melody recall. Openers ‘Stories’ and ‘Unreflected’ lead with atmospheric ease, sombre soundscapes and distant, otherworldly vocals. ‘With Love And Blindness’ ups the tempo with remote, dreamlike rhythms that hypnotise and enthrall. ‘The Top’ is elated, but it highlights the isolated strings and poetic loneliness Neufeld is able to convey with them. ‘Tumble Down The Undecided’ and ‘Shed Your Heart’ are climatic in their delivery, full of cascading notes and delays before closer ‘Detritus’ exits with a state of calm, easing back into the shadows and taking with it the vivid textures and images crafted with infinite grace over the course of the album.

NOTES ABOUT DETRITUS
I composed this album within a larger body of work that was commissioned as a live soundtrack for Peggy Baker Dance Project’s Who We Are In The Dark.

Who We Are In The Dark is a collaboration originating in 2015 when Peggy Baker (legendary Canadian dancer and choreographer) and I were asked to perform a duet together at Fall For Dance North. Peggy chose to choreograph to my piece From Our Animal from my (then) upcoming second album, The Ridge.
Wanting to create something personal for her for this performance, I composed a prelude which began with the words “who we are in the dark”.

There was something utterly compelling about working and performing together.
Coming from different generations (Baker is now 68), we share a sense of intensity, curiosity, and ferocity.
Shortly after our debut performance together, Peggy commissioned me to collaborate with her on a full scale piece for her company. I began composing for this project in 2017, with the solo violin piece, The Top.
Peggy and I were exploring themes of darkness- her take often lived in the macro, universal elements, space, death, while my own exploration at the time was more close up- intimacy and the ego self. I think there was an invisible thread between us from our own experiences of loss and grief.
To say the least, this collaboration and the work we produced has held tremendous meaning for both of us.

Drummer and composer Jeremy Gara (Arcade Fire) joined the collaboration in 2018, adding percussive and harmonic depth to my solo compositions, as well as inputting his own signature style of ambient noise composition and heavy, gripping drumming into the live score.
The work premiered in February 2019 and toured internationally throughout the year, with our most recent performance in Den Hague at Holland Dance Festival in February 2020.

I began distilling the solo compositions into a smaller, album length body of work in the Summer of 2019, experimenting live with solo versions, adding more vocals, and incorporating foot pedal bass synth to my solo live capabilities. This body of work stood out for me, as a further push and refinement of the composition style I’ve been developing for the past 8 years, and as a marker of an intense and difficult passage in my own life.

TRACK LISTING

1. Stories
2. Unreflected
3. With Love And Blindness
4. The Top
5. Tumble Down The Undecided
6. Shed Your Dear Heart
7. Detritus

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

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

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

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

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

TRACK LISTING

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

Kings Go Forth ‘One Day’ - Originally released in 2008 on Mr C’s and going for over £80 a throw, the band’s excellent funky debut 45, remastered for maximum dancefloor appeal. This stellar stand-out cut from the band’s 2010 album ‘The Outsiders Are Back’ was released on Luaka Bop. Think Curtis Mayfield with Fela’s horns and a percussion backing set to self-destruct; a spine tingling anthem, no less.

Willie Tee ‘First Taste Of Hurt’ - Cut with Willie Tee’s Gatur Records’ flipside that goes for £250 minimum. An organ-led, brass-powered groove from the New Orleans soul legend, originally released in 1972. A deep, soulful croon with an enveloping rhythm and a euphoric lift, remastered from the original sound files for added soul.

TRACK LISTING

Kings Go Forth ‘One Day’
Willie Tee ‘First Taste Of Hurt’

Over the course of four albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of its brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His label Gondwana Records is home to GoGo Penguin and his own albums have found Halsall exploring the modal jazz of John and Alice Coltrane, paying tribute to the hard bop of the late '50s and early '60s or most recently on 'Fletcher Moss Park' drawing on Eastern influences in his most personal statement yet. His latest album 'When The World Was One' is something of a companion piece to 'Fletcher Moss Park' (much of the music was written at the same time) but draws more explicitly on Halsall's love of spiritual jazz and Eastern music as well as his own studies in meditation and travels in Japan. Beautifully recorded at Hasall's favourite studio, 80 Hertz in Manchester, and engineered by Brendan Williams and George Atkins it features the recording debut of Halsall's large ensemble, The Gondwana Orchestra, which utilises the exotic flavours of harp, koto and bansuri flute and Eastern scales to create a global palate for Halsall's life-affirming sounds.

The Gondwana Orchestra features long time collaborators Nat Birchall, saxophone, Gavin Barras, bass and Rachael Gladwin, harp as well as Taz Modi on piano. Modi who also plays with Halsall in their more electronic trio shares his passion for spiritual jazz and plays the music with real feeling while the role of the harp here is to bring a touch of 'magical reality' a floating dreaminess that is a vital part of Halsall's elegiac and beautiful music. The drummer Luke Flowers is perhaps best known as part of Cinematic Orchestra, and Halsall describes him as 'one of the best drummers in the world' and hails him for 'playing the music exactly as I heard it in my head', Keiko Kitamura is a Japanese Koto player who is becoming an increasingly important part of the Gondwana Orchestra, her role is similar to Gladwin's in that the koto helps free up the music while also bringing a real sound of the East. Finally, flautist Lisa Mallett brings a love of Indian music to the orchestra, much travelled on the continent she brings all of her knowledge and experience to play offering a unique texture to Halsall's dreamy melodies.

TRACK LISTING

1. When The World Was One
2. A Far Away Place
3. Falling Water
4. Patterns
5. Kiyomizu-Dera
6. Sagano Bamboo Forest
7. Tribute To Alice Coltrane

No One Sings Like You Anymore is Chris Cornell’s handpicked collection of 10 cover songs, which he personally selected and sequenced to celebrate artists and songs that inspired him, including John Lennon’s “Watching The Wheels,” Janis Joplin’s “Get It While You Can,” a new recording of Prince’s “Nothing Compares 2 U,” Ghostland Observatory’s “Sad Sad City,” Harry Nilsson’s “Jump Into The Fire,” Carl Hall’s “You Don’t Know Nothing About Love,” Electric Light Orchestra’s “Showdown,” Terry Reid’s “To Be Treated Rite” and two songs currently available as digital singles, Lorraine Ellison’s “Stay With Me Baby” (originally released for HBO’s show Vinyl) and Chris’s 2020 chart topping hit “Patience” originally recorded by Guns N’ Roses.

TRACK LISTING

Get It While You Can (Side A)
Jump Into The Fire (Side A)
Sad Sad City (Side A)
Patience (Side A)
Nothing Compares 2 U (Side A)

Watching The Wheels (Side B)
You Don't Know Nothing About Love (Side B)
Showdown (Side B)
To Be Treated Rite (Side B)
Stay With Me Baby (Side B)

Cheval Sombre releases his third album, Time Waits for No One. It is his first solo release for more than eight years, following 2018’s critically acclaimed collaboration with Galaxie 500 and Luna frontman Dean Wareham, and the first of two new albums scheduled for 2021, both of which have been produced by Sonic Boom. Cheval Sombre is the nome d’arte of Chris Porpora, a poet from upstate New York whose otherworldly psychedelic lullabies on his self-titled album from 2009 and its follow-up, Mad Love (2012), won him a cult following. Time Waits for No One ushers in his most prolific period, and serendipitously the world has finally slowed down to his pace. This is no lockdown record, but Cheval Sombre’s reclusive, reflective music is its perfect soundtrack.

“I’ve always said that what I really want to do with music is to give people sanctuary,” he explains. “Pandemic or not, the world has always felt as though it were spinning out of control to me, and so if folks have slowed down, I do see it all as an opportunity to discover vital realms which have always been there, but we’ve been too rushed and distracted to encounter.” Time Waits for No One is also his finest and most fully realised body of work to date and, appropriately enough for a record that has taken so many years to come to fruition, across eight original songs, an instrumental and a closing cover of Townes Van Zandt’s ‘No Place to Fall’, its overarching theme is time itself; what it is and what role it inevitably plays in all of our lives.

But the record is also timeless, contrasting the musical simplicity of Cheval Sombre’s open-tuned acoustic guitar curlicues with the beautiful, sweeping and ornate arrangements of Sonic Boom’s keyboards and Gillian Rivers’ and Yuiko Kamakari’s strings. The end result is something akin to Daniel Johnston backed by the Mercury Rev of Deserter’s Songs. Elemental and earthbound, but simultaneously and very subtly shooting for the stratosphere.

STAFF COMMENTS

Barry says: A brittle but beautiful combination of folky guitar and heavily echoed vocals, falling somewhere between traditional 60's psych and slow shoegaze mixed with a dash of modern classical. It's tender and haunting, a wonderful journey.

While Joe Henderson seemed to arrive fully formed on his auspicious 1963 debut Page One, the album was really a showcase for the transcendent collaboration between the tenor saxophonist and trumpeter Kenny Dorham who would form a potent frontline team on numerous mid-60s Blue Note classics. Page One opens with a pair of indelible Dorham compositions (“Blue Bossa” and “La Mesha”), with the balance of the six-song set penned by Henderson including his enduring theme “Recorda-Me.” Dazzling performances by pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca further elevate this album making it one of the crown jewels of the Blue Note catalog. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

TRACK LISTING

A1. Blue Bossa
A2. La Mesha
A3. Homestretch
B1. Recorda-Me
B2. Jinrikisha
B3. Out Of The Night

The first instalment of David Gedge’s long-awaited ‘memoir-in-comic-book-form’ will be released by Scopitones Books on 6 November 2020. The stories featured in this stunning 176-page, matt-laminated, hardback book have previously only been available to readers of the Tales From The Wedding Present comic book series. This collected edition comes with forty pages of never-before-seen additional material and an introduction by Ian Rankin. David has written this autobiography together with long-time musical associate Terry de Castro, and the stories are illustrated by virtuoso artist Lee Thacker. It’s in chronological order, beginning with David’s childhood in England and South Africa and continues up to the inception of The Wedding Present. On the way we learn about some of the romantic experiences that may have informed his writing, how he first met his hero – the legendary BBC presenter John Peel – and the true story behind the classic Wedding Present song ‘My Favourite Dress’. Reviews “An autobiography of The Wedding Present would be great on its own. An autobiography in beautiful graphic novel form? Even better!” Dan Vebber (Writer, The Simpsons) “This is brilliant! It’s like the storyboard for a Wedding Present biopic.” Marc Riley (Broadcaster, BBC) “As informative, funny and essential as David Gedge himself. Can I be in the movie when all this is franchised?” Tony Gardner (Actor) “This is the graphic novel indie music mash up that we have all been waiting for and only David Gedge could deliver. It's amazing!” Stella Creasy (Member, British Parliament) “This is a Wedding Present fan’s dream come true. Pure unfiltered Gedge; the inside track on what makes him tick and anecdotes aplenty. Essential!” Mike Gayle (Author) “It’s very typical of The Wedding Present to do an autobiography differently to everyone else... but the stunning illustrations in this book really bring David's stories to life.” Louise Wener (Writer, musician)

Kodaline approached the album with a streamlined process that took them back to their roots. The majority of the sessions revolved around the four band members alone in their modest recording space in Dublin, with bassist Jason Boland leading the production side of things.

The band's primary objective was to focus on the emotion that has informed many Kodaline fan favourites. As we've seen from the two recent singles, they're playing to their strengths: insistent melodies and captivating hooks exploring stories that are revealing, unguarded and immediately relatable.

"The main thing this time was to capture those emotions through everything," says frontman Steve Garrigan. "We also wanted to use a lot of harmonies and play to our strengths."

STAFF COMMENTS

Martin says: I love Kodaline, and this is classic Kodaline. Huge arm-waving stadium thump and earth-shaking melody. An anthemic powerhouse.

TRACK LISTING

Wherever You Are
Sometimes
Saving Grace
Say Something
The Evening
Spend It With You
Care
Heart Open
Everyone Changes
In The End
This Must Be Christmas
Everyone Changes
The Rare Auld Times
Teenage Kicks

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

STAFF COMMENTS

Barry says: You will have heard a few of these already, but it's nice to finally have all of the disparate releases compiled into one handy to pop-on collection. The deluxe CD has even more of these fruitful collaborations with some of the most recognisable names in modern music. It's a diverse and entertaining selection, and one that will have fans keen for a follow-up.

TRACK LISTING

1. Strange Timez (feat. Robert Smith)
2. The Valley Of The Pagans (feat. Beck)
3. The Lost Chord (feat. Leee John)
4. Pac-Man (feat. ScHoolboy Q)
5. Chalk Tablet Towers (feat. St Vincent)
6. The Pink Phantom (feat. Elton John And 6LACK)
7. Aries (feat. Peter Hook And Georgia)
8. Friday 13th (feat. Octavian)
9. Dead Butterflies (feat. Kano And Roxani Arias)
10. Désolé (feat. Fatoumata Diawara) [Extended Version]
11. Momentary Bliss (feat. Slowthai And Slaves)

Deluxe CD And Deluxe Vinyl Box Set Tracklist:
Disc 1
1. Strange Timez (feat. Robert Smith)
2. The Valley Of The Pagans (feat. Beck)
3. The Lost Chord (feat. Leee John)
4. Pac-Man (feat. ScHoolboy Q)
5. Chalk Tablet Towers (feat. St Vincent)
6. The Pink Phantom (feat. Elton John And 6LACK)
7. Aries (feat. Peter Hook And Georgia)
8. Friday 13th (feat. Octavian)
9. Dead Butterflies (feat. Kano And Roxani Arias)
10. Désolé (feat. Fatoumata Diawara) [Extended Version]
11. Momentary Bliss (feat. Slowthai And Slaves)

Disc 2
12. Opium (feat. EARTHGANG)
13. Simplicity (feat. Joan As Police Woman)
14. Severed Head (feat. Goldlink And Unknown Mortal Orchestra)
15. With Love To An Ex (feat Moonchild Sanelly)
16. MLS (feat. JPEGMAFIA And CHAI)
17. How Far? (feat. Tony Allen And Skepta)

Co-founder of '70s/'80s anarchist punk band Crass, activist, poet, novelist, painter and philosopher Penny Rimbaud has recorded a live recital of ‘How?’, backed by jazz cellist Kate Shortt. ‘How? Is a reinterpretation of Allen Ginsberg’s classic 1954 poem ‘Howl’ wherein Penny, like Ginsberg before him, seeks to challenge the establishment and encapsulate the righteous anger and frustrations of a generation.

In January 2003, alongside a jazz quartet, Penny performed ‘Howl’ as his first gig at London’s Vortex Jazz Club. Ginsberg’s poem was chosen because it had been seminal in Penny’s development as a writer and because it seemed so well suited to a jazz setting. After the show, he was asked to do a repeat performance as part of that year’s London Jazz Festival. After happily agreeing, he reached out to the copyright holders expecting the process to be a mere formality, but it wasn’t. HarperCollins Inc is owned by News International, the militarist, industrialist, nationalist wing of media-magnate Rupert Murdoch. 

TRACK LISTING

1. Part I
2. Part II
3. Part III
4. Part IV

When asked to describe himself, Whitmer Thomas—comic, musician, skateboarder, infamous Blink182 fan—will tell you, “I’m always gonna be the one whose mom called him ‘the Golden One,’ right before she died.” This is where his debut HBO comedy special, The Golden One, finds Whitmer: age thirty, investigating this sense (curse?) of destiny-as-identity. It’s been thirteen years since he left Alabama for LA, becoming a linchpin for LA’s young, independent comedy scene with Power Violence, the monthly show he hosted with friends. But he became haunted by the question: had he already peaked, just like his mom, singer in a local band with big ambitions that never made it out of the Flora-Bama Lounge in Gulf Shores? Rather than shy away from all that messy self-mythology, Whitmer tapped the source of it all through writing this one-man show featuring his own original music. Songs from The Golden One, a companion album of songs from the special, features Whitmer’s darkwave bangers, synthesizing relatable content: millennial anxieties, therapy-speak jokes, and the annals of his own childhood tragedies.

Songs from The Golden One feature ten cuts of borderline-John Maus cosplay with spasms of pop-punk absurdity. Thomas uses the gothy, nasal vocal drone as a tool of comic detachment to cover the funny-’cause-its-true territory of awkward sex, crippling insecurity, the shame of ambition, and the long tail of abandonment traumas. Each song is a capsule of initial therapy breakthroughs: those realization zingers where suddenly it all makes sense how each fucked variable from then makes up the weird shit of now. When you see it all for what it is, it looks like some sick, clever joke from the universe, driving you desperate to revise the comedy so that if you have to be reality’s punchline, at least you can write the jokes. Original tracks from the special include the shimmering, synthy euphoria of “Eat You Out,” a glorious admission to performance anxiety and the ol’ magician’s cloak of cunnilingus move. There’s “The Codependent Enabler,” a whole jungle gym of toxic relationship rationale where “I can only get it up if you are down,” and the sadboy sobriety anthem “Partied to Death,” about when you’re young in LA and you have to tell people that you’re not “Cali sober for wellness,” you’re sober because your mom actually died from addiction. At first pass, Whitmer’s special and album make a relevant, hilarious articulation of one tragic childhood, of the messiness of masculinity, of the timeless qualms of being broke with a dream in Los Angeles, and the humiliation inherent in having “a dream” at all. But in flashes of unexpected weirdo wisdom, Whitmer weaves a deeper story of a person finding reconciliation and forgiveness while finding his own self and voice. He faces his darkness with darkwave, writing the story of his objectively insane youth through a Venn diagram of cool guy music, goofy dude jokes, and sensitive boy reflections that hit in a way that feels bigger than the sum of its parts. Whitmer will say that he made The Golden One out of desperation, but there’s something about it that feels a lot more like destiny. 

TRACK LISTING

1. Hurts To Be Alive
2. Dumb In Love
3. Brother Is Bigger
4. Partied To Death
5. The Codependent Enabler
6. Eat You Out
7. Dancing With My Dad
8. Hopes And Dreams
9. The Golden One
10. He's Hot

Sixty five plus minutes of breath-taking material recorded under smooth circumstances in lovely Nashville, TN. This one will without a doubt appeal to long time Yo La Tengo fans, considering the fact that this is their very best one yet. The really good thing, though, is that a lot of people who will buy this record will do so without knowing that it probably is the only TRULY GREAT record they will buy in their lives. Until the next one comes out, of course!!

Banana Skin Shoes is Damon Gough's ninth album and is comprised of 14 tracks including previously released track 'Is This A Dream?'.

Always one to wear his heart on his sleeve, Gough's ninth album is a truly personal & heartfelt collection of songs, a huge statement of intent & the most glorious, colourful warming, honest pop record you'll hear this year.

TRACK LISTING

Banana Skin Shoes
Is This A Dream?
I Just Wanna Wish You Happiness
I'm Not Sure What It Is
Tony Wilson Said
You And Me Against The World
I Need Someone To Trust
Note To Self
Colours
Funny Time Of Year
Fly On The Wall
Never Change
Appletree Boulevard
I'll Do My Best

Music From Memory are happy to finally announce MFM045 - VA ‘Music For Theatre And Dance’ (EP).

This will be the first in a small series of EPs which will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

Whether it’s more ambient or atmospheric works or whether it’s in the more rhythmic or percussive pieces, Music From Memory brings together a selection of tracks which aim to highlight this highly innovative direction in music.

TRACK LISTING

A1. Gerard Stokkink - Yellow Turtles
A2. Ivory Playground - Ivory Playground
B1. Atlantis Transit Project - Bird Perspective
B2. Ramuntcho Matta - Zoique III

'Singer-songwriter, multi-instrumentalist and collaborator; the mighty Ásgeir returns with highly anticipated third album ‘Bury The Moon’. The Icelandic artist returns to his folk roots for lead single ‘Youth’ written in collaboration with his admired poet father, the song documents his childhood growing up in his small Icelandic town, unburdened by worry and full of unbridled joy. The stunning new track swells with horns and hushed acoustic guitars, Ásgeir’s unmistakable honey-soaked vocal soaring across weaving instrumental melodies, culminating in a anthemic peak that exudes nostalgia. 

STAFF COMMENTS

Barry says: Imagine the gorgeous vocal prowess and melodic inclination of the great John Grant, mixed with a more meditative folky instrumental focus, and you're something close to the swooning beauty of Asgeir. It's a triumph of an album, and absolutley enhanced by the duality of the English / Icelandic versions.

TRACK LISTING

Pictures
Youth
Breathe
Eventide
Lazy Giants
Overlay
Rattled Snow
Turn Gold To Sand
Living Water
Until Daybreak
Bury The Moon

'Sátt', is the Icelandic language version of Ásgeir’s highly anticipated third album ‘Bury The Moon’.

The Icelandic artist returns to his folk roots for lead single ‘Youth’ written in collaboration with his admired poet father, the song documents his childhood growing up in his small Icelandic town, unburdened by worry and full of unbridled joy. The stunning new track swells with horns and hushed acoustic guitars, Ásgeir’s unmistakable honey-soaked vocal soaring across weaving instrumental melodies, culminating in a anthemic peak that exudes nostalgia. ‘Bury The Moon’ will be available via One Little Indian 7th February 2020.

Also releasing 'Sátt', the Icelandic language version, on the same day.

STAFF COMMENTS

Barry says: Much like the English Language version of Asgeir's latest, this is a soaring, tender wonder and deserves to be heard by all. If anything, the addition of the Icelandic dialect makes it an even more mysterious and immersive wonder. Gorgeous.

Gang Starr is undoubtedly one of the most revered, beloved and influential groups in Hip Hop. Over the course of their distinguished career, they became a cultural institution and a brand you could ultimately trust. With a handful of indelible classic albums on their resume, DJ Premier and Guru’s catalogue has not only persevered but mastered the test of time. Simply, Gang Starr did not follow trends, they created them. Though they never “officially” disbanded after the release of their last project (The Ownerz 2003), Premier and Guru still remained infinitely connected to each other even as they embarked on solo paths.

Premier winning three Grammy’s along the way and assisting in turning fast rising artists such as Nas, Jay-Z, Notorious B.I.G. and many others into rap royalty; and his imprint included work with artists such as Drake, Christina Aguilera, Kanye West, Dr. Dre, Snoop, Mac Miller, The Game, Ludacris, Maroon 5, Common, Mos Def, Rakim, KRS-One, Janet Jackson, D’Angelo, DJ Khaled, Joey Bada$$, Royce 5’9, Twenty One Pilots, and Miley Cyrus; all of which spoke to his diversity and ability to traverse genres

In turn, Guru would go on to release his own quartet of highly influential Jazzmatazz projects

In the interim, fans always clamored for another Gang Starr album. Though there were whispers and murmurs over the years, nothing ever panned out and the possibilities of that project being willed into existence seemingly grew more remote as the years passed by. After Guru tragically passed away in 2010 the hope seemed to vanish altogether. The one person who refused to give hope was DJ Premier.

One Of The Best Yet is many things. Yes, it’s the first new Gang Starr album in sixteen-years and it is a historic event to be celebrated and rejoiced, but it symbolizes much more than that. One Of The Best Yet further cements Gang Starr’s legacy. This literal gift of an album not only harkens you back to Gang Starr’s seminal work of the past, but it re-establishes their impact in a modern-day perspective.

TRACK LISTING

‘The Sure Shot’ (Intro)
‘Lights Out” Feat. M.O.P.
‘Bad Name’
‘Hit Man’ Feat. Q-Tip
What’s Real’ Feat. Group Home & Royce Da 5’9”
‘Keith Casim Elam’ (Interlude)
‘From A Distance’ Feat. Jeru The Damaja
‘Family And Loyalty” Feat. J. Cole
‘Get Together’ Feat. Ne-Yo & Nitty Scott
‘NYGz/ GS 183rd’ (Interlude)
‘So Many Rappers’
‘Business Or Art’ Feat. Talib Kweli
‘Bring It Back Here’
‘One Of The Best Yet’ (Big Shug Interlude)
‘Take Flight’ (Militia Pt. 4) Feat. Big Shug & Freddie Foxxx
‘Bless The Mic’

The musical touchstones of Tom Fleming, former Wild Beasts songwriter, vocalist and multi-instrumentalis, were Bruce Springsteen, Don Henley, Tom Petty alongside Depeche Mode and Swans. He wrote and played everything himself and then brought in Ben Hillier (Nadine Shah, Graham Coxon) on mixing and production duties.

One True Pairing is an album shaped by class frustration and self-despair and there is a continuation of the exploration of masculinity that made Wild Beasts so unique. As well as being deeply personal, OTP has a wider political resonance. "This country is going through a terrible moment and if you listen to the art nobody seems to give a shit,” Fleming says emphatically. He believes that class is entirely discounted from the current conversation about inclusivity and privilege. In its 11 songs of discordant guitar and aggressive synth Fleming channels his discontent with Britain in 2019 and a “feeling of directionless rage and cheatedness which hasn't gone away."

TRACK LISTING

Zero Summer
I’m Not Afraid
One True Pairing
Weapons
Dawn At The Factory
Blank Walls
Reaper Of Souls
Elite Companion
Alive In The Resplendent Flames
King Of The Rats
Only God Can Judge Me

One Eleven Heavy on this recording are Nick Mitchell Maiato, James Toth (Wooden Wand), Dan Brown (Royal Trux) and Hans Chew. Naming their band after a short story about a plane crash might have been a mistake. Because, for transatlantic, country-infused rockers One Eleven Heavy, it’s been two years of trials and near-death experiences. One Eleven Heavy is lucky to be alive.

And you only need to listen to the music on this, their brilliant second album “Desire Path” to understand that’s how the band feels. Because it’s a wry, occasionally biting, but always joyful celebration of human endurance and the ability to overcome. The musicianship is a step up from their raggedy, but already accomplished, debut, too.

The album is laced with lush three-part vocal harmonies and two-part harmonized guitar licks, recalling those classic Allman Bros runs at the same time as it brings to mind timeless classics by Hendrix, the Stones and, of course, the Dead. For One Eleven Heavy, being miraculous is a goal worth striving for. And the only route to it is by the “Desire Path.” Take it.

TRACK LISTING

Chickenshit
Wild Hair
Hot Potato Soup
Stir
Fickle Wind
Mardi Gras
House Of Cards
Too Much, Too Much
Three Poisons

Taras Bulba was formed in the winter of 2019 by Fred Laird and Jon Blacow. Taking a new direction from their last musical outfit EARTHLING SOCIETY, the duo embarked on an inner space mission for new age ideas, rhythmic mantras, ambient landscapes and creative micro dosing.

Taras Bulba ‘One’ is a pot-pouri of Eastern/ Asian sounds, Krautrock Rhythms, ambient landscapes, psychedelic blues and Orb inspired dub. Taking influences from Midori Takada, Tony Scott, CAN, Neu!, 6 organs of Admittance, The Orb and the soundtracks of David Lynch and Angelo Badalemnti.

Recorded between September 2018 to May 2019 on home recording equipment in different houses and any empty space large enough for a drum kit. A laptop dying with over worked CPU and amps so broken that the only alternative was to record straight into the desk. Working to a true DIY ethic like some paranoid Philip K.Dick character with a tin foil antenna; piecing together tracks created out of the ether like satellite messages from some imaginary planet.

TRACK LISTING

Side A
Hashish (5:13)
Moroccan Waves (8:55)
On Mt. Kailash (3:57)
I Hadit, U Nuit (6:40)

Side B
Rising Lazarus Blues (9:02)
The Neon Midnight (5:25)
The YO-YO Man (6:19)
Goin' West (3:14)

Ten Notes on a Summer's Day was Crass's final album under the Crass name. It was released in 1986 and consists of a vocal and instrumental version of the same tracks in an avant-garde musical style.

Recorded at Southern Studios in the Winter of 1984 / Summer 1985. Penny Rimbaud says in the liner notes: “Just as throughout our seven years’ existence as a punk band we had made concerted efforts to avoid specific political pigeonholing (‘left-wing, right-wing, you can stuff the lot’), so, musically, we attempted to push the barriers, always avoiding the obvious.”

In one respect alone we were absolutely consistent; our inconsistency. If the essentially rowdy Feeding of the Five Thousand and Stations Of The Crass had established us as the thinking man’s bovver band, so Penis Envy broke the mould as an almost lyrical, yet still very angry piece of rock’n’roll feminism. And just as at the very time that the BBC thought us safe enough to be given airplay, so we ploughed in with Christ, The Album, an uncompromisingly avantgarde noise album which in its own way went a long way in redefining rock’n’roll’s limited parameters.

Then, in much the same way as our fifth album, Yes Sir, I Will, owed more to free jazz than to rock, so Ten Notes On A Summer’s Day nudged itself towards modern European atonality, and us completely out of the rock’n’roll arena (as testified to by dramatically reduced record sales). In this sense, Ten Notes On A Summer’s Day truly was a swansong.”

The vinyl edition comes in a single sleeve with printed inner – bag/insert. The CD comes in cardboard digipack type packaging.

TRACK LISTING

Side A:
1. Ten Notes On A Summer’s Day (Vocal Mix)

Side B:
1. Where Next Columbus? (Instrumental Mix)

Timeless Legend came from Columbus, Ohio. Their "Synchronised" album from 1980 is one of the rarest ‘rare grooves’ and both original copies and the northern soul single, "I Was Born To Love You" still sell for over £1,000 a copy. By 1985 music styles had changed and the group, with shortened name Timeless, capitalized on the burgeoning boogie scene with the 12” double header we reissue here. Of the two sides “You’re The One” has become the most enduring and in demand, having been sold for £1000 on the collectors scene. The French reissue from 2011 is also extremely sought after. In this edition the release has been restored to how the original first looked and sounded on Pendulum Records.

STAFF COMMENTS

Matt says: Sultry smoochers for the Pharoah's bedroom session, you get the boogie-flecked "You're The One" and the all-out soul blast of "Do You Love Me" back2back. Buzzing!

TRACK LISTING

1. You're The One
2. Do You Love Me

An etched 7” vinyl housed in a white card sleeve.

TRACK LISTING

1. Liam Gallagher - One Of Us [Sound Recording]

After being completely sold out on vinyl, Geoff Barrow & Ben Salisbury’s "DROKK: Music Inspired By Mega-City One" has been reissued as a special edition on double LP with beautiful new bespoke packaging and bonus material. This incredible new package is designed by Marc Bessant and features a spined ‘sombre grey’ outer sleeve with deboss and die-cut revealing the reverse board inner sleeve and vinyl label.

"DROKK" is a synth heavy score with a relentless darkness, a cold atmosphere where the tension never drops. Although it is a soundtrack of sorts, Barrow and Salisbury instinctively felt that music for MC1 should steer clear of the rich orchestration common to many contemporary film scores. Even for electronica the music is often purposefully stark and spare, with the majority of tracks created exclusively on the Oberhiem 2 Voice Synthesizer with a cameo from Beak>.

STAFF COMMENTS

Barry says: Absolutely one of my favourite synth albums to this day, Barrow & Salisbury's DROKK is finally available again for everyone I constantly recommend it to. Brilliantly restrained atmospheres and dusty synth soundscapes perfectly capture the Dreddian atmosphere better than the original soundtrack could ever hope to (sorry Silvestri). An essential cinematic synth staple.

TRACK LISTING

1. Lawmaster / Pursuit
2. Helmet Theme
3. Titan Bound
4. 301-305
5. Justice One
6. Scope The Block
7. Exhale
8. Council Of Five
9. Puerto Luminae
10. Miami Lawgiver
11. Eagle
12. Clone Gunman
13. Inhale
14. Iso Hymn
15. 2T[FRU]T
16. Dome Horizon
17. End Them
18. Helmet Theme [Reprise]
19. The Men Who Never Learned
20. Heista
21. Cal
22. Dark Judges
23. Fish
24. Justice 1 (Demo)
25. Miami Lawgiver (Alt. Version)
26. Call-Me-Kenneth
27. Scope The Block (Alt. Version)

Classic compilation, now back in stock across two CD albums.

‘1979-1983’ was originally released as a double album on vinyl in 1985 and then split into two volumes for release the following year. Together they offer an in-depth introduction to one of the most influential bands of recent times.

TRACK LISTING

Double Dare
In The Flat Field
Dark Entries
Stigmata Martyr
Bela Lugosi’s Dead
A God In An Alcove
Telegram Sam
St. Vitus Dance
A Spy In The Cab
Terror Couple Kill Colonel
Dancing
Hair Of The Dog
The Passion Of Lovers
Mask

Melodies International brings forward its latest disco 12” reissue single and another You’re a Melody peak time classic: Shahid Wheeler – Just One Dance Before You Go. The song was written and recorded by producer James Hartnett – having studied music theory and composition back in high school and recognised back then for producing a charted northern soul spin in the UK titled “Hipit” in 1976 with his studio band “Hosanna”, it’s in 1978 that Hartnett produced and self released the scarcer and more compelling “Just One Dance Before You Go” which he refers to as his masterpiece. With a fairly stripped back line up for a disco tune including a rhythm section, hammond organ, horns and vocals, Hartnett manages to do so much through seemingly simple but clever arrangements and thumping, contagious energy. Hartnett had also invited friend and singer Leroy Shahid Wheeler to perform lead vocals, who’s signature high pitched falsetto lifts the whole operation above ground – a true feel good party anthem! 

TRACK LISTING

A1. Just One Dance Before You Go (Vocal)
B1. Just One Dance Before You Go (Instr.)

First release in a new multi-part series of solo releases by Wolf Eyes frontman Nate Young. An evolution from the previous Regression material, taking in elements of classic synth soundtracks, ambient and electronic body music but filtered through a typically off-centre Michigan underground sensibility.

In the Regression series - ‘Regression’ (2009), ‘Stay Asleep’ (2011), ‘Other Days’ (2012), ‘Blinding Confusion’ (2013) - Young drew a compositional aesthetic from Italian library music and musique concrète. Since then, Young has been interpreting the traditional musical methods of rhythm and melody into complex synthesizer compositions.

These songs were commonly made as a distraction from grief, seasonal depression and isolation. Sometimes severely ridiculous and unrelenting, other times slow, sparse and strange, this material didn’t fit in with the Regression series. It was archived and unreleased until now.

Nate Young is a Detroit-based musician working in experimental electronic sound for over twenty years. In 1998, Young founded legendary noise group Wolf Eyes. Solo and as Wolf Eyes, Young has toured the world, released countless records, collaborated with Anthony Braxton and Marshall Allen and inspired a generation of electronic musicians. Recent accomplishments include performing his compositions with the BBC Scottish Symphony Orchestra and creating Trip Metal Fest, an annual free experimental music festival in Detroit that has brought luminaries such as Morton Subotnick and the Art Ensemble of Chicago to the city. In 2016, Young co-created (with John Olson) Lower Floor Music with assistance from iconic electronic label Warp Records.

Presented in a reverse board sleeve with A2 double-sided newsprint poster. Includes digital download card featuring bonus track ‘Pardon The Mess’.

TRACK LISTING

Tracklisting
In The Shadow Of
Mindless Voices
The Weeping Babe
Crumpled Body
Vents Of Blue
Dribbling Insane
Flushing
On Repeat

In case you don't know by now, Insecure Menare led by Saul Adamczewski (Fat White Family) and his schoolmate Ben Romans-Hopcraft. There debut album was a glorious mess of  exotica, easy listening, lounge and timeless pop music.They now return with this 10 track covers record, feat. takes on Bruce Springsteen, The Pogues, The Carpenters, Peter Andre et al.

STAFF COMMENTS

Barry says: It's a completely bizarre but thoroughly brilliant re-working of some karaoke classics from Insecure Men here, including the Police, the Denny's and PETER BLOODY ANDRE. WTAF / This is brilliant. Special shout-out to the Pogues' 'A Rainy Night In Soho'.

TRACK LISTING

SIDE A
1. Rainy Days And Mondays
2. Mysterious Girl
3. She Thinks I Still Care
4. A Rainy Night In Soho
5. Streets Of Philadelphia

SIDE B
1. Roxette
2. I'm So Depressed
3. Sail Away To The Sea
4. Picture Cards Can't Picture You
5. Madame George

Remixes from Chris Carter’s "Chemistry Lessons Volume One.1: Coursework" alongside a new piece - "Bongo Glow".

A work in progress at the time the album was completed, "Bongo Glow" was completed using the same processes as the rest of "CCCLV1", and it juusst about made the cut for the Japanese release date. But for you lucky listeners Mute have ensured its inclusion here. A slowly morphing, elasticated track with mangled, computerized vox, playful melodies and push-pull rhythms; it's deliciously quirky and textured and should appeal to both die hard electronica fans and lovers of leftfield pop.

The additional three reworkings included here were created without direct instruction as an experiment to see how they changed with input from external sources. Daniel Avery’s remix of "Usyring" is a slow building, mesmerizing industrial pounder which fits perfectly with the producer's current MO. 

Meanwhile The Radiophonic Workshop took "Blissters" and created a more experimental reworking exectued in their unique style and Chris Liebing gives "Tones Map" a brooding end-of-world type feel, adding his 'Slow Burn' remix technique.

TRACK LISTING

Bongo Glow
Uysring (Daniel Avery Remix)
Blissters (Radiophonic Workshop Remix)
Tones Map (Chris Liebing Burn Slow Remix)

An early devotee of shoegaze and the dreamy melancholia of bands such as Mazzy Star and Sparklehorse, Khouri began her career as an acoustic singer-songwriter in New York, selfreleasing her first EP ‘A Song to the City’. Returning to London, she was eventually discovered by producer John Parish (PJ Harvey, This is the Kit) and began writing songs for what would become her first LP, ‘The Salted Air’ released in 2017. The album earned plaudits from the likes of MOJO and Drowned In Sound, was celebrated by Q (Feb 2017 Critics Choice) and selected as one of Rough Trade’s Albums of the Year 2017. In the past year, Khouri has toured in the UK and Europe and has shared the stage with artists such as Low, John Parish, Aldous Harding, H. Hawkline, Howe Gelb, Adrian Crowley, and many more.

Self-produced and recorded in London in between touring commitments, Khouri’s latest offering was mixed by Alan Weatherhead (Sparklehorse, Julien Baker) and is a powerful return from her acclaimed debut. If her debut ‘The Salted Air’ were an allegory for displacement, in ‘A New Dawn’ Khouri has found the shore and displays a quiet, newfound confidence. The title track, which premiered on CLASH in August, opens with droning harmonium, cascades of tremolo guitar and mermaid-like backing vocals.

‘To Sleep’ sees violinist Basia Bartz doubling Khouri’s nylon string guitar in a pizzicato set against swelling harmonium, piano and flurries of guitar delay. Penned as “a lullaby she wrote from the point of view of a younger self” in a war zone, Khouri deals with the sounds of shelling by singing herself to sleep: “Teach me / A melody / So I can hum myself to sleep”. The beautifully arranged EP highlights Khouri’s talent for creating songs that feel both vast and intimate, as her sumptuous vocal takes centre-stage with poignant lyrics set against delicate atmospheric soundscapes.

TRACK LISTING

1. A New Dawn
2. To Sleep
3. The Hours

This One’s For The Dancer & This One’s For The Dancer’s Bouquet is an experimental, amorphous listen, oscillating between jazzier meditations and frenetic rock imbued with marimbas, xylophones, and steel drum. It’s made up of two distinct yet connected ideas; the music is culled from two separate projects, each with different collaborators, recorded in different studios, in different towns, in different years. The songs are sung from two completely different standpoints, blended into one long, single album. Half of the songs were written from the point of view of the Minotaur from Greek mythology, the other half written from Krug's own perspective.

Each side of the four-sided album is its own little journey, connected by a through-thread of density, of unmerciful darkness that colors every corner of the sound. In Krug’s own words:

“I never made an album under that name I was embarrassed by, and this is one of my favorites, so I may as well get out while I still can, on a personal high note to boot. Take this album as a sort of parting gift before Moonface sails into oblivion; the alter-ego’s final offering."

TRACK LISTING

1. Minotaur Forgiving Pasiphae
2. The Cave
3. Minotaur Forgiving Knossos
4. Heartbreaking Bravery II
5. Last Night
6. Minotaur Forgiving Minos
7. Aidan’s Ear
8. Minotaur Forgiving Theseus
9. Sad Suomenlinna
10. Minotaur Forgiving Daedalus
11. Okay To Do This
12. Dreamsong
13. Hater
14. Minotaur Forgiving The White Bull
15. Walk The Circle In The Other Direction
16. Minotaur Forgiving Poseidon

"Studio One Freedom Sounds" is the new collection from the nation's favourite one-stop shop, focusing on the intense period in the second half of the 1960s when Studio One’s vast and unbeatable output of ska, soul, rock steady and reggae made it literally one of the hottest musical empires in the world.

During this highly successful period, Clement ‘Sir Coxsone’ Dodd released hundreds and hundreds of superlative singles seemingly on an almost daily basis, in the process making huge stars out of Jamaican singers such as Alton Ellis, Delroy Wilson, The Wailers, Slim Smith, Jackie Opel and many more.

Powered by the finest in-house musicians working in Jamaica, whether it was The Skatalites, Jackie Mittoo’s Soul Brothers, The Sounds Dimension or The Soul Vendors, Studio One functioned as hit factory on the scale of Motown in the USA, shaping and defining reggae music for decades to come.

Singlehandedly Studio One’s founder Clement Dodd was able to create the most successful vertically-integrated record company that Jamaica had ever known with pressing plant, printers, studio, shops and sound systems all running at once, with over 50 employees and hundreds of artists working with Studio One during this time.

"Studio One Freedom Sounds" tells the story of Studio One in the 1960s with a stunning set of ska, soul, rock steady and reggae killer tunes as well as informative sleevenotes and track-by-track info by Noel Hawks.

TRACK LISTING

Don Drummond & The Skatalites - Rain Or Shine
The Gaylads - Morning Sun
Delroy Wilson - Just Because Of You
Alton Ellis - Sunday Coming
Jackie Opel - I Am What I Am
Peter Tosh - I Am The Toughest
Delroy Wilson - Get Ready
Mr. Foundation - Timo-Oh
Roland Alphonso & The Soul Brothers - Provocation
Leroy & Rocky - Love Me Girl
Slim & Delroy - Look Who Is Back Again
The Skatalites - Spread Satin
Barrington Spence - Contemplating Mind
Ernest Ranglin - Psychedelic Rock
Bob Marley & The Wailers - Destiny
Roland Alphonso - Reggae In The Grass
Zoot Simms - We Can Talk It Over
Jackie Mittoo - Hi Jack

PRESSURE presents the limited edition red vinyl of Miss Red 'Dagga / One Shot Killer', produced by Kevin Martin aka The Bug, limited to 500 copies worldwide and hand stamped with her K.O. logo.
Miss Red’s fierce flow rides roughshod over warped bashment anthems and showcases her ability to adapt to different flavours. The Bug’s riddims are a masterclass in restraint, retaining his trademark heaviness but taking a step back from the atmospheric ambience of his recent work with Burial and Earth. Instead this is an example of the dexterity with which Martin can deploy a minimal arrangement, taking a bassline, beat, FX and vocal
and sharpening those elements for maximum dancefloor devastation.
In 2015 Miss Red dropped her first solo mixtape, Murder, with The Bug’s riddims supplemented with contributions from other producers such as Mark Pritchard, Mumdance and Andy Stott. Subsequent singles on her own Red label and the in-house imprint of iconic London record shop Sounds Of The Universe have sold out straight away, and she has received acclaim for her collaborations with Warp Records artist Gaika.

STAFF COMMENTS

Patrick says: Ahead of her "K.O." double LP Miss Red drops the boisterous bashment thump of "Dagga" (essential for heating up the dance, backed with "One Shot Killer" a deeper darker track with trademark sonics from The Bug.

‘Greatest Hits Volume One: A Slight Case Of Overbombing’, was originally released in 1993, and reached #14 in the UK. This elusive, long out of print vinyl features the band’s best-loved and most famous songs from their studio recordings.

Moog Recordings Library is the record arm of Moog Sound Lab which was created and loaned by Moog Music Inc as a celebration of the life and work of Dr Robert Moog. Across 2015 and 2016 the project invited a who's who of contempory electronic artists for a 'conference' around the celebrated synthesizer. This week we see the fruits of these sessions via releases by Mika Vainio, Hieroglyphic Being and The Grid.

Mika visited the Moog Sound-Lab in April 2015. He made one his last known solo studio recordings in the form of two vinyl sized side long pieces. Entitled "Lydspor" - Danish for ‘Soundtrack’. Mika worked almost exclusively with the lab’s Moog Modular System 55. This UK sound-lab instrument is the sole protoype model (containing several golden filters) of Moog’s recent sold out reverse-engineered edition (55 units only) recreating the 1970’s classic. On completion of his sessions Mika announced ‘I could work with this machine for the rest of my life….I would need nothing else”. A second Moog session was planned but tragically Mika died in an accident in April 2017, shortly after he had approved the vinyl mastering. 

STAFF COMMENTS

Barry says: The late, great electronic genius Mika Vainio brings his imitable ambient electronics to Moog Recordings Library for his superb suite of simmering industrial electronics and crushing, static drone.

TRACK LISTING

Lydspor (Part 1) 20:00 
Lydspor (Part2) 19:37

pen·ti·men·to / noun
'Reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over.'

First new album in nine years by a musical visionary and hugely influential figure in new music. Forty years since its creation, Jon Hassell's "Fourth World" aesthetic remains a powerful influence on modern electronic music. Continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing, fragments of performance are sampled, looped, overdubbed and re-arranged into beguiling unexpected shapes. Hassell applies the painterly technique of ‘pentimento’ to the arrangements, teasing out texture by the overlaying of sound upon sound, or a carefully timed reveal of the delicate bones pinning the frame of a track together.

TRACK LISTING

1. Dreaming
2. Picnic
3. Slipstream
4. Al Kongo Udu
5. Pastorale Vassant
6. Manga Scene
7. Her First Rain
8. Ndeya

Since Beach Slang came into being, bandleader James Alex has taken to performing his group's heartfelt anthems as more intimate solo renditions. Appropriately dubbed "Quiet Slang," these alternate reality versions of Beach Slang's music have now simultaneously been stripped down and fleshed out in the studio to include piano and cello. Following on from the recent We Were Babies & We Were Dirtbags EP, Quiet Slang now bring you a full album of such songs - 'Everything Matters But No One Is Listening' .

TRACK LISTING

1. Bad Art & Weirdo Ideas 
2. Noisy Heaven [
3. Future Mixtape For The Art Kids
4. Filthy Luck 
5. Dirty Cigarettes 
6. Too Late To Die Young 
7. Spin The Dial 
8. Young Hearts
9. Throwaways 
10. Warpaint

Reissue of Courtney Marie Andrews' early record, No One's Slate Is Clean, from Fat Possum / House Arrest.

Her local alt-newsweekly once called Andrews “the biggest star in the pop-folk scene in Phoenix.” In the same article, Jim Adkins of Jimmy Eat World, who had Andrews sing backup vocals on the band’s 2010 release Invented, called the young singer “all pro.”

But being huge in Phoenix isn’t big enough for Andrews, who hits the road relentlessly. She visits Upland’s The Wire Sunday, Jan. 29, bringing her somber, Carole King-ish crooning and Zooey Deschanel bangs to the stage.

The self-taught songbird is influenced by artists as far reaching as Sun Kil Moon and Billie Holiday to Joni Mitchell and Pink Floyd. But what inspires her creativity most, she says, is change—people, places and things, continually evolving.

Touring, which provides plenty of spark for songwriting, is part of the deal for the desert dweller. “It’s bad and it’s also vital for my sanity,” Andrews says. “I really like the stories,” she says, adding that nearly every song on No One’s Slate is Clean was written in a hotel room.

Many of Andrews’ tunes are autobiographical, of course, sometimes intimately, painfully so. “But there are always those little stretches of truth,” she concedes. “But that is what makes a story a story.” The ones that come easily usually end up as tracks on the album, she says. But that doesn’t mean they are Andrews’ favorites.'"

TRACK LISTING

1. Bumper In The Hail
2. Monkey On A Chain
3. Songs For Tourists
4. Mistress Of The Stone
5. Ballad Of A Home Once Left
6. Sex Dreams
7. Unbalanced Suns
8. Canals Of Amsterdam
9. Georgia Guilt
10. Dear Sister
11. Magician's Best Trick

This is a record born through time; seasoned and erudite Indie auteur, ex leader of Creation Records favourites The Loft and The Weather Prophets, Pete Astor brings together strands and tributaries in his work over the years, mining timeless guitar pop to frame wry lyrical insights and melodic hooks, making music for today, with a true line from the past and an eye to the future. Having released Spilt Milk (Fortuna Pop!) in 2016 to an overwhelmingly positive response, Astor continues the musical spirit of that album with James Hoare (Ultimate Painting, Proper Ornaments, Veronica Falls) remaining a mainstay on guitar. He is now joined by The Wave Pictures rhythm section of Franic Rozycki on bass and Jonny Helm on drums; Pam Berry of Withered Hand and Black Tambourine contributes vocals. 

An intensely quiet trip inspired by Tarkovsky movies, Feldman’s long works and essentialist jazz. It sees Arthurs expand his long-time duo with pianist Richard Fairhurst to a trio with the inclusion of Finnish percussionist Markku Ounaskari. Fragile and deep, mysterious and nocturnal, romantic and entrancing. There was a striking, yet entirely coincidental proximity between these new tunes and the folk pieces Ounaskari had earlier recorded with his Kuára-trio on ECM.

For ‘One Year’ Arthurs kept reshaping the scores, from changing comparatively minor details to turning entire arrangements upside down. Since the bulk of the original material comprised of fragments, he was able to shift sections from one piece to the next in search of their ideal position. The inspiration had come from film: “I was deeply impressed by how Tarkovsky edited his masterpiece ‘Mirror’. He had no story, no plan, no storyboard. He just shot a lot of material and then, for two years, he had these clothes lines in his house and was putting together the scene into different forms until he had the movie.” 

TRACK LISTING

Evergreens
Pyörähdellen
Verklöstert
Liepnitz In Ruhe
S. Unterwegs (CD Only)
One Year/Song
Rising (CD Only)

A triple CD set of archive / unreleased / unearthed MWC sounds to celebrate their 10th year of functionality. The first disc, A Field Full Of Sunken Horses hearkens back to MWC’s earliest phase c. 2003-2009, including the titular fan fave which was issued as 128kbps MP3 only by The Wire in 2005, and now appears in high quality along with the flanging, bubbling magick of Rotten Druid and the bandy-legged swagger of Owd Lad Night. The 2nd disc, Tripping In The Elizabethan Sense brings us up to the period surrounding Clutch It Like A Gonk, namely variations on a "dance” music theme and the results spell out an array of eerie-step beats and mystic foxtrots.

The final disc We In This Hill Are Alive relinquishes a further 22 tracks of undulating soundscapes, taking inspiration from rugged Northern English hills and valleys to render a series of deep topographical studies mapping plasmic links between stone circles, hill mounds and ancient folk dressed in cutting edge couture. This is a music and upside down world unto itself, one where clocks go backwards and anthropomorphic fancies are an everyday occurrence ~ familiar to many, and seductive to many more.

TRACK LISTING

A - A Field Full Of Sunken Horses (GEPH010CDA)

1-1 Planting By The Signs
1-2 Peel Of Bees
1-3 A Central Variation
1-4 The Moontower
1-5 Magpie Mine
1-6 He've Got Saint Lawrence On The Shoulder*
1-7 Wolves In My House
1-8 The Potting Shed
1-9 Return To Shoebox Garden
1-10 Penfriends
1-11 Rotten Druid
1-12 Marshlight No. 2
1-13 Squire Skipling's Horrible Hobby
1-14 The Rabbit's Warning
1-15 Shopping In Fog
1-16 Curdled Footpath
1-17 Carousel Jack
1-18 13 O'Clock Hallucinations 2
1-19 Owd Lad Night
1-20 Autumn Fair Advertisement
1-21 10,000 Frozen Steps
1-22 Music In The Woods

B - Tripping In The Elizabethan Sense (GEPH010CDB)

2-1 Autumn Theatricals
2-2 Galaxy Class
2-3 Circle Of Power
2-4 Infernal Devices (Electrickery Mix)
2-5 Gonk Electric
2-6 Original Wolf Bounce
2-7 Gonk Operetta (Phantom Mix)
2-8 Gonk Stealth
2-9 Sly Gavotte (Dizzy Mix)
2-10 Special Nougat (Ghastly Nougat Mix)
2-11 Antiques Roadshow (Lost Somewhere Mix)
2-12 Spellcasting Summat (Could Be Hiding Mix)
2-13 Gonk Woozy
2-14 Always A Party (Fancy Fizz Mix)
2-15 Teatime Tick-tock Club
2-16 Gonk Materialize
2-17 Tudorbethan Jobbernowl (Full Jobbernowl Mix)
2-18 History Of Light Entertainment
2-19 Gonk Express
2-20 Strangewood Fair (Flaming Candyfloss Mix)
2-21 Hunted By Sentient Topiary
2-22 Ponder Ye (Extra Ponder Mix)

C - We In This Hill Are All Alive (GEPH010CDC)

3-1 Another Another Dreame
3-2 Endless Library
3-3 Location Spell
3-4 Eye Spy The Grey World
3-5 Refined Treacle Scryer
3-6 Nine Decaying Castles
3-7 Eternal Lovebirds (Midnight Mix)
3-8 Scorpio Pankenmannikins
3-9 Dispatch The Courtiers (Body Switcher)
3-10 Fine Big Hats
3-11 Exit Magic Control
3-12 Meadow Signals
3-13 If You Had The Key *
3-14 Midsummer Visitation
3-15 Silver Wolves
3-16 Creeping Into The Kitchen
3-17 Time Means Nowt
3-18 Redcaps In Barley
3-19 Absurd Games Night
3-20 A New Face On An Old Friend (Blazing)
3-21 Coaxing Zeus Into Bird Parallel *
3-22 Answer The Silent Question

Debut full-length here from Birmingham's Iwarriyah (you might have caught a couple of early 10" dubplates & a dub album also arriving this week...). Authentic, UK roots reggae with a much more traditional reggae sound than his second, more digi-dub flavoured offering. The lyrical content covers the usual subjects of oppression, segregation and good ganja, with Iwarriyah's delivery relaxed, confident and, most notably, empowering. Recorded at Outpost Music Workshop (Hampton VA), Ghettoroots NYC and King Alpha here in the UK, it features a tight set of backing musicians, excellent drums and some excellent skills behind the desk. In short, a UK reggae classic. Recommended. 

TRACK LISTING

1 Babylon Will Suffer
2 Suffer Dub
3 Valley Of D.C.Zhan
4 D.C.Zhan Dub
5 *Dem Demon
6 Dub Dem
7 Five Were Wise
8 Wise Dub
9 Scatter The Clouds (Remix)
10 Dub Horizon (Remix)
11 Afrikan Princess
12 Warriyah Prayer
13 Wonderfull Counselor
14 Wonderfull Dub

A landmark in cinematic wildlife fi lmmaking, Earth: One Amazing Day dramati cally brings to life the crucial role the sun plays in shaping the destinies of life-forms on the planet, including ourselves. It’s a spectacular vision of the rhythms of day and night and how a relati onship with the sun binds every species together.

The score is produced by Alex Heffes, one of fi lm world’s most exciting composers, with credits such as Touching The Void, The Last King Of Scotland and Queen Of Katwe.

This vinyl edition is packaged as a gatefold double LP on blue and green translucent heavyweight vinyl. The artwork contains numerous photos from the
film itself.

TRACK LISTING

LP 1:
Earth
Sunrise
Serval
Iguanas Vs. Snakes
Waltz Of The Flowers
Baby Panda
Cloud Building
Zebra River Crossing
Narwhales
Brown Bears
Sleepy Lions
Giraffe Battle
Sand Dunes
Sperm Whales

LP 2:
Sloth Story
Penguin Colony
Penguin Raiders Return
Penguins Reunited
Racket Tailed Hummingbird
Field Mouse
Mayflies
Zebra Survives Another Day
White Headed Langurs
Creatures Of The Night
Click Beetle
Bioluminescence
Night Sky
Fireflies
Another Ordinary Day
End Credits

Atlanta, GA’s Blis. debut LP, No One Loves You, avoids the trope: it’s an album of a band that’s lived a lot of life, exploring sonic realms that on the surface, should not go together, but manage to find cohesion. The record mosaics their influences—the intricate rock riffs of American Football, Pedro the Lion’s midtempo balladry gone awry with crucial aggression, indie rock sensibility that has mainstream press publications referencing Modest Mouse and Silversun Pickups. It was their 2015 Starting Fires in My Parents House EP that inspired Sargent House Records to sign them. The band officially started recording under the Blis. name a few years ago, but frontman/primary songwriter Aaron Gossett has been pursuing the project for much longer. “It’s pretty much the first musical endeavor I did after high school,” he recounts.

The quartet—drummer Jimi Ingman, bassist Luke Jones, guitarist Josiah Smith and Gossett—have found a system that works, though the process was arduous. In the two years since their last EP, they’re at home with their lineup, they’ve spent an impossible amount of time on the road (including a two month U.S. tour with now label mates And So I Watch You From Afar). No One Loves You is a record of complex musicianship and even more complicated emotional development—despondent songs that criticize the negative forces in Gossett’s life while never feeling particularly hopeless. Almost every track mentions God or religion. He explains. “If you get to the core of a lot of religions, they’re kind of awful: really disgusting homophobic, misogynistic shit.” It’s harsh, but near the heart of Blis. There’s loving sentiment beneath the percussion, beneath the moments of riotous riffing and explosive texture. Even the title of the record itself reflects the duality of Gossett’s interpretation. “Lost Boy” is a love letter to his partner and a criticism of blind belief. 

TRACK LISTING

1 Dumb
2 Stale Smoke
3 Take Me Home
4 Servant
5 Old Man
6 Lost Boy
7 Ugly
8 Home
9 Christian Girls
10 Pathetic
11 Broken
12 Instant Lover

Bit of a special one this folks. Local provocateur, dance music Casanova and the freshest smelling South African in Manchester, the man the myth the stone cold L E G that is Levi Love kick starts his new label with a record by three of the city's most celebrated rising talents. One sees star Levelz and Wet Play producer Metrodome joined by fellow mancs Mako MCR and (MC) Sparkz for a global-unifying, upfront dance track that joins the dots between kwaito, house and Manchester's forward thinking techno prowess. "Applebush pt. 1" announces the project with a typically fast-paced and wry vocal commentary placed over a swaggering kwaito-funky hybrid, mixing up the SA rhythms with a UK sound palette and bass sensibility. Sparkz sounds relaxed and on form, while the track's production gold is revealed more towards the end, as Metrodome and Morgan open the filter up on this rattling, c64-esque mystic synth refrain. A glimpse into the studio trickery that characterizes these unique producers, it still keeps its feet proudly on the dancefloors of MCR's feverish underground. On the flip Sparkz takes a back seat as the Metrodome and Mako take the stage to display their unfathomably fresh production traits. Reversed concentric vox blending nicely into skewed and pumpin' side chained 2-step - house fusion. Rich and engrossing, Ruud's ADHD production ethos keeping us on our toes throughout and never reveling in superfluous repetition. Seriously, hot shit is this! MVITA. Don't sleep.

STAFF COMMENTS

Matt says: Sometimes you just gotta love what our fine city throws up. Expertly constructed sonic bridge from MCR >> SA here via three of our city's biggest characters. TIP!

TRACK LISTING

Applebush Pt. 1 Feat. Sparkz
Applebush Pt. 2

Mercury-nominated singer-songwriter Kathryn Williams releases a ‘soundtrack album’ to a brand new novel by best-selling author Laura Barnett, that follows the life of a fictional singer. Greatest Hits, the hotly-anticipated follow-up to Barnett’s novel The Versions of Us, was published in June 2017 and now the brand new album by Kathryn Williams – Songs from the Novel Greatest Hits, is released.

The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1’s dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.

The 1960’s in Jamaica was run by two main factions, Coxsonne’s Studio 1 and Duke Reid’s Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ‘ Tom The Great Sebastian’ had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960’s thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being ‘Ghost of the Studios’ himself, Bunny Lee. Bunny ‘Striker’ Lee may have inherited the moniker ‘Striker’ from his liking of a particular TV show called ‘The Hitch-Hiker’, but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee’s sprinkling of magic over some classic tunes….the sound of Studio 1 backed up this time Bunny ‘Striker’ Lee’s set of star musicians The Aggravators. Proving you can’t keep a good tune down, or a great producer pushing forward…..Bunny Lee strikes back….
Hope you enjoy the set…..

‘Together, As One’ is the third album as a leader from British award-winning trumpet player, composer and band-leader Laura Jurd and her debut with newly named band Dinosaur. Featuring Laura’s regular collaborators, friends and creative cohort Elliot Galvin, Conor Chaplin and Corrie Dick, ‘Together, As One’ is a coherently powerful and bold album that not only confirms her promise as one of the most important young musicians to emerge but is a statement that will launch her music further into the wider international jazz world. Laura Jurd’s rise as been nothing short of meteoric since she first burst onto the highly creative London scene in 2010. Very quickly she made a bold statement, releasing two highly acclaimed albums, leading to her selection as a BBC New Generation Artist. With her undeniably unique, creative and joyous spirit and approach to music making, she has developed a formidable reputation as one of the most creative young improvising musicians to emerge from the UK in recent years.

Peter Perrett, whose incisive songcraft and sardonic drawl made him one of the most distinctive voices of the Seventies, hasn’t released any music for 20 years. Bearing in mind his most famous song began “I always flirt with death” (‘Another Girl, Another Planet’), this is one comeback that nobody saw coming.

Backed by his sons - Jamie and Peter Jr. on lead guitar and bass respectively - and produced by Chris Kimsey (The Rolling Stones), Peter’s intuitive feel for words; his flair for idiosyncratic metaphors and his deadpan wit are all still as sharp as ever.

TRACK LISTING

How The West Was Won
An Epic Story
Hard To Say No
Troika
Living In My Head
Man Of Extremes
Sweet Endeavour
C Voyeurger
Something In My Brain
Take Me Home

Visually unique, One More Time With Feeling is a stark, fragile and raw documentary. Shot in 3D, colour and black & white, the film probes the deeply personal circumstances surrounding the making of Skeleton Tree (Nick Cave & The Bad Seeds 16th studio album) and features interviews and live performances by the band in the studio, along with interjected voice-over commentary by Nick Cave.

Originally conceived as a one-night-only global screening event to take place in 950 cinemas across 30 countries simultaneously on 8th September 2016, One More Time With Feeling extended its initial run over several days as cinemas sold out around the world. Due to overwhelming demand, this extraordinary film has returned to the big screen for its final run and is playing currently in cinemas worldwide.

Includes 3 exclusive short films from Andrew Dominik.

"Film of The Year" - MOJO

"Extraordinary" - **** Evening Standard

"A deeply personal film" - ***** Time Out

"An undeniably moving contemplation of shattering loss…a tremendously moving collage." - **** The Guardian

The Dears are an “orchestral-pop-noir-romantique” rock'n'roll band from Montréal, Quebec. They have been active since 1995. Times Infinity Volume One is their sixth studio LP and their first since 2011’s Degeneration Street. The themes covered on Times Infinity Volume One are generally “Romantique” — familiar territory for The Dears; unconditional love, longing, and a debilitating fear of loneliness. The twist, perhaps, concerns legacy, as can be heard on tracks like “To Hold And Have,” “Someday All This Will Be Yours,” and “Here’s To The Death Of All The Romance.” Written over a two-year period, the album was finally committed to audio at the luxuriant Revolution Recording (Toronto) and Thee Mighty Hotel2Tango (Montréal). The sound is described by the band as “both refined and sloppy. At times chill, always trill.” The performance that most captures this characterization is, perhaps, the single, “I Used To Pray For The Heavens To Fall.” The Dears are currently putting final touches on Times Infinity Volume Two, to be released soon after the release of Volume One.

Over the weekend of August 21-22, 2010, not long after Damien Jurado and Richard Swift first collaborated to produce Damien’s 2010 record, ‘Saint Bartlett’, the pair hunkered down with a 4- track recorder and one Coles 4038 ribbon microphone to record a collection of cover songs that run the gamut from John Denver to Chubby Checker to Kraftwerk.

The timing was perfect. On ‘Other People’s Songs Volume One’ one can see the scaffolding of what would become a creative turning point for the pair - later seen with the release of Damien Jurado’s ‘Maraqopa’, the first record in his Maraqopa trilogy - less than two years later. The opening drum hits of ‘Be Not So Fearful’, the falsetto vocals of ‘Sweetness’ and the Spaghetti-Western swing of ‘Radioactivity’ are, by now, hallmarks of the Jurado / Swift sound but ‘Other People’s Songs Volume One’ is a transitional fossil, a marking of the pair’s collaborative evolution.

This is the first time ‘Other People’s Songs Volume One’ is available on CD and LP.

TRACK LISTING

Be Not So Fearful
Hello Sunshine
Sweetness
Sincere Replies
If The Sun Stops Shinin’
Follow Me
Outside MyWindow
Radioactivity
Crazy Like A Fox

‘Magnificent Ram A’ is the follow up to DiLego’s 2012 album, ‘Western & Atlantic’, which won an Independent Music Award for ‘Best Roots/Alt Country Album’.

“New York City’s emerging folk-twang songsmith, Don DiLego, is alt-country’s next poster boy” - Rolling Stone.

“’Drive Like Pirates’ could well be your new favourite song of the week” - Chris Hawkins, BBC 6Music.

“A record that hangs together like a star spangled cosmic nudie suit. This is country ‘cool’” - Americana UK.

TRACK LISTING

Karma King
A Wishful Poem
Drive Like Pirates
I’m On Fire
Go Pack Your Suitcase
Up In Smoke
Don’t Bury Me Alive
The West Side Oak
Running In Place With A Desperate Heart
Idiot Heart

How do you keep a band interesting after ten years? It’s a question Slow Club’s Charles Watson and Rebecca Taylor must have asked themselves as they started work on their fourth album.The answer seems to be producer Matthew E. White, the master of Southern-gothic folk, whose in-house band at Richmond’s Spacebomb Studios provided the consistency and tone the album required. Almost every track was played live in the studio, allowing the long-established session band’s natural chemistry to augment Charles and Rebecca’s, with the double advantage of recording being very effective, and also comparatively quick.

One Day…. contains some of the best melodies they’ve yet created. The duo’s knack for writing hooks and melody has, if anything, become stronger. There are choruses here you instantly feel you’ve known your whole life, like ‘Ancient Rolling Seas’ timeless, reassuring refrain of “I’ll always be by your side”, or ‘Champion’’s Dolly Parton via-Linda Ronstadt anthem of self-celebration through the darkest times. Perhaps best of all are a pair of songs to be found at the top of what traditionalists would call “side 2”- ‘Rebecca Casanova’, a slice of widescreen, four-to-the-floor pop that recalls soft-rock giants Fleetwood Mac in the way it channels heartbreak onto the dancefloor, and ‘Tattoo Of The King’, a tale that takes Neil Young and the Doobie Brothers to the disco.

STAFF COMMENTS

Barry says: Chemistry like this doesn't come along every day. It is clear from the offset that Slow Club work on another level of understanding : there is a warmth and subdued energy to all of these pieces that demonstrate how important that understanding is. 'In Waves' is assured Southern country of the highest order while 'Sweetest Grape On The Vine' could easily have some of the best close vocal harmonies i've heard for a long time. 'Rebecca Casanova' is perfectly stripped-back yet sounds surprisingly complete. Intoxicating and mesmerising songs with strikingly effective production. A triumphant return for Slow Club.

Over a decade since The Magic Numbers landed in the Top Ten with their double platinum-selling debut album, Michele Stodart takes temporary leave of the band she formed with her brother Romeo in order to release her second solo album, ‘Pieces’, on One Little Indian.

STAFF COMMENTS

Barry says: Former magic number pulls out a wistful collection of Americana-tinged soulful anthems. Understated tales of longing and pain, grand instrumentation springing from a solo acoustic guitar, and Stodart's trademark pitch-perfect vocals. Recommended.

TRACK LISTING

Come Back Home
When Is It Over?
Once In A While
Just Anyone Won’t Do
Oh By & By
Ain’t No Woman
Something About You
Will You Wait
Over The Hill

Jake wrote all eleven songs, played most of the instruments, and produced most of the album (Jacknife Lee produced 3 tracks). The results are simply staggering. Following the incredible success of his first two albums, the double platinum 2012 debut ‘Jake Bugg’ and the top five 2013 follow-up ‘Shangri La’, this new disc firmly establishes Jake as one of Britain’s most exciting talents.

Recorded in London, Los Angeles and Nottingham, highlights are many and include the moving ‘Love Hope And Misery’ driven by a huge chorus, the stomping ‘Bitter Salt’, the soulful ‘Never Wanna Dance’ and the defining title track.

TRACK LISTING

1. On My One
2. Gimme The Love
3. Love, Hope And Misery
4. The Love We’re Hoping For
5. Put Out The Fire
6. Never Wanna Dance
7. Bitter Salt
8. Ain't No Rhyme
9. Livin’ Up Country
10. All That
11. Hold On You

Recorded by Wild Palms in the same self-built Manor House studio where they made their 2011 debut ‘Until Spring’, new album ‘Live Together, Eat Each Other’ is a lusciously layered offering of hazy experimentalism and off-kilter alt pop, that follows in the auspicious lineage of Beach House, Cocteau Twins and TV On The Radio.

Half a decade in the works, ‘Live Together, Eat Each Other’ packs a lifetime’s worth of experience into 13 tracks, alongside a painstaking approach to recording that beams out of its shimmering glitches and collaged soundscapes. “Because we redid the songs so many times, and sat with them so long and went through so many transformations in terms of layering, it was kind of like the songs had eaten themselves and been regurgitated as something else,” explains Lou of the album’s title. “It seemed like the whole thing was this weird process of consumption and reconstitution. The time it took seemed to allow for a kind of gestation, or fermentation, period. It gave time for influences to bond and stick to each other. Things were made, smashed up into fragments and reformed repeatedly until we couldn’t really remember what it’d been before and it was just what it was. Darrell [the band’s guitarist and Saatchi approved artist]’s artwork followed the same trail as well, collage, re-working, painting, and blotting.”

‘Live Together, Eat Each Other’ is released through One Little Indian Records. The album was produced by the band’s bassist Gareth Jones and Liam Howe (Lana Del Rey, FKA Twigs) who was drafted in to coproduce and fine tune the record.

TRACK LISTING

You Could Be Better (Intro)
Ennio
Again No
Rainmaking (Interlude)
A Is For Apple
100 Cymbals
Flowers (Interlude)
Lance And Candice
Hungry-Mouthed Hunting Dogs
Temper Gold
Open Window (Interlude)
Nothing
Feathers (Pts 1 & 2)

Following on from the success of her critically acclaimed ‘Incitation’ EP, Olga Bell is back with new album ‘Tempo’, released via One Little Indian Records.

“Grand compositional ambitions and a dynamic voice... the arty, adventurous edge of pop” - The New York Times

“For those uninitiated, Bell’s work lies somewhere between an industrial night at Berghain and a cyborg performing at Carnegie Hall.” - Dummy

STAFF COMMENTS

Barry says: Encompassing aspects of outsider-pop, synthwave and electronic soul, 'Tempo' confounds expectations of the singer songwriter. Quirky off-kilter rhythms and textures permeate the whole endeavour , rapidly switching from acid pulse-wave stabs to glitched out snares and clave hits. Like a medley of all the electronic tropes of the last 20 years, but distilled into a cohesive and concise representation of modern electronic music culture. This is a capable and sparkling outing, and at no point feels too far from comfort. Like hopping between ten different parties of ten different varieties, each playing different music, and loving each and every minute.

TRACK LISTING

Power User
Doppio
Randomness
ATA
Regular
Zone
Ritual (ft. Sara Lucas)
Your Life Is A Lie
Stomach It
America

Previously unreleased schizo post-punk / Moogy folk score to 1983 British TV Scouse-ploitation drama ‘One Summer’ from the vault of Kate Bush, Serge Gainsbourg and David Bowie’s bestkept secret session man, Alan Parker.

From the one-man studio vault of the guitarist who adorned 'Histoire De Melody Nelson', 'The Kick Inside' AND 'Diamond Dogs' comes a post-punk, 80’s TV soundtrack that aims to restore the unforgettable names of Billy and Icky in your nostalgic consciousness while liberating lost music of a significant unsung UK composer.

Bringing back fractured memories of Scouse teenage rebellion, sports casual weekend wear, chip shop violence and escape missions to the Welsh Valleys (where baby birds are fed Mars Bars and shoplifting is the local currency), the series One Summer made an indelible impression of gritty realism, tragic heartbreak and woeful hope in the hearts of a dumbstruck generation in 1983.

Inducing abject fear in protective parents and a street smart swagger amongst clued-up youths, this adaptation of a coming of age pastoral thriller by a reluctant Willy Russell broke new boundaries pinpointing a cultural teenage void between post punk activism and the acid house years while arguably giving Thatcherite telly addicts a tiny kick up the arse.

Scored by legendary KPM / De Wolfe library musician Alan Parker, a renowned session player for Serge Gainsbourg, Kate Bush and Bowie (amongst many more) this score retains a genre defying personality, pinpointing the stylistic essence of the era while successfully switching from barren Rumble Fish funk, pastoral Moog noodlings, Pentangular folk, 80’s post-punk rhythms with hints of dubby melodica/harmonica. Composed to cue for the short five-part series (that TV commissioners were too scared to revisit), Parkers bursts of self-propelled small screen scoring came in one to two minute spells allowing Finders Keepers to comfortably fit the entire soundtrack on one neat eleven track limited 7” EP thirty-three years down the train line.

The latest offering from experimental noise masters One Unique Signal is a collaboration between the three core band members and 20 of their contemporaries, who each designed a piece of music inspired by a single riff. Much like the process of continuous recreation that its namesake symbolises, the West London groups third LP, Hoopsnake, devours the seemingly eternal riff and constantly reinvents it to form a series of parallel iterations to the original composition. The riff was born from a repetitious loop originating from the sessions for their previous LP, the Sonic Boom mastered Aether. The band then recorded two versions of it (one a loud, guitar-driven take, the second a softer synth passage) and shared it with friends and collaborators, inviting each artist to create a corresponding sonic interpretation, which have all been mixed into four separate 10 minute long tracks.

The result is a seamless meshing of ideas from some of the best minds in the underground music scene - including The Oscillations Demian Castellanos and Steven Lawrie of The Telescopes - whose recordings span the weird and wonderful, ranging from home made noise box to Godin Artisan ST II recorded on solar power in a caravan, to simply lime green guitar. The roster of musicians and their various tools and instruments has been documented on the vinyl editions printed inner sleeve, and reads like a cross between a tech catalogue and a fantasy novel. The album was originally intended to serve as a second disc for Aether, however an extended, separate version was eventually called for to allow the project to fully realize it's 46 minute cycle, which was inspired by the long, warm summer evenings England experienced in 2013. Despite the new process undertaken for Hoopsnake, the methodically exploritive approach is typical to One Unique Signal, as is the feeling of continuity. The groups Nick Keech explains. From the very beginning, the Signal mythos has been repetition. Fellow band member Byron Jackson continues. The LP destroys itself, reflects upon the destruction, and is finally recreated, ready to repeat the process again. Along with fellow member Daniel Davis, the trio also perform as a part of space rock legends The Telescopes. 

TRACK LISTING

1. HS01
2. HS02
3. HS03
4. HS04

Haircut One Hundred sprung into the limelight with the release of their first single 'Favourite Shirts (Boy Meets Girl)' soon after having signed to Arista Records. It reached number 4 in the UK singles chart. Followed up by 'Love Plus One' peaking at # 3 and then 'Fantastic Day' making it to number 9 - the band had caught the attention and affection of the buoyant UK music scene when single sales were soaring. The band were at the forefront of the emerging Brit funk wave and created memorable and lasting pop classics. 

‘One’ by Be is the first album released by Caught By The River’s record label Rivertones.

This four-track album imagines the sound of British summertime as heard by one of the most important members of the animal kingdom - the bee. A hypnotic picture of the life, work and living environment of the bee, ‘One’ is a truly transcendental record - think Spacemen 3 recording a series of 21st Century outdoor ragas for Touch Records and you’re somewhere in the right direction.

‘One’ is the soundtrack to artist Wolfgang Butress multiple award-winning UK Pavilion at the 2015 Milan Expo, an installation that highlighted the plight of the honeybee, focusing on the importance of pollination. The music on the record is a constantly changing and evolving symphony - the sound of a dialogue between bee and human.

The album was recorded by musicians Kev Bales and Tony Foster, a duo known for working with Spiritualized, Julian Cope, Dave Gahan and Mark Lanegan (among many others). Other musicians featured on the record include Jason Pierce, Youth, cellist Deidre Bencsik, vocalist Camille Buttress and Amiina (the string section regularly used by Sigur Ros).

The recording sessions saw musicians improvising in the key of D along to a live audio feed of beehive sounds. Piano, Mellotron and lap steel were overdubbed later. The result is a unique piece of truly meditative music.

TRACK LISTING

The Journey
Into
The Hive
Uplift

Black Sabbath cover versions have to be amazing, as the originals are really hard to better…or even equal. Well shoot us down if Slow Season don’t ramp it up and drop a killer, absolutely tight and wild version of Supernaut… YEAH!!

This Limited edition 7” has an original “One Way of Another” on the flip..and get the bell bottoms out, we’re going loonsome for this Zep-tastic wig out… Riding Easy for President!!

Earl Brutus achieved notoriety and cult status with the release of their debut album Your Majesty… We Are Here. Their attention grabbing interviews and gigs attracted wider interest and they sign to Island Records via Fruition. They released a second long player, Tonight You Are The Special One, and several singles including The SAS And The Glam That Goes With It and Come Taste My Mind (“masterful examples of raging techno-pop” - Select ) and Larky.

The band continued to play chaotic shows and the last ever gig is at Hammersmith Working Men’s Club on 7th April 2004 and the last track from that gig, Teenage Taliban, is included on the 2CD edition along with a demo recorded in William Reid’s (Jesus And Mary Chain) front room. Other bonus tracks include all the single b-sides sequenced by the band.

The art direction on this re-issue has been done by Scott King who realised the concepts for the original release and singles. The album sleeve is included in Q magazine’s 100 Best Album Sleeves Of All Time in 2001.

TRACK LISTING

DISC: 1
1: The Sas And The Glam That Goes With It
2: Universal Plan
3: Midland Red
4: God, Let Me Be Kind
5: Come Taste My Mind
6: Second Class War
7: Your Majesty We Are Here
8: Don't Die Jim
9: 99 P
10: East
11: Edelweiss
12: Male Wife

DISC: 2 (2cd Edition Only)
1: Nicotine Stain (Live)
2: Superstar
3: Larky
4: Tv Tower
5: William, Taste My Mind (William Reid Remix)
6: Gypsy Camp Battle
7: The Scottish
8: Teenage Opera
9: Come Taste My Mind (Live At The Astoria 1998)
10: Nice Man In A Bubble
11: England Sandwich
12: Teenage Taliban (Demo / Live From Hammersmith Working Men's Club, 7 Th April 2004

One Little Indian release composer, producer and performer Olga Bell’s ‘Incitation’. The mini album follows Bell’s acclaimed 2014 song cycle and album, ‘Krai’, which was described by The New York Times as, “at once a folkloric study of her homeland and a contemporary exercise in electronic production” and was included in The Quietus’ Albums Of The Year.

Bell’s newest offering is a collection of deeply personal, urgent songs with her voice once more at the helm of her singular production. This time, “a kind of personal violence is the main force at work,” she says of the mini album, “but it’s more of a brawl with fear than something shell-shocked or confessional. The emotional language of Incitation recognizes that while fear can be brutal, even crippling, it is also a necessary force for change and, perhaps most importantly, not a permanent state. Its remedy is simple: action.”

Born in Moscow and raised in Alaska, Bell is now based in Brooklyn where she makes original music, remixes and videos under her own name. She also makes dance music with British musician Tom Vek as half of Nothankyou. From 2011 to 2013 she toured as a vocalist and keyboardist with Dirty Projectors and Chairlift and is currently at work on her third full-length album, set for release in early 2016 on One Little Indian.

A prodigious classical pianist as a child and teenager, Bell graduated from the New England Conservatory before moving to New York City to pursue electronic composition and songwriting. In 2009 composer Osvaldo Golijov and soprano Dawn Upshaw selected Bell for a workshop and concert of new works by contemporary composers at Carnegie Hall. In 2011 she received a Jerome Fund Grant from the American Composers Forum to aid in the completion of her first large-scale composition, ‘Krai’, which was released as an album in 2014 after a sold out premiere at the Walker Art Center in Minneapolis.

TRACK LISTING

Incitation
Rubbernecker
Pounder I
Pounder II
Goalie

Originally released on the Jamaica Sound label in 1978, and now reissued by the newly the revitalised Burning Sounds imprint, 'Rock-A-Dub' is a collection of dubs from Winston 'Niney' Holness and backed by the Observer All Stars, aka the Soul Syndicate band. Actually I'm surmising all this as information, even from the all-knowing Google is sketchy to say the least. A previous (and only other) Page One LP from 1976 was written, arranged and produced by Niney, so I'm guessing Page One is a pseudonym of the mighty reggae producer. Anyway, at the end of the day all that matters is the music, and this LP features 10 cracking dubs.

Like the days of Steely Dan, Harry Nilsson or Prince releasing a classic every year (or less) comes Mac DeMarco's Another One, a mini-LP announced almost one year to the date of the meteorically successful Salad Days. Conceived and recorded entirely by himself in a short period between a relentless tour schedule at his new place in Far Rockaway, Queens, Another One is eight, freshly written songs, expanding the arsenal of Mac's already impressive catalog. There’s a bittersweet, romantic sensibility present. The overall feeling is lost love, or perhaps love never found, yet Mac embraces this without making it an overly somber experience for the listener. It’s at times haunting and warm, and a bit more refined and sophisticated, but still plenty playful, retaining the guts and soul of classic Mac.

TRACK LISTING

1 The Way You'd Love Her
2 Another One
3 No Other Heart
4 Just To Put Me Down
5 A Heart Like Hers
6 I've Been Waiting For Her
7 Without Me
8 My House By The Water

Not quite country, Americana, folk, songwriter or pop, Daniel Romano’s exquisite and expansive new album - ‘If I’ve Only One Time Askin’’, released on New West Records - is pieces of each but ultimately the work of asingular mind.

As hailed by Rolling Stone, the 11 self-produced and largely self-performed new songs “lead their baritone-voiced creator down a path filled with countrypolitan crooning, honky-tonk heartache and midcentury melodrama.”

In the two years since his critically acclaimed third full length ‘Come Cry With Me’, Romano has toured North America and Europe extensively, collaborating with and supporting a wide spectrum of artists, including Old Crow Medicine Show, Wanda Jackson, Hurray For The Riff Raff and Caitlin Rose.

TRACK LISTING

I’m Gonna Teach You
Old Fires Die
Strange Faces
All The Way Under The Hill
If I’ve Only One Time Askin’
The One That Got Away (Came Back Today)
There’s A Hardship
Learning To Do Without Me
Two Word Joe
If You Go Your Way (I’ll Go Blind)
Let Me Sleep (At The End Of A Dream)

Dom Thomas' NN Tapes goes digital with a series of strictly limited CD versions of his previously cassette-only compilations. Limited to just 30 copies for the World!

'I Dream In Colour Vol. One' offers a stream of conciousness, taking in film, library and world oddities from far flung destinations brought into sharp focus by Dom Thomas.

PNKSLM Recordings proudly present the debut LP from Stockholm-based Lucern Raze. Eleven tracks of hooky-garage pop. Cassette available via BURGER RECORDS (US).

"Constructed with raucous energy and poised to appeal, Stockholm One is a soundtrack for your senses, lusciously raw from start to finish. Crank up the volume, kick off your shoes, and dance around like no one’s watching – this is record to lose yourself in until you feel like nothing else matters. And really, when music can make you feel this good, what’s left for you to be phased by?" - LINE OF BEST FIT (8/10 review). 

"The guitar tone on his new Burger/PNSKLM LP Stockholm 1 bring to mind the greats of the '60s—the surf bands and obscure garage rock outfits from compilations—while his vocals stay loose and slovenly, making the whole operation sound satisfyingly unsteady." PITCHFORK.

Not surprisingly (if you are familiar with any of the members’ other bands), the music is a whirlwind of intensity, which is fitting given that it was written, recorded, and produced in the span of only a week before being released by Three One G Records in 2005. All seven tracks showcase Blilie’s one of a kind, relentlessly vicious vocals. Listen more closely, and you will quickly recognize Serbian’s rapid-fire, precision drumming mixed with Pearson’s hard-hitting bass lines, which mesh perfectly alongside Votolato’s cacophonous guitar style in conjunction with Zinner’s playing (which takes on a harsher tone than we typically get to hear from his playing in the Yeah Yeah Yeahs).

Clever and humorous song titles such as “I’m a Taxidermist- I’ll Stuff Anything” and “Street College” give way to lyrics that are full of curious imagery and bellicose attitude, emanating influence from each of the band’s members.

As for the rest of the world, we are left to wait with baited breath for the moment when all of these radical friends can find another free week or two to set aside and blow our minds (and ear drums) once again. The band has been left open-ended over the years, and members are optimistic about creating new material in the future.

‘The sort of music that might make you want to drive a motorcycle across a thinly-iced lake, or start a PCP-fueled wrestling league’ - VICE

Reissue and remastered 2005 EP from post-hardcore supergroup

Featuring Yeah Yeah Yeahs' Nick Zinner, the Blood Brothers' Jordan Blilie and Cody Votolato, and The Locust's Justin Pearson and Gabe Serbian

TRACK LISTING

1: Radical Friends
2: I’m A Taxidermist I’ll Stuff Anything
3: Prick Class
4: Street College
5: New Soak For Our Empty Pocket
6: Thrash Zoo
7: Michael J. Fux Feat. Gnarls In Charles

Following on from the “Eagles - The Studio Albums 1972 – 1979” vinyl box set released last October, the six albums are now being released individually. Each LP is pressed on 180 gram vinyl and replicates the original album packaging (which means that “Eagles” is reissued as the band originally intended.

“Sleater-Kinney is America's best rock band” - Greil Marcus, Time (2001)

Sleater-Kinney is an acclaimed American rock band that formed in Olympia, Washington in 1994.

The band's core lineup consists of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and Janet Weiss (drums).

Sleater-Kinney were known for their feminist, left-leaning politics, and were an integral part of the riot grrrl and indie rock scenes in the Pacific Northwest.

‘One Beat’ is the sixth studio album from Sleater-Kinney, originally released on August 20, 2002 by Kill Rock Stars.

It was produced by John Goodmanson and recorded between March and April 2002 at Jackpot! Studio in Portland, Oregon.

The album peaked at number 107 in the United States on the Billboard 200 and entered the Billboard Top Independent Albums at number five.

"[Sleater-Kinney’s] sharpest statement yet" - Caryn Ganz, SPIN (#12 in SPIN’s Albums Of The Year 2002).

“Years at the top haven't dulled their willingness to take risks, and that's just what they do, spectacularly, on ‘One Beat’” - Brendan Reid, Pitchfork (9.1). · The album has been freshly remastered by Greg Calbi for this release.

TRACK LISTING

One Beat
Far Away
Oh!
The Remainder
Light Rail Coyote
Step Aside
Combat Rock
O2
Funeral Song
Prisstina
Hollywood Ending
Sympathy

“Sleater-Kinney is America's best rock band” - Greil Marcus, Time (2001)

Sleater-Kinney is an acclaimed American rock band that formed in Olympia, Washington in 1994.

The band's core lineup consists of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and Janet Weiss (drums).

Sleater-Kinney were known for their feminist, left-leaning politics, and were an integral part of the riot grrrl and indie rock scenes in the Pacific Northwest.

‘All Hands On The Bad One’ is the fifth studio album by Sleater- Kinney, originally released on May 2, 2000 by Kill Rock Stars.

The album was produced by John Goodmanson and recorded from December 1999 to January 2000 at Jackpot! Studio in Portland, Oregon and John & Stu's Place in Seattle, Washington.

Upon release, ‘All Hands On The Bad One’ reached number 177 on the US Billboard Top 200 chart and number 12 on the Heatseekers Albums chart.

‘All Hands On The Bad One’ appeared on several end-of-year lists and received a nomination for Outstanding Music Album at the 12th Annual Gay and Lesbian Alliance Against Defamation Awards.

The Village Voice placed it at number 10 in its 2000 ‘Pazz & Jop’ Critics' Poll.

“The band's most melodic, playful, sarcastic, and punchy album to date” - Brent DiCrescenzo, Pitchfork (8.3).

The album has been freshly remastered by Greg Calbi for this release.

TRACK LISTING

The Ballad Of A Ladyman
Ironclad
All Hands On The Bad One
Youth Decay
You're No Rock N' Roll Fun
#1 Must Have
The Professional
Was It A Lie?
Male Model
Leave You Behind
Milkshake N' Honey
Pompeii
The Swimmer

This is the first time his extraordinary music has been released. CD in jewel case with large 16 page booklet, full colour rare photos, essay by Will Fowler. Compiles tracks from the ' Volume One' and' Volume 2' LPs.

Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he’s made film, music, art and performances, and collaborated with everyone from the Beatles to Throbbing Gristle.

He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World.

Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrete to droning electronic trance. The music will be released across two separate LPs and one CD. Included will be a fine essay about the history of this inspiring figure by BFI / Flipside archivist Will Fowler.

Bruce Lacey has been a busy man. Since the 1950s he’s been making film, making music, making art, sculpture, rituals, performances and more besides. Many of his films have explored the basics of life and sex all with a sprinkle of irony, realism and ritualism. Many of his films have required music, music which Lacey made himself, improvising with bottles, rattles, typewriters and a tape machine.

By the early 1970s Lacey was exploring stone circles and ancient rights; he’d also bought a home-made synthesiser from a schoolboy who’d advertised it in Exchange & Mart. He’d made it as a home project. A week later Lacey bought a keyboard from another schoolboy in Exchange & Mart. Lacey set about slowly modifying this synth and improvising music influenced by his stone circle visits over the next few years.

This music is made only when “The Muse” descends. It is impossible for Bruce to perform this improvised music live. The music he made was occasionally available on cassette at his exhibitions in the 1970s. The late Poly Styrene (who had a copy) compared Lacey’s music to Tangerine Dream. Lacey had not heard of Tangerine Dream. This is the first time this raw and extraordinary music, by one of the UKs most extraordinary men, has been made available.

In 1994 the seminal electronic duo Cluster (Dieter Moebius & Hans-Joachim Roedelius) continued what they had begun in 1990 with 'Apropos Cluster', their comeback album. The more mature 'One Hour' condenses essential passages from two lengthy sessions into 60 minutes. We hear sprawling soundscapes, clear acoustic sketches, musical extravaganzas, in short: highly impressionistic electronica. Liner notes by Asmus Tietchens. Originally released 1994 on Prudence Records.

Bear In Heaven’s new album is aptly titled ‘Time Is Over One Day Old’. It’s a record with a visceral relationship to time and its processes. Where invulnerability and ambition can support you as you grow, at some point they become dead weight and being true to yourself means casting them off, starting anew. This plays out as a powerful analogy for the band across the arc of their career.

They’ve always made intriguing records, here especially. It’s easy to see why musicians fall hard for this band. They entice and envelop you. Any ‘Bear In Heaven’ song will most likely greet you with a provocative beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely arranged and glistening. Jon Philpot’s high, smooth, strong voice is so tightly wound into the music that it can be easy to overlook the lyrics, Bear In Heaven’s capacious third dimension. Philpot is a centre seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives, the interactions with the world that are both difficult to express and anathema in daily conversation.

While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007’s ‘Red Bloom Of The Boom’ is ambitious and experimental. ‘Beast Rest Forth Mouth’ (2009) was a pivotal record that still feels important, seductive and intense. On their 2012 album ‘I Love You, It’s Cool’ the structural and musical ideas are challenging and masterfully developed. For ‘Time Is Over One Day Old’, we witness the band once again turning their gaze inward and prioritizing their evocative abilities in line with or even slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It’s beautiful; it’s moving.

Here Philpot and partner Adam Wills are more deeply collaborative than ever. This album is darker at times, louder than their others; it feels personal and direct. ‘If I Were To Lie’ places Wills’ bass groove front and centre, ‘Demon’ is riveting and propulsive in spite of its dark pointed lyric and ‘They Dream’ dissolves into three and a half minutes of deeply satisfying ambient synth work in its second half. Wills has always been the band’s anchor, providing rock solid, rhythmic bass lines and guitars that blur the boundaries of Philpot’s synth. Though in moments such as the final track ‘You Don’t Need The World’ Wills cuts through with an audacious, biting guitar hook. It’s a great culmination of the album’s sense of release. This album isn’t about being dark, it’s about releasing darkness and frustration.

When bands age well, their vitality takes shape. They wear but with intention. They trim excesses. Throughout this album one can hear a band at peace with themselves. They’ve learned to cut back on that which is merely impressive and to concentrate on simply what is crucial. For Philpot this is about making something lasting. “A lot of shedding, getting rid of layers and preconceptions… breaking up with old ways of thinking, old ways of being, starting to look at this thing in a new way and finding something positive.” The result is a record that will stay with you.

Mixed by Nicolas Vernhes (Deerhunter, Matthew Dear, Wild Nothing, War On Drugs).

TRACK LISTING

Autumn
Time Between
If I Were To Lie
They Dream
The Sun And The Moon And The Stars
Memory Heart
Demon
Way Off
Dissolve The Walls
You Don’t Need The World