It has taken 20 years for Mick Harvey to resume his project of translating Serge Gainsbourg’s songs into English and this is the long-awaited continuation (Volume 3) of the series - ‘Delirium Tremens’.

The intervening years have, of course, been full of activity and dozens of releases, including four solo albums and several albums as a member of Nick Cave & The Bad Seeds and in collaboration with PJ Harvey.

‘Delirium Tremens’ brings us another wide crosssection of Gainsbourg material. From 1976’s ‘The Man With The Cabbage Head’ (L’homme a tete de chou) all the way back to early songs such as ‘Deadly Tedium’ (Ce Mortel Ennui) and ‘Coffee Colour’ (Couleur Cafe) from the late 1950s and early 1960s, as well as a selection of five songs from the TV special ‘Anna’ which starred Anna Karina with the female parts here executed with enormous charm by Xanthe Waite, who has been joining Harvey on his recent shows.

The album is rounded out by a beautiful rendering of the late period Jane Birkin duet ‘The Decadance’ (La Decadanse) where Harvey is joined on vocals by his wife Katy Beale.

After 2014’s epic To Be Kind, SWANS return with a new album, The Glowing Man, announced as the last album release of Swans’ current incarnation.
The Glowing Man was recorded at Sonic Ranch, near El Paso, Texas, with John Congleton as recording engineer. Further recordings were made in Dallas, Seattle and Berlin.

Swans, led by Michael Gira, formed in 1982 and, after disbanding in 1997, returned with the critically acclaimed albums My Father Will Guide Me Up A Rope To The Sky (2010), 2012’s The Seer and 2014’s To Be Kind.

STAFF COMMENTS

Barry says: Another monolithic collection from gloom-merchants Swans. Equal parts brooding and pensive, but with a rarely embraced melodic sensibility. Further evidence of their unrivalled talents.

TRACK LISTING

2CD
Disc 1
1. Cloud Of Forgetting
2. Cloud Of Unknowing
3. The World Looks Red / The World Looks Black
4. People Like Us

Disc 2
5. Frankie M
6. When Will I Return
7. The Glowing Man
8. Finally Peace

2CD / DVD
Disc 1
1. Cloud Of Forgetting
2. Cloud Of Unknowing
3. The World Looks Red / The World Looks Black
4. People Like Us

Disc 2
5. Frankie M
6. When Will I Return
7. The Glowing Man
8. Finally Peace
DVD – Swans Live 2015

TRIPLE VINYL (With Poster)
Side 1
1 Cloud Of Forgetting
2 Cloud Of Unknowing

Side 2
3 Cloud Of Unknowing Pt2

Side 3
4 The World Looks Red / The World Looks Black
5 People Like Us

Side 4
6 Frankie M

Side 5
7 When Will I Return
8 The Glowing Man Pt1

Side 6
9 The Glowing Man Pt2
10 Finally Peace

LUH began 2016 by releasing ‘I&I’, a song about daybreak, new beginnings and fresh starts and with a sound so bold and unflinching, it served as perfect way to describe the shape of things to come.

Today they announce details of the their debut album ‘Spiritual Songs For Lovers To Sing’ available for pre-order now and out on 6 May 2016 on Mute. The album was produced by The Haxan Cloak (known for his own genre-bending experimental compositions and work on Björk’s Vulnicura album) on the remote island of Osea.

LUH (which stands for Lost Under Heaven) is Ellery Roberts and Ebony Hoorn. Over the past two years, they have been releasing music, art, photography, film and manifestos into the world, including 2014’s ‘Unites’ video and the expansive ‘Lost Under Heaven’ music and artwork package at the end of last year.

Ellery’s name might be familiar as the frontman of WU LYF, whose raw and primal voice helped create a sound that shaped a new model for the untamed fury of youth. Ebony is an audio-visual artist based in Amsterdam, where the pair now live, and co-directed the new video for ‘I&I’ with Florian Joahn.

TRACK LISTING

1. I&I
2.Unites
3. Beneath The Concrete
4. Future Blues
5.  Someday Come
6. $ORO
7. Here Our Moment Ends
8. Loyalty
9. Lost Under Heaven
10. First Eye To The New Sky
11. Lament
12. The Great Longing

Amen & Goodbye is the fourth studio album from Brooklyn-based band Yeasayer.

Yeasayer offer a peek into the world of Amen & Goodbye with “I Am Chemistry,” the first track to be heard from their highly-anticipated forthcoming album. Featuring guest vocals from the legendary folk singer Suzzy Roche of The Roches, “I Am Chemistry” is a linear psychedelic journey proving Yeasayer still has the knack for writing very odd pop songs.

Amen & Goodbye is the follow up to 2012’s work Fragrant World. Moving away from a digital - heavy approach, Yeasayer recorded Amen & Goodbye to tape at Outlier Inn Studio in upstate New York, then brought on board Joey Waronker (drummer - Atoms For Peace / Beck) to deconstruct everything to make the final document.

Amen & Goodbye features Yeasayer’s trademark sound without sounding like anything the band has done before. They have created a collection of strange fables from the Bible from a universe that does not yet exist.

TRACK LISTING

1 Daughters Of Cain
2 I Am Chemistry
3 Silly Me
4 Half Asleep
5 Dead Sea Scrolls
6 Prophecy Gun
7 Computer Canticle 1
8 Divine Simulcrum
9 Child Prodigy
10 Gerson’s Whistle
11 Uma
12 Cold Night
13 Amen & Goodbye

‘Singularity’ is the third single from New Order’s critically acclaimed hit album ‘Music Complete’. The track has been highlighted as one of the standout tracks from the album and is now released as on CD single and 12”  with an exclusive remix package. Remixes are provided by Erol Alkan, Mark Reeder, JS Zeiter and Liars. There is also an extended 12” mix of ‘Tutti Frutti’ by Tom Rowlands which was previously given away free to fans on New Years Eve.

TRACK LISTING

12”
Singularity (Extended Mix)
Singularity (Mark Reeder Individual Remix)
Singularity (Erol Alkan’s Extended Rework)
Singularity (JS Zeiter Dub)

CDS
Singularity (Single Edit)
Singularity (Extended Mix)
Singularity (Erol Alkan’s Stripped Mix)
Singularity (Mark Reeder’s Duality Remix Edit)
Singularity (JS Zeiter Remix)
Tutti Frutti (Tom Rowland’s Remix)

Led by Michael Gira, Swans formed in 1982 and, after disbanding in 1997, returned with the critically acclaimed albums ‘My Father Will Guide Me Up A Rope To The Sky’ (2010), ‘The Seer’ (2012) and 2014’s ‘To Be Kind’.

Swans’ classic album ‘Love Of Life’ (1992) is now re-mastered and reissued as a deluxe vinyl edition with an exclusive poster and digital download code.

The digital download code for ‘Love Of Life’ also includes 18 bonus tracks.

Recorded on the Boatman's Call tour, this is a suberb live recording, catching them at their very best.

TRACK LISTING

1. Lime Tree Arbour (Live At The Royal Albert Hall)
2. Stranger Than Kindness (Live At The Royal Albert Hall)
3. Red Right Hand (Live At The Royal Albert Hall)
4. I Let Love In (Live At The Royal Albert Hall)
5. Brompton Oratory (Live At The Royal Albert Hall)
6. Henry Lee (Live At The Royal Albert Hall)
7. The Ship Song (Live At The Royal Albert Hall)
8. Where The Wild Roses Grow (Live At The Royal Albert Hall)
9. People Aint No Good (Live At The Royal Albert Hall)
10. Do You Love Me? (Live At The Royal Albert Hall)
11. Far From Me (Live At The Royal Albert Hall)
12. The Mercy Seat (Live At The Royal Albert Hall)

‘Music Complete’ is New Order’s ninth LP (tenth if you count 2013’s mini album ‘Lost Sirens’) and possibly their most eclectic collection of songs yet. Whichever way you count it, it’s New Order’s return to recording after an absence of more than a decade.

‘Music Complete’ finds the group revitalised, refreshed and razor sharp, looking to their past while forging forward. Where the group has previously pushed toward synthesisers or guitars, here the two are in balance.

Art direction by long term collaborator Peter Saville.

“New Order’s best album since ‘Technique’” - GQ

“Their best record for over 25 years” - Q (****)

“‘Music Complete’ includes a couple of contenders for the canon of all-time New Order greats” - Uncut

“... sounds more like New Order than New Order have sounded in two decades” - Classic Pop

“New Order is back with their best album in years… an album that is more inspired than anything we could have expected” - Under The Radar

“A runaway victory for class over hype” - Mixmag (8/10)

TRACK LISTING

1. Restless
2. Singularity
3. Plastic
4. Tutti Frutti
5. People On The High Line
6. Stray Dog
7. Academic
8. Nothing But A Fool
9. Unlearn This Hatred
10. The Game
11. Superheated

Du Blonde is not a persona or a character, it’s Beth Jeans Houghton ripping it up and starting again. Welcome Back To Milk is the Newcastle-born and sometimes Californian based singer’s second album, but her debut as Du Blonde, and it’s a complete reinvention: new name, new sound, new band, new attitude – and attitude is the key word.

It started at the V&A. Two years ago, in the cavernous final room of the ‘David Bowie Is…’ exhibition, Beth had an epiphany. “When I was a kid, my idea of being a musician came from all these big characters – Bowie, Bolan, Beefheart” she says. “I had this moment in front of all these chapters of his life: this is what I want to do and I haven’t done it for all of these years. All this stuff that was really important to me in the beginning, all of the creativity, emotional expulsion, I’d just lost all of that. It was such a sad moment, but also good – because you can’t change it unless you realise.”

It was time for a revolution and to get back to what she’d always promised herself: to keep moving, keep changing, keep pushing art and sound and never be pinned down. Beth Jeans Houghton was dead, and Du Blonde was born.

Where 2012’s debut Yours Truly Cellophane Nose threw everything at a song, Welcome Back To Milk strips everything back and is one massive release of pent up aggression, captured perfectly by producer and Bad Seed Jim Sclavunos. Heavy riffs, loud drums and vocal snarls contrast beautifully with poignant balladry and tenderness that fans of Houghton’s previous work will recognise. Future Islands frontman Samuel T Herring also provides guest vocals on Mind Is On My Mind.

“What am I pissed off about? In no particular order: the free wheeling judgement of faceless accusers online, every man and his dog giving me advice on how to live my life, what to wear, what not to say, how to write songs. Being asked if I’m on my period in business meetings. Being told to ‘just deal with’ misogyny. It’s clear that the message for young girls, in music, business and relationships, is still ‘shut up, do what you’re told and be thankful’.”

TRACK LISTING

1. Black Flag
2. Chips To Go
3. Raw Honey
4. After The Show
5. If You're Legal
6. Hunter
7. Hard To Please
8. Young Entertainment
9. Mr. Hyde
10. Four In The Morning
11. Mind Is On My Mind
12. Isn't It Wild

‘MG’ is a new instrumental album from Martin Gore, one of the founding members of Depeche Mode. Following on from Martin’s collaboration with Vince Clarke on VCMG’s ‘SSSS’ in 2012, 'MG' sees Martin further develop his love, passion and respect for electronic music.

Written and produced by Martin Gore, work began on ‘MG’ following the final dates of Depeche Mode’s ‘Delta Machine’ tour in March 2013 at Gore’s home studio in Santa Barbara. An entire instrumental album had been in his thoughts for some time, particularly since he has been writing instrumentals for Depeche Mode since 1981.

“I wanted to keep the music very electronic, very filmic and give it an almost sci-fi like quality,” Martin explains. “Music is a necessity for me. I go into the studio at least 5 days a week, every week, so once I had the idea and the template, the process was quick and fun.”

‘MG’ is a soundtrack to an emotional and mysterious film of your own design. From the Angelo Badalmenti - like atmosphere of ‘Elk’ to the industrial electro swagger of ‘Brink’, it landscapes a unique and arresting vision.

TRACK LISTING

Pinking
Swanning
Exalt
Elk
Brink
Europa Hymn
Creeper
Spiral
Stealth
Hum
Islet
Crowly
Trysting
Southerly
Featherlight
Blade

Released in 1990, ‘The Good Son’ is the sixth album by Nick Cave & The Bad Seeds.

‘The Weeping Song’ and ‘The Ship Song’ have now become firm fan favourites. ‘Foi Na Cruz’ is based partly upon the traditional Brazilian Protestant hymn of the same title. The title translates roughly as ‘It Happened On The Cross’.

Cave later said, “I guess ‘The Good Son’ is some kind of reflection of the way I felt early on in Brazil. I was quite happy there. I was in love and the first year or two was good. The problem I found was... in order to survive you have to adopt their attitudes towards everything, which are kind of blinkered.”

TRACK LISTING

CD/LP
Foi Na Cruz
The Good Son
Sorrow’s Child
The Weeping Song
The Ship Song
The Hammer Song
Lament
The Witness Song
Lucy

DVD (With CD/DVD Version Only)
The Good Son (Dolby Digital Surround Sound / DTS Surround Sound / Stereo)
Additional Tracks (Dolby Digital Surround Sound / DTS Surround Sound / Stereo)
The Train Song
Cocks ‘N’ Asses
Helpless
Video:
Do You Love Me Like I Love
You (Part 6: The Good Son)
The Weeping Song
The Ship Song

‘The Boatman’s Call’ is the tenth studio album by Nick Cave & The Bad Seeds, originally released in 1997.

The album is entirely piano-based and remains one of the most critically acclaimed releases of Nick Cave’s career.

Musically, the album’s tone is considered sombre and minimalist and marks a major departure. Moving away from full band arrangements and character-based narratives, the album’s music and lyrics move towards the more intimate sound of Cave’s solo voice accompanied by piano or a few other instruments.

TRACK LISTING

LP / CD
Into My Arms
Lime Tree Arbour
People Ain’t No Good
There Is A Kingdom
(Are You) The One That I’ve Been Waiting For?
Where Do We Go Now But Nowhere?
West Country Girl
Black Hair
Idiot Prayer
Far From Me
Green Eyes

DVD (With CD/DVD Version Only)
Audio
The Boatman’s Call (5.1 & Stereo)
Little Empty Boat
Right Now I’m A-Roaming
Black Hair (Band Version)
Come Into My Sleep
Babe, I Got You Bad
Videos
Do You Love Me Like I Love You (Part 10: The Boatman’s Call)
Into My Arms
(Are You) The One That I’ve Been Waiting For?

‘No More Shall We Part’ was released in April 2001 and was the eleventh studio record by Nick Cave & The Bad Seeds.

The album came after a 4-year gap from recording, following the much acclaimed ‘The Boatman’s Call’ album and was met with mostly positive reviews.

The album showcases the virtuoso talents of The Bad Seeds, with elaborate instrumental sections on nearly every track. Also, Cave’s lyrics are less obscure than usual and he sings in a wider vocal range than he had previously. Features backing vocals from Kate and Anna McGarrigle.

TRACK LISTING

As I Sat Sadly By Her Side
And No More Shall We Part
Hallelujah
Love Letter
Fifteen Feet Of Pure White Snow
God Is In The House
Oh My Lord
Sweetheart Come
The Sorrowful Wife
We Came Along This Road
Gates To The Garden
Darker With The Day

‘Let Love In’, the eighth studio album by Nick Cave & The Bad Seeds, was originally released in 1994.

Their first full-length studio album in over two years, ‘Let Love In’ preserves the same line-up (Nick Cave, Mick Harvey, Blixa Bargeld, Conway Savage, Martyn Casey and Thomas Wydler) as established on its two immediate predecessors: ‘Henry’s Dream’ (1992), the band’s troubled collaboration with producer David Briggs and ‘Live Seeds’ (1993), an interim concert compilation.

The novelty of recording in America with a ‘name’ producer now long behind them, Nick Cave & The Bad Seeds returned to familiar turf, choosing to conduct both demo and album sessions in their accustomed habitats of the UK and Australia. In September 1993, recording proper for ‘Let Love In’ commenced at London’s Townhouse III Studios (formerly The Who’s Ramport studio, purpose-built for ‘Quadrophenia’) and the album was completed and mixed at Metropolis in Melbourne by the end of that same year.

‘Henry’s Dream’, the seventh album by Nick Cave & The Bad Seeds, was released in April 1992. It remains a big favourite amongst Bad Seeds fans and is notable for Neil Young producer David Briggs’ ‘live-in-the-studio’ method. Cave and Mick Harvey re-mixed the album and it has a vague concept, with song narratives overlapping and / or sharing characters.

‘When I First Came To Town’ is based partly on Karen Dalton’s recording of the traditional song ‘Katy Cruel’.

Cave later claimed the songs were heavily influenced by street beggars he saw in Brazil. “They’d get their acoustic guitars with one or two strings and bang away and make a racket that had no sense whatsoever. It was very violent and seemed to come straight out of the heart. Very unmusical.”

TRACK LISTING

Papa Won’t Leave You, Henry
I Had A Dream, Joe
Straight To You
Brother, My Cup Is Empty
Christina The Astonishing
When I First Came To Town
John Finn’s Wife
Loom Of The Land
Jack The Ripper

‘Murder Ballads’ is the ninth studio album by Nick Cave And The Bad Seeds, released in 1996. As the title suggests, the album consists of new and traditional murder ballads, a genre of songs that relays the details of crimes of passion.

‘Where The Wild Roses Grow’ was a hit single and received two ARIA Awards and guest musicians on the album include Kylie Minogue, PJ Harvey and Shane MacGowan.

It was the band’s biggest commercial success to date, most likely helped by the unexpected repeated airplay of the ‘Where The Wild Roses Grow’ video on MTV, who even nominated Cave for their Best Male Artist award of that year, though this nomination was later withdrawn at Cave’s request.

‘Murder Ballads’ received almost unanimous critical praise with Rolling Stone awarding it 4 Stars and Entertainment Weekly rating the album very highly as well. Q magazine had this to say: “...Musically, The Bad Seeds touch on tinkling cabaret jazz, country-paced morbidity and every morose station between” while it ranked Number 7 in the NME's 1996 Critics’ Poll.

TRACK LISTING

LP / CD
Song Of Joy
Stagger Lee
Henry Lee
Lovely Creature
Where The Wild Roses Grow
The Curse Of Millhaven
The Kindness Of Strangers
Crow Jane
O’Malley’s Bar
Death Is Not The End

DVD (with CD/DVD Version Only)
Audio
Murder Ballads (5.1 & Stereo)
The Ballad Of Robert Moore
And Betty Coltrane
The Willow Garden
King Kong Kitchee Kitchee
Ki-Mi-O
Knoxville Girl
Video
Do You Love Me Like I Love You (Part 9: Murder Ballads)
Stagger Lee
Where The Wild Roses Grow
Henry Lee

‘Tender Prey’ is the fifth studio album from Nick Cave And The Bad Seeds and was released on 19th September 1988. The album was produced by Flood and recorded during several sessions over the course of four months in West Berlin - where the band were based at the time - and London.

The album opens with ‘The Mercy Seat’, which has been subsequently played at almost all of the band’s live performances since 1988 and was later covered by one of Cave’s biggest influences, Johnny Cash. ‘The Mercy Seat’ was released as a single in May 1988 as a precursor to the album and ‘Deanna’ was released shortly after the album hit the streets.

Cave later admitted that the album “was made at a difficult time in my life when things were spiralling out of control in a lot of areas.”

TRACK LISTING

The Mercy Seat
Up Jumped The Devil
Deanna
Watching Alice
Mercy
City Of Refuge
Slowly Goes The Night
Sunday’s Slave
Sugar Sugar Sugar
New Morning

Kicking Against the Pricks is Nick Cave & The Bad Seeds' third album, released in 1986, and consists of cover versions. For this record the Bad Seeds line-up is Cave, new drummer Thomas Wydler, Mick Harvey, Blixa Bargeld and Barry Adamson. Cave would later downplay the importance of the record, but said it helped the band develop musically. Remarking on the song selection, Cave said, "They were all done for different reasons. Basically a list of songs were made and we tried to play them. We tried songs by all sorts of people that never got on the record. Some songs were tributes, like the Tom Jones song; other, we didn't think were ever done particularly well in the first place. Some had haunted my childhood, like "The Carnival Is Over". The strings were arranged by Mick Harvey and played by the Berliner Kaffeehausmusik Ensemble. "The Hammer Song" is an entirely different song than the track with the same title on the 1990 Bad Seeds album The Good Son.

TRACK LISTING

1. Muddy Water
2. I'm Gonna Kill That Woman
3. Sleeping Annaleah
4. Long Black Veil
5. Hey Joe
6. Singer
7. All Tomorrow's Parties
8. By The Time I Get To Phoenix
9. Hammer Song
10. Something's Gotten Hold Of My Heart
11. Jesus Met The Woman At The Well
12. Carnival Is Over

‘Nocturama’ is the twelfth studio album by Nick Cave and the Bad Seeds, released in 2003.

To date, it is the last Bad Seeds album to feature founding member Blixa Bargeld.

This album reunited Nick Cave with Nick Launay, who had produced The Birthday Party’s groundbreaking ‘Junkyard’ 21 years earlier.

Featuring the singles ‘Bring It On’, ‘He Wants You’ and ‘Rock Of Gibraltar’, this album finds Cave moving away from ‘Murder Ballads’ and the gory fire and brimstone of yore, and exploring more personal themes.

More than twenty years into his career at this point, Nick Cave proved himself worthy of the comparisons made in the press on his behalf: now he could stand alongside the likes of Bob Dylan, Johnny Cash and Tom Waits, as a storyteller who could be unflinchingly honest in his work, whilst continuing to grow his fan base.

TRACK LISTING

Wonderful Life
He Wants You
Right Out Of Your Hand
Bring It On
Dead Man In My Bed
Still In Love
There Is A Town
Rock Of Gibraltar
She Passed By My Window
Babe, I’m On Fire

English guitarist and organist James Johnston joined The Bad Seeds for their thirteenth studio album ‘Abattoir Blues/The Lyre Of Orpheus’, which was released on September 20th 2004 by Mute Records, and produced by Nick Launay.

This masterful double album was produced by Nick Launay at Studio Ferber in Paris in March–April 2004 with Cave splitting drumming duties for the two parts, with Jim Sclavunos on ‘Abattoir Blues’ and Thomas Wydler on ‘Lyre Of Orpheus’.

The entire album was completed in twelve days, and notably, the last track on the album, ‘O Children’, was featured in the 2010 film ‘Harry Potter and The Deathly Hallows Part One’. The song is also referenced as an achievement in Lego Harry Potter: Years 5-7.

This edition, approved personally by Nick Cave, is finally available again on it’s original format.

TRACK LISTING

LP / CD Tracklisting:
Abbatoir Blues
Get Ready For Love
Cannibal’s Hymn
Hiding All Away
Messiah Ward
There She Goes, My Beautiful World
Nature Boy
Abattoir Blues
Let The Bells Ring
Fable Of The Brown Ape

The Lyre Of Orpheus
The Lyre Of Orpheus
Breathless
Babe, You Turn Me On
Easy Money
Supernaturally
Spell
Carry Me
O Children

DVD (With CD/DVD Version Only)
Audio (Dolby Digital Surround Sound / DTS Surround Sound / Stereo)
‘Abattoir Blues’
‘The Lyre Of Orpheus’
She’s Leaving You
Under This Moon
Hiding All Away (Live At Maida Vale)
There She Goes My Beautiful World (Live At Maida Vale) 
Video
Do You Love Me Like I Love You (Part 13)
Nature Boy
Breathless
Get Ready For Love (Live)

‘Dig, Lazarus, Dig!!!’ is Nick Cave & The Bad Seeds’ fourteenth studio album, and was recorded in June and July 2007 at The State of the Ark Studios in Richmond, Surrey, and mixed by Nick Launay at British Grove recording studios, in Chiswick, west London, and was released on March 3rd 2008.

It would also be the last album to feature founding member Mick Harvey, who left the Bad Seeds in 2009.

In several interviews Cave has stated that this album would "sound like Grinderman", his side project, who had released their debut album a year earlier. In line with this rough-and-ready approach, the album was recorded in about five days, an uncommonly short period for a full-length album.

Cave wrote on his inspiration for the album: "Ever since I can remember hearing the Lazarus story, when I was a kid, you know, back in church, I was disturbed and worried by it. Traumatised, actually. We are all, of course, in awe of the greatest of Christ's miracles—raising a man from the dead—but I couldn't help but wonder how Lazarus felt about it. As a child it gave me the creeps, to be honest. I've taken Lazarus and stuck him in New York City, in order to give the song, a hip, contemporary feel. I was also thinking about Harry Houdini who spent a lot of his life trying to debunk the spiritualists who were cashing in on the bereaved. He believed there was nothing going on beyond the grave. He was the second greatest escapologist, Harry was, Lazarus, of course, being the greatest. I wanted to create a kind of vehicle, a medium, for Houdini to speak to us if he so desires, you know, from beyond the grave."

Critical response to the album was overwhelmingly positive, with reviewers citing this as both a return to greatness and a new side of the band. A review from NME described the record as a "gothic psycho-sexual apocalypse" and gave it 8/10, whilst Mojo magazine proclaimed it their album of 2008.

TRACK LISTING

Dig, Lazarus, Dig!!!
Today’s Lesson
Moonland
Night Of The Lotus Eaters
Albert Goes West
We Call Upon The Author
Hold On To Yourself
Lies Down Here (& Be My Girl)
Jesus Of The Moon
Midnight Man
More News From Nowhere

Following the break up of Nick Cave’s former group The Birthday Party, Cave and drummer/multi-instrumentalist Mick Harvey put together a new band featuring Einsturzende Neubauten guitarist Blixa Bargeld, additional guitarist Hugo Race, and ex-Magazine bass player Barry Adamson.

The band entered the studio on September 20th 1983, and after some sessions, emerged as Nick Cave & The Cavemen, playing their first gig in Melbourne on New Year’s Eve 1983.

The name was short-lived, and was soon amended to Nick Cave & The Bad Seeds, in reference to the final Birthday Party release, ‘The Bad Seed’ EP.

Most of ‘From Her To Eternity’ was recorded in London, with sessions split between The Garden studio in Shoreditch, and Trident, in Soho.

Cave later said, "Well, I guess we weren't kicking people in the teeth anymore. I mean, it just became different. I wanted it to be more lyrically orientated and getting Blixa Bargeld in the group made an incredible difference. He's a completely kind of atmospheric guitarist and incredibly economical and it gave me room to breathe”.

The album, produced by Mick Harvey and Flood, was released on 18th June 1984 on Mute Records, Cave’s label for more than the next 25 years. It received great reviews upon its release and is recognised as one of the most timeless albums of the ‘80s.

TRACK LISTING

Avalanche
Cabin Fever!
Well Of Misery
From Her To Eternity
Saint Huck
Wings Off Flies
A Box For Black Paul

‘The Firstborn Is Dead’, co-produced by Nick Cave, the Bad Seeds and Flood, is the second studio album released by Cave & The Bad Seeds, and was originally released on June 3rd 1985.

Cave explores his fascination with the American South, with references ranging from Elvis Presley to ‘Blind’ Lemon Jefferson.

Recorded in Berlin, Cave later said of this album, "Berlin gave us the freedom and encouragement to do whatever we wanted. We'd lived in London for three years and it seemed that if you stuck your head out of the box, people were pretty quick to knock it back in, particularly if you were Australian. When we came to Berlin it was the opposite. People saw us as some kind of force rather than a kind of wacky novelty act”.

The album's title is a reference to Jesse Garon Presley, the stillborn identical twin of Elvis Presley, and ‘Wanted Man’ was Cave’s own take on a song Bob Dylan wrote for Johnny Cash. Dylan gave his permission for the lyrics to be changed, with Cave’s interpretation referencing his friends.

TRACK LISTING

Tupelo
Say Goodbye To The Little Girl Tree
Train Long Suffering
Black Crow King
Knockin’ On Joe
Wanted Man
Blind Lemon Jefferson

With ‘Your Funeral… My Trial’ The Bad Seeds expanded their personnel by adding Thomas Wydler on drums, enabling Mick Harvey to display his considerable multi-instrumental talents.

This was the band’s fourth studio album and was released on November 3rd 1986, and was originally released as a double EP, with production duties handled by Flood and Tony Cohen.

Cave later remarked "That particular record, which is my favourite of the records we've done, is very special to me and a lot of amazing things happened, musically, in the studio”.

“There are some songs on that record that as far as I'm concerned are just about perfect as we can get really- songs like ‘The Carny’, ‘Your Funeral, My Trial’, and ‘Stranger Than Kindness’, I think are really quite brilliant“.

TRACK LISTING

Sad Waters
The Carny
Your Funeral My Trial
Stranger Than Kindness
Jacks Shadow
Hard On For Love
She Fell Away
Long Time Man

Nika, the 25-year-old behind Zola Jesus’ creative incarnations, is a singer, sole songwriter and producer.

Written on Vashon Island, WA and mixed in Los Angeles, CA by Dean Hurley, ‘Taiga’ follows the widely celebrated albums ‘Versions’ (2013) and ‘Conatus’ (2011). This is Nika’s fourth fulllength album release.

In regards to the album title, Nika explains, “Taiga is the Russian name for the boreal forest. For me it feels very alive… very expansive. It represents a feral, untapped world that could happily exist without us. There are taiga forests in Northern Wisconsin where I was raised, and also in Russia where my ancestors are from, so it also feels very native.”

Liberated in the present and connected to the past, this album is a transition for Zola Jesus. Masterful layers of composition are bathed in familiar atmospheric vocals but a new sensibility is deeply present.

‘Taiga’ is at once challenging and accessible and is undeniably branded with what Nika terms a “piercing ambition.” Such encompassing purpose, she explains, would be impossible without a newfound sense of artistic self. The album is a declaration of that purpose; one faced with jarring clarity in both its content and production. Nika summates, “For me, it feels like my true debut, because it is the first time I have felt so open and liberated.”

TRACK LISTING

1. Taiga
2. Dangerous Days
3. Dust
4. Hunger
5. Go (Blank Sea)
6. Ego
7. Lawless
8. Nail
9. Long Way Down
10. Hollow
11. It's Not Over

Following the release of the ‘Can Vinyl Box’ - the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the Can studio albums individually on vinyl.

‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

‘Rite Time’ was originally released in 1986. Can got back together with original vocalist Malcolm Mooney to record again.

Revaluated as one of the classic Can albums, they show again how everything changes yet remains unmistakably Can.

Following the release of the ‘Can Vinyl Box’ - the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the Can studio albums individually on vinyl.

‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

‘Out Of Reach’ has been unavailable in any official format since its original release in 1978.

‘Out Of Reach’ is one of Can’s rarest, less-known albums. This is due in a large part to the fact that bassist Holger Czukay left the band and drummer Jaki Liebezeit has a reduced role, leaving most of the rhythm duties to percussionist come-lately Reebop Kwaku Baah.

As on the group’s proper swansong, 1977’s ‘Saw Delight’, new bassist Rosko Gee largely leads the group, and his jazz-inflected playing is marvellous, especially on the centrepiece improvisations ‘November’ and ‘Serpentine’.

Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 

TRACK LISTING

SIDE A
1. Future Days
2. Spray
3. Moonshake

SIDE B
1. Bel Air

Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 

Plastikman, aka Richie Hawtin recorded 'EX' at the Guggenheim, New York’s iconic art museum. This very special performance was at the invitation of influential Belgium fashion designer and artistic director at Dior, Raf Simons, for the Guggenheim’s annual fundraiser, performed around a specially constructed LED obelisk.

Richie Hawtin explains, “I knew that Raf was a long time Plastikman fan so by accepting his offer to perform at the Dior event at the Guggenheim I knew I’d set myself up to a huge challenge. Although Raf was happy to have the already complete Plastikman Live 1.5 show, I locked myself away in a series of intense studio sessions and quickly recorded enough new material for the performance and realized I might also have enough for a complete new album. The music came out of me effortlessly as I was very inspired by the opportunity to play in this beautiful architectural space renowned more for art than music. The location also allowed me to step far away from the dancefloor, giving me a huge amount of freedom to EXplore any sonic ideas that I had. Art, music, architecture, painting, sculpture – these mediums are supposed to live together.”

Richie Hawtin is many things - an extraordinary DJ, creator of the ENTER. experience, mastermind behind the M_nus label, technological innovator, art aficionado - in 2011 he collaborated with British sculptor Anish Kapoor for an installation in Paris - and style icon. Before this, though, and perhaps most famously of all, he was and is Plastikman, an electronic music phenomenon whose followers are legion and fanatic.

Between 1993 and 2003, Plastikman created an astonishing body of work, one that didn’t so much define a time and place as explode them, expanding the dimensions of Detroit techno and redefining the possibilities of electronic dance music. Across six albums (‘Sheet One’, ‘Musik’, ‘Recycled Plastik’, ‘Consumed’, ‘Artifakts (B.C.)’, and ‘Closer)’ and numerous singles such as ‘Spastik’, ‘Plastique’, and ‘Sickness’, Plastikman evolved into one of contemporary electronic music’s most distinctive voices: minimalist, psychedelic, seriously groove-laden, and ever mindful of the transcendent properties of electronica.

Plastikman was never going to be a heritage dance act and this latest renaissance opens doors few never knew existed, showcasing a master at work.

Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl.

Released in batches, the first albums in the series to be released are Monster Movie, Soundtracks, Tago Mago and Ege Bamyasi.

The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore.

Monster Movie is the debut album of Can, recorded and released in 1969. The use of improvisation, experimentation, editing and layering of sounds set a standard for Can's subsequent albums in the early 1970s, which were seminal to the freewheeling avant-garde style dubbed "krautrock" by the British music press.

The album is credited to "The Can", a name suggested by vocalist Malcolm Mooney and adopted by democratic vote. Previously the band had been known as "Inner Space", which later became the name of their purpose-built recording studio. Some copies of the LP bore the subtitle "Made in a castle with better equipment", referring to Schloss Nörvenich, the 14th-century castle in North Rhine-Westphalia where the band recorded from 1968-69.

The 20-minute jam "Yoo Doo Right" was pared down from 6 hours' taping, while the lyrics of "Mary, Mary So Contrary" riff off of Mary, Mary, Quite Contrary, a popular English nursery rhyme.

Monster Movie was the only Can album on which Malcolm Mooney performed all of the vocals until Rite Time, 20 years after.

TRACK LISTING

Father Connot Yell
Mary, Mary, So Contrary
Outside My Door
Yoo Doo Right

“One of the greatest avant-pop groups of our age” - The Quietus

Liars’ career has seen the band rattle through pigeonholes in an attempt to avoid them all together: brittle yet taught punk funk; liminal no wave; ecstatic noise-pop; 21st-Century garage rock; post millennial post rock; delicate electronics; reaching here, where Angus Andrew, Aaron Hemphill and Julian Gross now find themselves maybe not quite at ease with the world but staring it straight in the eye while showing their teeth.

The single comes backed with remixes by Factory Floor, Truss and young Melbourne collective Nest Of Teens plus a radio mix from Mute’s Daniel Miller.

The 12” comes as a special coloured vinyl release with an exclusive B-side.

‘#7885 (Electropunk To Technopop) features classic tracks such as ‘Nag Nag Nag’, ‘Do The Mussolini (Headkick)’, ‘Sensoria’, ‘Landslide’, ‘I Want You’ and ‘Just Fascination’.

Curated by Richard H Kirk, who explains, “I decided to gather the more concise elements of the work… Hence the choice of 7” singles, edits and shorter album tracks, a kind of soundbite take on CV.”

‘#7885 (Electropunk To Technopop)’ compiles two distinct periods of Cabaret Voltaire - 1978-81 and 1983-85 - for the first time together on one release and follows the remastered vinyl release of ‘Red Mecca’ and already legendary sold out box set ‘#8385 (Collected Works 1983-1985)’.

The compilation travels from 1978-81 with a line up of Richard H Kirk, Stephen Mallinder and Chris Watson, when Cabaret Voltaire were (mostly) recording at the Western Works Studios in Sheffield and releasing records on Rough Trade and from 1983-85 after Watson’s departure when Kirk and Mallinder released via the Some Bizzare label on Virgin Records. Kirk points out that this “was a time where we got to do what we do, but in different areas, we wanted to push the boundaries of electronic music, we wanted to place what we were doing into places where it really shouldn't be. We certainly didn't want to carry on repeating what we'd done for the ten years previous.”

Cabaret Voltaire formed in 1973 and, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s. Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 40 years.

“Way, way ahead of their time” - DJ

“True, unflinching pioneers of electronic music” - Loud & Quiet

TRACK LISTING

Do The Mussolini (Headkick)
The Set Up
Nag Nag Nag
On Every Other Street
Silent Command
Kneel To The Boss
Seconds Too Late
Landslide
Breathe Deep
Just Fascination (7” Version)
Crackdown (Radio Edit 83)
Animation
The Dream Ticket (7” Version)
Sensoria (7” Version)
James Brown (7” Version)
Kino (7” Version)
Big Funk (7” Version)
I Want You (7” Version)
Warm

Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl.

Released in batches, the first albums in the series to be released are Monster Movie, Soundtracks, Tago Mago and Ege Bamyasi.

The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore.

A “landmark release in the history of rock ‘n’ roll” – MOJO Honours List winner of Classic Album Award

“stunning” – John Lydon “sounds only like itself, like no-one before or after” – Julian Cope

“mind expanding” – Q

“The music was like nothing I'd ever heard before, not American, not rock & roll but mysterious and European." – Bobby Gillespie, Primal Scream

Of all the band’s oeuvre, Tago Mago has been most often cited as an influence for a host of artists including John Lydon, Radiohead, The Fall, Ariel Pink, Fuck Buttons, Sonic Youth, Factory Floor and Queens Of The Stone Age. Just last week Geoff Barrow (Portishead) mentioned Can as his favourite and most inspiring band ever (The Quietus).

Tago Mago the first album with Damo Suzuki on vocals, features the Can line up of Holger Czukay on bass, Michael Karoli on guitars, Jaki Liebezeit on drums and Irmin Schmidt on keyboards, and was recorded at Schloss Nörvenich in 1971.

TRACK LISTING

Paperhouse
Mushroom
Oh Yeah
Halleluwah
Aumgn
Peking O.
Bring Me Coffee Or Tea

Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl.

Released in batches, the first albums in the series to be released are Monster Movie, Soundtracks, Tago Mago and Ege Bamyasi.

The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore.

Soundtracks is a compilation album, first released in 1970, consisting of tracks written for film.

The album marks the departure of the band's original vocalist Malcolm Mooney, who sings on two tracks, to be replaced by new member Damo Suzuki.

"She Brings the Rain", originally appearing in the 1969 film Bottom – Ein großer, graublauer Vogel by Thomas Schamoni, was later featured in Wim Wenders' 1994 film Lisbon Story, the 2000 Oskar Roehler film Die Unberührbare and Tran Anh Hung's film Norwegian Wood, released in 2010.

"Don't Turn the Light On, Leave Me Alone" features Damo Suzuki's first recorded performance with Can.

In March 2005, Q magazine placed "Mother Sky" at number 48 in its list of the 100 Greatest Guitar Tracks.

TRACK LISTING

Deadlock
Tango Whiskyman
Deadlock (Instrumental)
Don't Turn The Light On, Leave Me Alone
Soul Desert
Mother Sky
She Brings The Rain

Performed by Ben Frost with Greg Fox, Shahzad Ismaily and Thor Harris and largely written in Eastern DR Congo, ‘A U R O R A’ aims directly, through its monolithic construction, at blinding luminescent alchemy; not with benign heavenly beauty but through decimating magnetic force.

Starved of all the adornments of its predecessor; wholly absent of guitar, of piano, of string instruments and natural wooden intimacy, ‘A U R O R A’ offers a defiant new world of fiercely synthetic shapes and galactic interference, pummelling skins and pure metals.

TRACK LISTING

Flex
Nolan
The Teeth Behind The Kisses
Secant
Diphenyl Oxalate
Venter
No Sorrowing
Sola Fide
A Single Point Of Blinding Light

‘∞’ (Infinity) is the follow up to 2011’s ‘Skyline’, which was described by Mojo as “life affirming”, by Clash as a “remarkable musical talent” and in Drowned in Sound’s 8 star review as “euphoric”.

Conceived in Iceland, where work began on the album, and in Ushant Island, Brittany. The album was produced by Yann Tiersen and mixed by Gareth Jones with Yann Tiersen and Daniel Miller.

For this album Tiersen has worked with native language speakers to include tracks sung and spoken in Breton (‘Ar Maen Bihan’), Faroese (‘Grønjørd’) and Icelandic (‘Steinn’). ‘Ar Maen Bihan’ is a story written by Emilie Quinquis in the Breton language, and was then translated by Amiina to Icelandic to create the track ‘Steinn’. Elsewhere on the album Aidan Moffat (Arab Strap) and Ólavur Jákupsson (a member of Tiersen’s live band) both contributed tracks on the same theme - stones - Moffat’s in English and Jákupsson’s in Faroese.

Hailing from Brittany, Yann Tiersen is one of the most revered artists of his generation, with a reputation first established by his studio albums (which included 1997’s ‘Cascade Street’, 1998’s ‘The Lighthouse’ and 2005’s ‘Les Retrouvailles’). The early albums were combined and used for the ‘Amelie’ soundtrack (2001), earning him global recognition. Recent Mute albums ‘Dust Lane’ (2010) and ‘Skyline’ (2011) has seen his prominence build, along with projects such as the recent live score to the Fantômas series which he curated at the Théâtre de Châtelet with guests Tim Hecker, James Blackshaw, Loney Dear and Amiina.

Mick Harvey is set to release a double collection of his two Serge Gainsbourg albums, ‘Intoxicated Man’ and ‘Pink Elephants’, through Mute.

‘Intoxicated Man’ (1995) and ‘Pink Elephants’ (1997) are Mick Harvey’s interpretations of the songs of legendary singer, songwriter and poet Serge Gainsbourg and are the first major works translating Gainsbourg’s influential work from French to English. The collection will include two unreleased tracks, ‘Dr. Jeckyll’ and ‘Run From Happiness’.

Originally Harvey embarked on the project as a result of his own curiosity about the songs and particularly the lyrics. At the time of the original recordings Gainsbourg was little known outside classic works such as ‘Je T’aime… Moi Non Plus’ (‘I Love You… Nor Do I’), ‘Lemon Incest’, ‘Harley Davidson’, ‘Initials B.B.’ and ‘Bonnie & Clyde’. On this collection these classic works are presented alongside some of Gainsbourg’s lesser known compositions.

The vocal parts originally sung by Gainsbourg’s muses Jane Birkin, Brigitte Bardot and daughter Charlotte Gainsbourg are here sung by longtime collaborator Anita Lane. Guests on the albums include Bertrand Burgalat, Warren Ellis and David McClymont.

The reissues follow Mick Harvey’s 2013 album, ‘FOUR (Acts Of Love)’, which was the former Bad Seed and PJ Harvey collaborator’s sixth solo studio album, and the follow up to 2011’s ‘Sketches From The Book Of The Dead’.

‘Spectre’ follows the band’s widely acclaimed conceptual album ‘Volk’ (2006), where Laibach interpreted national anthems of historically imperialistic nations, and the release of the side projects ‘Laibachkunstderfuge’ (2008) and ‘Iron Sky: The Original Film Soundtrack’ (2012).

Laibach have once again ‘re-invented’ themselves into a newly born, yet polished and solid, formation. And, as is now customary, Laibach call into question all the rigid and cemented interpretations (and prejudices) about themselves, about their music, intentions, philosophy and ideology. Laibach are masters of escape, true escape artists. And yet, despite everything, ‘Spectre’ resonates as a real and full-blooded Laibachian work and nothing else.

With ‘Spectre’ Laibach have created a big, important, and almost dangerous step forward; it seems that this time it has fatally crossed the Rubicon. On this album the group - which has never defined itself politically, but has, nevertheless, constantly analysed politics through its work - comes across as politically engaged as never before. ‘Spectre’ literally sounds like a political manifesto in poetic form. Titles and lyrics couldn’t be more direct. With these lyrics and songs, Laibach, who have always given a controversial impression - or an impression of controversy - especially in terms of its political orientation, is now very clearly taking a position on the political spectrum and probably irreversibly abolishing its own (to some extent quite comfortable) political ‘freedom’ and neutrality.

The album opens with ‘The Whistleblowers’, a contagiously optimistic piece of classic ‘militant and symphonic’ Laibach, sounding like the sequel to Lieutenant F J Ricketts’ 1914 ‘Colonel Bogey March’. ‘No History’ knows no mercy, and leaves no doubt: Laibach require uncompromising action, they demand bravery and boldness and seek heroes “who will be the creed of a new political faith”. And, in one of the verses of this song, listeners can find a mini ‘manifesto’ about the album itself, its sonic expression, and the position of the group in relation to its own history.

In amongst these rallying calls from the band sits a rare Laibach love song: ‘We Are Millions And Millions Are One’ deals with love in today’s impossible times, times which are dangerously close to the fictional reality of classic anti-utopian novels such as Yevgeny Zamyatin’s ‘We’, Laibach’s inspiration for this song.

Ending the album is the elegant utopian song ‘Koran’, a track that shows the possibility of a better and fairer world - on Earth or in the hereafter. Consequently, the album ends with the (in)complete, open, unfinished sound of a piano key.

‘Drinking Gasoline’ was released in 1985, consisting of four songs from the legendary ‘Gasoline In Your Eye’ videocassette. These songs rank among Cabaret Voltaire’s more infectious compositions.

‘Gasoline In Your Eye’ is now included as a DVD together with both the CD and the LP of ‘Drinking Gasoline’, featuring videos shot and edited by groundbreaking director Peter Care and Richard H Kirk.

All audio remastered from the original tapes.

Vinyl cut by Stefan Betke aka Pole.

‘Gasoline In Your Eye’ DVD includes ‘Sensoria’ and promotional videos for ‘I Want You’ and ‘Just Fascination’.

Cabaret Voltaire, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 1970s. Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

This is Cabaret Voltaire’s seventh studio album, originally released in 1985. The album peaked at #57 in the UK charts. ‘I Want You’ went on to be the single.

Cabaret Voltaire, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s.

Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

All audio remastered from the original tapes.

Vinyl cut by Stefan Betke aka Pole.

TRACK LISTING

L21ST
I Want You
Hells Home
Kickback
The Arm Of The Lord
Warm
Golden Halos
Motion Rotation
Whip Blow
The Web

‘The Crackdown’ is the fourth studio album by Cabaret Voltaire. It was released in 1983.

This is Cabaret Voltaire’s first album after Chris Watson’s departure.

“One of Cabaret Voltaire’s strongest albums, ‘The Crackdown’ features the band working a number of menacing electronic textures into a basic dance / funk rhythm; the result is one of their most distinctive, challenging records.” - AllMusic

Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

All audio remastered from the original tapes.

Vinyl cut by Stefan Betke aka Pole.

‘Micro-Phonies’ is the sixth full-length studio album by Cabaret Voltaire. Released in 1984, it is considered the group’s most mainstream release, with the singles ‘Sensoria’ and ‘James Brown’ gaining popularity, especially due to the music video finding MTV airplay.

Cabaret Voltaire, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s.

Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

All audio remastered from the original tapes.

Vinyl cut by Stefan Betke aka Pole.

Described by Radio One DJ Rob da Bank as “The Kate Bush of the 21st century,” Polly Scattergood is quirky, dark and ethereal. Her music, electronic and keyboard-centered, is accented by her intriguing voice. 

‘Arrows’ is the second album from Polly Scattergood, whose self-titled 2009 debut on Mute yielded earcatching, intimate, intense songs rippling with confessional candor. It also offered a simmering range of sounds, electronica in excelsis, all of which suggested that there were many divergent paths this young talent might yet choose to explore.

‘Arrows’ is an instantly addictive album. Inventive, forceful and restless, it is ripe with - as the title of the first single suggests - ‘Wanderlust’. As on her first album, her songs are marked by a mix of storytelling and soul-searching.

The album is produced by Ken Thomas, whose CV includes work with M83, Maps, Sigur Ros, Dave Gahan, Cocteau Twins and PIL.

“‘Arrows’ deserves to make Scattergood a star” - Mojo (****)

‘Tales Of Us’ is Goldfrapp’s sixth studio album, and is strikingly cinematic in its aural feel. The album feel like a continuation of the gentle 60s psych-pop of 'Seventh Tree', but given a filmic twist. Simple acoustic guitar work is augmented with lush, sweeping orchestration, while Alison's voice is as seductive as ever. Lush and dreamy and atmospheric, 'Tales Of Us' is an intimate offering for autumnal evenings.

The songs’ narrative form makes sense given they were born out of a rediscovered love of cinema and the written word for singer Alison. All the songs bar one are named in the first person with a cast list of evocative character sketches, the contrary love affairs, the suspense, hallucinations, fairy tales and modern folklores documented and the traces of redemption they find in song take the poetry of Goldfrapp’s delicately considered music somewhere brand new.

The artwork features stunning photography of Annemarieke van Drimmelen and will form the core visual component of the marketing campaign. Additionally a stunningly beautiful film has been created by Lisa Gunning that showcases five of the songs from the album.

‘Nocturama’ is the twelfth studio album by Nick Cave & The Bad Seeds, released in 2003.

To date, it is the last Bad Seeds album to feature founding member Blixa Bargeld.

This album reunited Nick Cave with Nick Launay, who had produced The Birthday Party’s groundbreaking ‘Junkyard’ album 21 years earlier.

Featuring the singles ‘Bring It On’, ‘He Wants You’ and ‘Rock Of Gibraltar’, this album finds Cave moving away from ‘Murder Ballads’ and the gory fire and brimstone of yore and exploring more personal themes.

More than twenty years into his career at this point, Nick Cave proved himself worthy of the comparisons made in the press on his behalf: now he could stand alongside the likes of Bob Dylan, Johnny Cash and Tom Waits as a storyteller who could be unflinchingly honest in his work, whilst continuing to grow his fanbase.

This CD and DVD version includes the original album in 5.1 surround sound plus 7 bonus tracks and 4 bonus videos.

TRACK LISTING

CD
Wonderful Life
He Wants You
Right Out Of Your Hand
Bring It On
Dead Man In My Bed
Still In Love
There Is A Town
Rock Of Gibraltar
She Passed By My Window
Babe, I’m On Fire

DVD
Audio
Nocturama (in 5.1 & Stereo)
Shoot Me Down
Swing Low
Little Ghost Song
Everything Must Converge
Nocturama
Video
Do You Love Me Like I Love You (Part 12)
Babe I’m On Fire (15 Min Version)
Bring It On

Mute announce the release of Carter Tutti Void’s 'Transverse', a unique collaboration from Chris Carter & Cosey Fanni Tutti (Throbbing Gristle) and Nik Void (Factory Floor).

Transverse is a unique collaboration, created especially for the legendary Short Circuit presents Mute festival at the Roundhouse, London in 2011.

The tracks were prepared in the studio and then performed and recorded live in front of an audience. Outside of the trio, these recordings were unheard prior to the festival and the popularity of the performance left many being turned away at the door.

Mute is proud to make this groundbreaking recording available and to be working again with two of electronic music’s true pioneers and one of its new trail blazers.

Said The Quietus of the performance: “…a warm embrace, creating a deep connection… Carter at the back manipulates the electronics while on either flank, Void scratches noise with bowed guitar and Tutti plays while singing vocals that she mangles and distorts… there is no nihilism in this noise, nothing but a deep and wonderful sense of love.”

"I'm Gonna Live" is the second single taken from the album Skyline and is presented in limited edition 7" format. Inspired by the title of the Alan Lomax's Southern Journey 1959 album "I'm Gonna Live Until I Die" the title track focuses on the tiny pleasures of life as Yann sings about the tiny moments that make him feel alive.

The single is backed with an instrumental version of "Vanishing Point" in which Yann uses samples of instruments and noises from all the other tracks on his own album 'Skyline', compiling them together to form this haunting final track.

After years of pursuing Angels of Light and recording and producing a diverse roster of artists for his Young God label, Michael Gira has reconvened his legendary group Swans. As he says: 'This is not a reunion. It's not some dumb-ass nostalgia act. It is not repeating the past. After five Angels of Light albums, I need a way to move forward, in a new direction, and it just so happens that revivifying the idea of Swans allows me to do that'.

This highly anticipated album is as powerful and diverse as anything Gira's ever done, in Swans or otherwise. It opens with the epic, soul-crushing "No Words / No Thoughts", but quickly veers to more pastoral terrain, and on to ever-ascending monotonal grooves. A filmic-folk idyll featuring Devendra Banhart on lead vocal abruptly shifts to cataclysm, and is followed by more airplane-taking-off ascensions, art songs and lethal sonic pummelling. In short, this is the new Swans album, a significant advance from where they left off and as challenging and emotionally demanding as ever.

STAFF COMMENTS

Darryl says: An album that encompasses all that is the Swans; from the brutal pummelling of your rib cage to the gentle caressing of your senses, this is the Swans on majestic top form. The swans are back, long live the Swans!

TRACK LISTING

1. No Worlds / No Thoughts
2. Reeling The Liars In
3. Jim
4. My Birth
5. You Fucking People Make Me Sick
6. Inside Madeline
7. Eden Prison
8. Little Mouth

‘Tender Prey’ is the fifth studio album from Nick Cave And The Bad Seeds and was released in September 1988. The album was recorded during several sessions over the course of four months in West Berlin and London and was produced by Flood.

The album opens with ‘The Mercy Seat’, which has been subsequently played at almost all of the band’s live performances since 1988 and was later covered by one of Cave’s biggest influences, Johnny Cash. ‘The Mercy Seat’ was released as a single in May 1988 as a precursor to the album and ‘Deanna’ was released shortly after the album hit the streets.

Cave later admitted that the album “was made at a difficult time in my life when things were spiralling out of control in a lot of areas.”

This CD and DVD version includes the original album in 5.1 surround sound, five bonus tracks and three videos.

TRACK LISTING

CD
The Mercy Seat
Up Jumped The Devil
Deanna
Watching Alice
Mercy
City Of Refuge
Slowly Goes The Night
Sunday’s Slave
Sugar Sugar Sugar
New Morning

DVD
Audio
Tender Prey (Dolby Digital Surround Sound / DTS Surround Sound / Stereo)
The Mercy Seat (Video Version)
Girl At The Bottom Of My Glass
The Mercy Seat (Acoustic Version)
City Of Refuge (Acoustic Version)
Deanna (Acoustic Version)
Video
Do You Love Me Like I Love You (Part 5: Tender Prey)
The Mercy Seat
Deanna

Kraftwerk beam themselves into the future by writing about home computers, online dating and globalised electronic surveillance years before these phenomena truly come into being. A journey into the bright hopes and dark fears of the booming microchip revolution, "Computer World" is a serenely beautiful and almost seamless collage of sensual melodies and liquid beatscapes. Tracks like "Numbers" and "Pocket Calculator", with their weightless bleeps and elastic beats, predict the silky rhythms of Chicago house and inspire a generation of Detroit techno artists. Kraftwerk's fanfare for the silicon age still sounds ageless, timeless and throbbing with invention.

TRACK LISTING

1. Computer World (2009 Digital Remaster)
2. Pocket Calculator (2009 Digital Remaster)
3. Numbers (2009 Digital Remaster)
4. Computer World 2 (2009 Digital Remaster)
5. Computer Love (2009 Digital Remaster)
6. Home Computer (2009 Digital Remaster)
7. It's More Fun To Compute (2009 Digital Remaster)

The year 2003 marked the centenary of the Tour de France, the conceptual starting line for Kraftwerk's first album for over a decade. Although it features an immaculate new version of a 20-year-old former single, the exquisitely graceful "Tour de France", pop nostalgia is not on the menu. From the chunky cyber-funk of "Vitamin" to the restless metallic shimmers of "Aéro Dynamik", this is emphatically the sound of 21st century techno visionaries.

TRACK LISTING

1. Prologue (2009 Digital Remaster)
2. Tour De France Étape 1 (2009 Digital Remaster)
3. Tour De France Étape 2 (2009 Digital Remaster)
4. Tour De France Étape 3 (2009 Digital Remaster)
5. Chrono (2009 Digital Remaster)
6. Vitamin (2009 Digital Remaster)
7. Aéro Dynamik (2009 Digital Remaster)
8. Titanium (2009 Digital Remaster)
9. Elektro Kardiogramm (2009 Digital Remaster)
10. La Forme (2009 Digital Remaster)
11. Régéneration (2009 Digital Remaster)
12. Tour De France (2009 Digital Remaster)

Kraftwerk's first fully digital album confirmed their clubland credentials and reworked 11 of their best-loved tunes for a new generation. Painstakingly reconstructed and sequenced in the band's Kling Klang studio, new versions of tracks like "The Robots", "Trans Europe Express" and "Home Computer" now feature more funky rhythms and cleaned-up, liquid-crystal sounds. A stark warning about pollution at Sellafield is added to the glistening overhaul of "Radioactivity", sparking a war of words with British Nuclear Fuels. But most of all, "The Mix" is a career-spanning collection of legendary electro anthems and a classy acknowledgment of the two-way traffic between Kraftwerk and club culture.

TRACK LISTING

1. The Robots (2009 Digital Remaster)
2. Computer Love (2009 Digital Remaster)
3. Pocket Calculator (2009 Digital Remaster)
4. Dentaku (2009 Digital Remaster)
5. Autobahn (2009 Digital Remaster)
6. Radioactivity (2009 Digital Remaster)
7. Trans Europe Express (2009 Digital Remaster)
8. Abzug (2009 Digital Remaster)
9. Metal On Metal (2009 Digital Remaster)
10. Home Computer (2009 Digital Remaster)
11. Music Non Stop (2009 Digital Remaster)

With its iconic Emil Schult sleeve, Kraftwerk release their international breakthrough album. The symphonic title track, an epic ode to the joys of motorway travel, wraps a mesmerising motorik rhythm around a sampled collage of car horns, engine noise, whirring tyres and radio crackle. In edited form, it becomes a revolutionary hit single around the world. Elsewhere, in wordless industrial folk music, the band reveal both their light and dark sides – "Mitternacht" is all creeping midnight shadows, while "Morgenspaziergang" is fresh with morning dew and birdsong. Two versions of "Kometenmelodie", one a starkly gothic prowl, the other a sunny electro boogie, provide further instrumental sound paintings. Pure and strong and bold, Kraftwerk compose cinema for the ears. The pop world falls in love with them.

TRACK LISTING

1. Autobahn (2009 Digital Remaster)
2. Kometenmelodie 1 (2009 Digital Remaster)
3. Kometenmelodie 2 (2009 Digital Remaster)
4. Mitternacht (2009 Digital Remaster)
5. Morgenspaziergang (2009 Digital Remaster)

Kraftwerk embrace the atomic age with mixed emotions. Surfing on sine waves, scanning the stratosphere for stray radio signals, they plug themselves into a buzzing grid of energy and communication. From the stately eco-angst anthem "Radioactivity" to the synthetic Gregorian chants of "Radio Stars" and the melancholy machine processional of "Ohm Sweet Ohm", a sombre but engrossing monumentalism dominates. With heavily processed vocals in both German and English, Kraftwerk go global with depth and majesty. If factories and power stations are the new cathedrals, they write liturgies for a new industrial epoch.

TRACK LISTING

1. Geiger Counter (2009 Digital Remaster)
2. Radioactivity (2009 Digital Remaster)
3. Radioland (2009 Digital Remaster)
4. Airwaves (2009 Digital Remaster)
5. Intermission (2009 Digital Remaster)
6. News (2009 Digital Remaster)
7. The Voice Of Energy (2009 Digital Remaster)
8. Antenna (2009 Digital Remaster)
9. Radio Stars (2009 Digital Remaster)
10. Uranium (2009 Digital Remaster)
11. Transistor (2009 Digital Remaster)
12. Ohm Sweet Ohm (2009 Digital Remaster)

A bold new look, sound and concept for Kraftwerk. Over supple processed rhythms which predate the rise of European techno and trance, they address automation and alienation, space travel and engineering, the seductive allure of urban landscapes and the vacant glamour of celebrity. Clipped and funky, "The Robots" adds another dimension to Kraftwerk's ultra-dry sense of humour. Behind its intoxicating melodic pulse, "The Model" is a highly prophetic satire on the beauty industry, so ahead of its time that it only becomes a UK chart-topper by accident three years later. And "Neon Lights" is Kraftwerk's most achingly romantic song to date, a sci-fi lullaby for cities at twilight. Pure magic.

TRACK LISTING

1. The Robots (2009 Digital Remaster)
2. Spacelab (2009 Digital Remaster)
3. Metropolis (2009 Digital Remaster)
4. The Model (2009 Digital Remaster)
5. Neon Lights (2009 Digital Remaster)
6. The Man Machine (2009 Digital Remaster)

Kraftwerk celebrate Europe's romantic past and shimmering future with a glistening panorama of elegance and decadence, travel and technology. The infinite vistas of "Europe Endless" and "Endless Endless" bookend the album, which includes the unsettling Kafka-esque fable "The Hall Of Mirrors" and the hilarious "Showroom Dummies" - Kraftwerk's elegantly ironic reply to critiques of their deadpan manner. But it is the streamlined rhythmic locomotive of "Trans Europe Express" which dominates with its doppler-effect melodic swerves and hypnotic, pneumatic, piston-pumping rhythm. Along with its sister track, "Metal On Metal" which New York DJ Afrika Bambaataa would re-construct five years later for his own seminal "Planet Rock", this milestone in avant-pop modernism later becomes a crucial influence on the early pioneers of hip-hop & sampling, electro and industrial music. Poetry in motion.

TRACK LISTING

1. Europe Endless (2009 Digital Remaster)
2. The Hall Of Mirrors (2009 Digital Remaster)
3. Showroom Dummies (2009 Digital Remaster)
4. Trans Europe Express (2009 Digital Remaster)
5. Metal On Metal (2009 Digital Remaster)
6. Abzug (2009 Digital Remaster)
7. Franz Schubert (2009 Digital Remaster)
8. Endless Endless (2009 Digital Remaster)

Kraftwerk return from five years of silence to reclaim their throne as leaders of a machine-pop revolution that they themselves began over a decade before. Their "Techno Pop" album, first released under the name "Electric Café" but now restored to its originally intended title, provides a 360-degree overview of a multi-lingual, multi-channel, musically diverse global village. From the block-rocking beats of "Boing Boom Tschack" to the electronic funk and computer animation of "Musique Non Stop", Kraftwerk soar into the digital age. Their first excursion into digital recording finds both beauty and unease in a polyglot world of permanent media overload. Once again, Dusseldorf's test pilots of the musical future effortlessly break new ground.

TRACK LISTING

1. Boing Boom Tschak (2009 Digital Remaster)
2. Techno Pop (2009 Digital Remaster)
3. Musique Non Stop (2009 Digital Remaster)
4. The Telephone Call (2009 Digital Remaster)
5. House Phone (2009 Digital Remaster)
6. Sex Object (2009 Digital Remaster)
7. Electric Café (2009 Digital Remaster)

‘The Firstborn Is Dead’, co-produced by Nick Cave, The Bad Seeds and Flood, is the second studio album released by Nick Cave And The Bad Seeds and was originally released on June 3rd 1985.

Cave explores his fascination with the American South, with references ranging from Elvis Presley to ‘Blind’ Lemon Jefferson.

Recorded in Berlin, Cave later said of this album: “Berlin gave us the freedom and encouragement to do whatever we wanted. We’d lived in London for three years and it seemed that if you stuck your head out of the box, people were pretty quick to knock it back in, particularly if you were Australian. When we came to Berlin it was the opposite. People saw us as some kind of force rather than a kind of wacky novelty act.”

The album’s title is a reference to Jesse Garon Presley, the stillborn identical twin of Elvis Presley, and ‘Wanted Man’ was Cave’s own take on a song Bob Dylan wrote for Johnny Cash. Dylan gave his permission for the lyrics to be changed, with Cave’s interpretation referencing his friends.

Also features the apocalyptic classic ‘Tupelo’.

This CD and DVD version includes the original album in 5.1 surround sound, one bonus track and three bonus videos.

TRACK LISTING

CD
Tupelo
Say Goodbye To The
Little Girl Tree
Train Long-Suffering
Black Crow King
Knockin’ On Joe
Wanted Man
Blind Lemon Jefferson

DVD
Audio:
The Firstborn Is Dead
(5.1 Surround Sound)
The Six Strings That
Drew Blood
Video:
Do You Love Me Like I
Love You (Part 2: The
Firstborn Is Dead)
Tupelo
Wanted Man

With ‘Your Funeral… My Trial’ The Bad Seeds expanded their personnel by adding Thomas Wydler on drums, enabling Mick Harvey to display his considerable multi-instrumental talents. This was the band’s fourth studio album and was released on November 3rd 1986 and was originally released as a double EP, with production duties handled by Flood and Tony Cohen.

Cave later remarked: “That particular record, which is my favourite of the records we’ve done, is very special to me and a lot of amazing things happened, musically, in the studio. There are some songs on that record that as far as I’m concerned are just about perfect as we can get really - songs like ‘The Carny’, ‘Your Funeral My Trial’, and ‘Stranger Than Kindness’, I think are really quite brilliant.”

Nick Cave & The Bad Seeds appeared in Wim Wenders’ 1987 movie ‘Wings Of Desire’ performing ‘The Carny’ and ‘From Her To Eternity’.

This CD and DVD version includes the original album in 5.1 surround sound, a bonus track and a bonus video.

TRACK LISTING

CD
Sad Waters
The Carny
Your Funeral My Trial
Stranger Than Kindness
Jack’s Shadow
Hard On For Love
She Fell Away
Long Time Man

DVD
Audio:
Your Funeral... My Trial (5.1 Surround Sound)
Scum
Video:
Do You Love Me Like I Love You

An album of covers by the likes of Leadbelly, Jim Webb, Alex Harvey, Gene Pitney, Tim Rose and the Velvet Underground amongst others, all reworked and reconstructed with expert menacing detail by the Bad Seeds who combine superbly with Cave's excellent vocal performance. The major shock here is how well this collection of songs works as an album!!!

This is one of the first four albums in a series that will see the band's entire album catalogue digitally remastered and remixed for the first time since their original release.
All 14 albums will be available as remastered CD and as a deluxe Collectors Edition which will feature the remastered album plus a DVD with the entire album in 5.1 surround sound, a specially commissioned short film made by acclaimed UK artists Iain Forsyth and Jane Pollard plus the b-sides from the singles and exclusive sleeve notes.

"Drum's Not Dead", the band's third album and the follow up to 2004's "They Were Wrong, So We Drowned" was partly inspired by a relocation from New York to Berlin. It finds Angus Andrew, Aaron Hemphill and Julian Gross taking another seismic step forward, switching continents and seizing new musical territory. It's also their finest and fullest album to date, shredding all past reference points. Both formats come loaded with its own cinematic sister project: a DVD with three film versions of the album, "Drum's Not Bread" (directed by Julian Gross), "The Helix Aspersa" (directed by Angus Andrew) and "By Your Side" (by award-winning filmmaker Markus Wambsganss). Each film comprises of videos for each of the tracks on the album: that's 36 videos in total. From backstage travelogues to surreal animation and mini sci-fi epics, Liars document the process of recording, touring, then visually reinventing each track. It's an ambitious and groundbreaking expansion of the album format, throwing down the gauntlet for other creatively ambitious bands to follow suit.

Not just one album but two from Saint Nick. In a strange perverse way the loss from his band of guitarist Blixa Bargeld has seen them return to the taught, edgy and highly strung sounds that he helped to create: The sound of say "Let Love In", "Murder Ballads" and "Henry's Dream". Death, sex, religion, drugs, gospel gothic and deep romance in fact all of Cave's favourite topics are covered here in a fresh whirlwind of classic song after classic song. This stands up as one of Nick Cave's best ever albums, and don't forget, there's two of them!! Hallelujah!!!

Recorded at various concerts throughout Europe and Australia in 1992 and 1993. All of the classics are featured here, "Deanna", "The Ship Song", "Papa Won't Leave You Henry", "Tupelo", "Jack The Ripper", "From Her To Eternity" and many more. But none of those tracks eclipse the live energy of the utterly superb "The Mercy Seat". 13 tracks that showcase the genius and power of Nick Cave And The Bad Seeds in the live setting.

More vocal-orientated than any of his previous work, it's undoubtedly the finest Echoboy record to date. "Giraffe" was recorded with legendary producer Flood and features ten new tracks. From the driving bass melody of album opener "Automatic Eyes" to the gorgeous "Summer Rhythm", from the uplifting emotional edge of "Don't Destroy Me" to the uncomfortable sarcasm of "Good On TV", the album is full of original and imaginative pop songs.

A retrospective, rather than a single compilation, this spans 13 years and 10 albums from the debut "From Her To Eternity" to "The Boatman's Call". 16 tracks in total featuring the duets with Kylie and PJ Harvey, "Where The Wild Roses Grow" and "Henry Lee", the album favourites "The Carney" and "From Her To Eternity" and classic singles such as "The Mercy Seat", "(Are You) The One That I've Been Waiting For?" and "Straight To You".

New album from Barry Adamson, and his most accessible to date. Still with his usual cool, dark vibes and filmic layered moods, but with an added dimension of lush, funky, soul-jazz. Add to that great musicianship and deep production and you've got yet another absolutely superb Barry Adamson album. Totally essential.

Fad Gadget - aka Frank Tovey - was the first ever signing to Mute. Frank's incarnation as the increasingly bizarre Fad Gadget gave rise to four albums in the early eighties, and prompted NME to proclaim that he 'Mixed rock with the '80s in a way Iggy Pop would have killed for'. This collection encompasses all of Frank's classic moments. These include the cult hit "Collapsing New People", the final single, "One Man's Meat", and his darkly satirical guide to nightlife - "Saturday Night Special".

This second album from Appliance, sees them expanding their instrumentation and taking on a more melodic slant. Keyboards, samplers and drum machines rub shoulders with their original set up of vocals, guitar, bass and drums to great effect.