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CAN

Phoebe Green

I Can't Cry For You

    Raised in the small seaside town of Lytham, Phoebe Green first shot to prominence with her critically acclaimed 2019 debut singles ‘Dreaming Of’ and ‘Easy Peeler’. Across those two tracks, Green received the kind of press reception afforded to only the most buzzing artists with plaudits coming from NME’s ‘100’ & ‘50 Female Creators Set To Rule 2020’ lists, Dork’s 2020 ‘HYPE List’, The Sunday Times’ 'Breaking Act', Dazed’s ‘On The Rise', i-D’s ‘Introducing’, Total Guitar’s ‘On The Up’, The Line Of Best Fit’s ‘On The Rise’, Music Week’s ‘On The Radar’, The FADER's 20 best rock songs right now, CLASH’s ‘Next Wave’, not to mention Pitchfork's coveted seal of approval for her debut single ‘Dreaming Of’ - which subsequently found its way onto Billie Eilish’s personally curated ‘In My Room’ playlist.

    Green’s singles have received extensive support at Radio 1 from Annie Mac, Jack Saunders, and Huw Stephens as well as earning a place on the daytime playlist (with ‘Easy Peeler’) as the BBC Introducing Tune Of The Week with plays from the likes of Clara Amfo, Nick Grimshaw, and Adele Roberts. More support has come in elsewhere from Jo Whiley (BBC Radio 2), Steve Lamacq, Lauren Laverne & Tom Robinson (BBC Radio 6 Music), Beats 1’s Matt Wilkinson and John Kennedy (Radio X). 


    FORMAT INFORMATION

    12" Info: 12inch colour splatter Orange and Green

    Ayalew Mesfin

    Mot Aykerim (You Can't Cheat Death)

      Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation.

      Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Mot Aykerim gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it. 

      Frank Zappa

      You Can't Do That On Stage Anymore

        THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE OCTOBER 24TH DROP DAY AT 6PM.
        LIMITED TO ONE PER PERSON.

        To promote his installment project, ‘You Can’t Do That On Stage Anymore’, Frank Zappa created this sampler, consisting of hand-picked live performances, ranging from 1969 to 1984, from his legendary vault. This 2020 Collector’s Edition double LP was mastered by Bernie Grundman. Pressed on 180-gram individual red & yellow transparent vinyl discs.

        FORMAT INFORMATION

        2xColoured LP Info: Pressed on 180-gram individual red & yellow transparent vinyl discs.

        Stadium house poster boys Adelphi Music Factory return with another massive, mass-uniting big room cut for the festivals and arena gigs that never were in 2020. Turning to the spine-tingling endorphin rushes of hardcore breaks and rave, "My People" is the act's ode to humanity in the grip of crisis; a joyous, arms-aloft tribute to enduring love for the empty dancefloor across the globe. Hang on in their folks, we WILL dance again!




        STAFF COMMENTS

        says: Adelphi return to blow your chakras clean outta the top of yer head with possibly the Largest (thanks Pete Tong) release to grace our house section this year. Yes, I know it's technically RAVE but that's where it lives!

        Bob

        You Can Stop That For A Start

          The album is accompanied by a selection of some of the band’s favourite demo recordings made between 1988 and 1994.

          The long awaited and eagerly anticipated new album by BOB captures the band at their peak and includes some of their best material ever committed to vinyl and CD. A 12-track vinyl record is available in coloured and black vinyl and includes digital download of all 28 tracks contained on the double CD version. ‘You Can Stop That For A Start’ is an exclusive album of previously unheard material written and recorded by BOB over a five day period in 1992. The almost legendary archive of unreleased professional and demo recordings by BOB is a rich one, and this release showcases some of the band’s best work.

          All the recordings in the set have been newly mixed by songwriters Simon Armstrong and Richard Blackborow, and come packaged in artwork conceived by the band and accompanied by period images and new sleeve notes. 

          Potted BOB History:
          BOB’s initial line-up was Richard Blackborow (vocals, keyboards, guitar), Simon Armstrong (guitar, vocals).
          Jem Morris (bass guitar), joined the duo in 1986 and, augmented with a drum machine, they recorded the band’s first release, a flexi disc, released in 1986 on their own House Of Teeth label, and containing three short songs: “Prune (Your Tree)”, “Groove” and “Brian Wilson’s Bed”. The band gave a copy to John Peel in a fortuitous encounter in the Rough Trade record shop, and he played it many times.
          The drum machine was replaced by drummer Gary Connors in 1987, and this line-up recorded 1987’s What a Performance single and the first of three John Peel sessions. The band were now able to take to the UK’s motorway network in their newly acquired ‘vintage’ Transit van, and begin a series of tours that eventually saw them play hundreds of gigs the length of the country and beyond.

          Early in 1988, Gary Connors was replaced by former Jamie Wednesday drummer Dean Leggett, and the band recorded their second single, Kirsty, a session for BBC Radio One’s Simon Mayo, and their second John Peel session. Both singles received heavy play by John Peel. The two singles were brought together with the earlier flexi disc as the compilation LP Swag Sack, which was their final release on the Sombrero label. All later records were on their own House Of Teeth label.

          In 1989, the band released a single Convenience, which charted well in the NME and Melody Maker indie charts and, more importantly, reached no.31 in John Peel’s Festive Fifty at the end of the year. This was followed by a limited edition/fan club release containing three songs: “Esmerelda Brooklyn”, “I Don’t Know” and “Sink”. After their third and final John Peel session, Morris was replaced by ex-Caretaker Race bassist Stephen ‘Henry’ Hersom, and this final line-up recorded the Stride Up EP in 1990, an LP Leave The Straight Life Behind, the single Tired in 1991, and one last 12”, the Nothing For Something EP in 1992.
          BOB became one of the victims of the demise of Rough Trade’s distribution arm, which limited sales of the album and forced the band to tour for an extended period to recoup the album’s costs. A feeling of disillusionment with the ‘business’ side of the music caused a drop in morale, and despite having produced a large body of unreleased work, they disbanded early in 1995.

          In February 2014, “Leave the Straight Life Behind” was re-released by British independent label 3 Loop Music as a 2CD expanded edition which included the remastered album plus a bonus CD of all the John Peel and BBC sessions, as well as extra tracks.

          In 2015, “The Singles and EPs” was released by 3 Loop Music as a 2CD compilation of remastered tracks from Swag Sack and all vinyl Sombrero and House of Teeth releases.

          In 2019, the band announced six final concerts in England and Germany featuring Blackborow, Armstrong, and Leggett with newly recruited old friend Arthur Tapp on bass. A limited edition 7” of Convenience with an unreleased B-side from 1992 was released on Optic Nerve. The single reached number 18 on the official UK vinyl sales chart.

          BOB on the new album You Can Stop That For A Start:
          “The tracks that make up You Can Stop That For A Start were recorded over a five day period in our final years, as the hectic touring schedule that had kept us financially viable began to tail off. What funds the band could glean from occasional publishing deals were spent on studio time, with the hope of creating work that would eventually attract more substantial financial investment. As this never materialised, the songs have largely remained unheard since the early nineties. 


          FORMAT INFORMATION

          Coloured LP Info: Indies only white vinyl lp (200 copies) includes MP3 download of all 28 tracks on the double CD & poster.

          Spoon

          Girls Can Tell - 2020 Reissue

            ‘Girls Can Tell’, the third studio album from Spoon, originally released in 2001.

            Newly recut from the original masters.

            “A start-to-finish triumph” - Rolling Stone. 

            ‘Girls Can Tell’ is released as part of the Slay On Cue series, which will see the reissue of the band’s first eight records in original editions - Telephono (1996), Soft Effects EP (1996), A Series Of Sneaks (1998), Girls Can Tell (2001), Kill The Moonlight (2002), Gimme Fiction (2005), Ga Ga Ga Ga Ga (2007) and Transference (2010).

            “Some of these albums haven’t been available on vinyl or CD in years, and in some places they never actually came out,” says frontman Britt Daniel.

            Astrel K

            You Could If You Can / Gnistrande Snö (Cover Version)

              Astrel K, based in Stockholm, is the solo project of Rhys Edwards of Ulrika Spacek. 

              FORMAT INFORMATION

              Ltd 7" Info: An edition of 492 copies in a generic card sleeve, with a hand stamped band name plus numbering.

              David Ruffin

              I Can't Stop The Rain / Questions

                Motown soul artist David Ruffin had one of the finest voices of the 60s and 70s, primarily as lead singer of The Temptations. He also recorded as a solo artist across three decades, and while still at Motown in 1977 recorded an album “In My Stride” with writers/arrangers/producers Van McCoy and Charles Kipps. Both the sides on this 7” release come from the album and are among the most enduring recordings by David the solo artist. “I Can’t Stop The Rain” has become increasingly more collectable on 7”, while “Questions” has never previously been available on 45.

                Yo La Tengo

                I Can Hear The Heart Beating As One

                  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!!

                  Madcliff

                  You Can Make The Change / What People Say About Love

                  Madcliff recorded one album in 1977 from which come these two tracks for the first time on 7” single. Singer, Songwriter, Drummer, Bassist and Keyboardist Chris Hills wrote the songs and was integral to the group before joining Players Association. The killer cut is the funk bomb “You Can Make The Change” which was made popular by Keb Darge at his legendary deep funk nights and has been sought after ever since.

                  STAFF COMMENTS

                  says: If you’re in need of some more funk in your life – look no further. Two killer tracks from Madcliff are on fire with these catchy lyrics and irresistible grooves . First time pressed on 7” which won’t be around for long!

                  Can

                  Live 1970

                    Can, live from Soest, Rockpalast, Germany in November 1970

                    This remarkable set is the earliest full concert recording of the mighty Can. Performed in November 1970 for broadcast on the WDR TV show Karussell für die Jugend (‘Youth Carousel) in Soest, 80 miles north of their base in Cologne, it features vocalist Damo Suzuki (who’d replaced Malcolm Mooney in May), alongside Michael Karoli (guitar), Irmin Schmidt (keyboards), Holger Czukay (bass) and Jaki Liebezeit (drums), and is presented here with background notes and images.

                    • First time on vinyl
                    • Includes the entire WDR TV broadcast
                    • Pressed on 180g silver coloured vinyl
                    • Hand numbered gatefold sleeve
                    • Background notes and images.



                    FORMAT INFORMATION

                    2xLtd LP Info: Double silver coloured 180g vinyl, in hand numbered gatefold sleeve

                    Moplen

                    A Minute / Can’t Hide

                    Having returned from a 4-year break in August with its latest release from GW & Henry, A&R Edits follows up with a debut for Moplen. With a recent remix of Frankie Knuckles ft. Jamie Principle and a "Salsoul Reworks EP", Luca Moplen has been gaining new traction of late, so it felt fitting to release two of his evergreen edits on vinyl for the first time. Moplen’s edit of Tavares’ classic disco stomper "It Only Takes A Minute" coupled with Greg Wilson’s edit of Moplen’s edit of Larry Levan’s mix of David Joseph’s "You Can’t Hide (Your Love From Me)", if you can follow all that then you're a true disco badger!

                    An all brother group hailing from Providence, Rhode Island, Tavares were a band that evolved with the disco sound, hitting their peak in 1976 when both "Heaven Must Be Missing An Angel" and "Don’t Take Away The Music" became huge club favourites. They scored their first R&B #1 in 1974 with a cover of Hall & Oates "She’s Gone" and in 1975 they returned to the top of the R&B chart whilst going top 10 pop and scoring a #2 Disco hit with "It Only Takes A Minute". In 1992 a cover by boy band Take That would gift them their first top 10 entry, many people unaware that this track had first been recorded 17 years earlier.

                    Rising to prominence in Brit-funk band Hi-Tension, David Joseph soon found his footing as a solo artist after they’d split, with his first release being "You Can’t Hide (Your Love From Me)" in February 1983. That same month, Greg Wilson appeared on The Tube, mixing between two copies of this very record - the first time mixing had been demonstrated on British TV. It would subsequently enter the UK chart, climbing into the top 20. The track would then be remixed by legendary Paradise Garage DJ Larry Levan, resulting in a #2 placing on the Billboard Dance chart. Upon hearing Moplen’s extended dub edit, Greg worked further into it reintroducing the song - given his history with the track it was unthinkable that he’d play it without the vocal. The result is a unique version where Moplen’s dub sets the vibe during the first half of the edit before the song is finally introduced.


                    STAFF COMMENTS

                    says: Brit-funk on one side and disco heavy on the vocals on the flip. Top quality by the reliable A&R Edits imprint. Do not miss this one!

                    Louie Vega

                    Cosmic Witch / A Place Where We Can All Be Free

                    The smash new Double A Side 12” single from Louie Vega features “Cosmic Witch” and “A Place Where We Can All Be Free,” and is the first single from Louie’s forthcoming “Expansions In The NYC” album.
                    The “Vega” side includes “Cosmic Witch", a disco-infused house jam on which Vega puts a masterful touch using a clever sample from the 1976 “Cosmic Lady” by Tony Silvester & The New Ingredient, combining his percussion and synths with a hypnotic vocal performance from Anané. As quoted by Vega previously, "I call Anané a chameleon, because she transcends so many different sounds with her voice.” Special thanks to Natasha Kitty Kat for the track inspiration.

                    The “Nervous” side features “A Place Where We Can All Be Free,” on which Vega works with longtime collaborators Axel Tosca and Gene Perez to create the perfect jam session that is guaranteed to blow up dancefloors worldwide. The trio created 6 minutes of pure and authentic house music featuring Fender Rhodes, Wurlitzer Electric Piano, Synth Bass, Electric Bass instruments.


                    “I felt totally unrestrained making this album” says Lindstrøm about his 6th solo album On A Clear Day I Can See You Forever (a title inspired by the 1970’s musical On A Clear Day You Can See Forever starring Barbra Streisand). “I’ve listened to Robert Wyatt’s solo albums and his Matching Mole’s debutalbum a lot lately. It so effortless, fearless and free. And not insisting. I was very inspired by this”

                    In the autumn of 2018, Lindstrøm composed a commissioned piece for Norway’s premiere art centre Henie Onstad Kunstsenter. Sketches from the three sold-out performances became the foundation for the new tracks. “I decided to keep some of the initial ideas and develop them further. All the songs are based on long one-take recordings”, says Lindstrøm “Also I’ve been very conscious about the music on the album not exceeding the length of the physical limitations of the vinyl-format, finding that 2 long tracks on each side were the perfect balance for this album”

                    This is also the first time ever Lindstrøm has made an album entirely with hardware instead of computer-plugins. He utilised thirty plus synthesizers and drum-machines during his performance at Henie Onstad Kunstsenter. The experience inspired him to embrace a similar set-up when making the album. “The joy of making music on actual physical objects and devices makes a lot of sense to me now. After working on a computer for over 15 years, I don’t think I’ll ever look back” he says with an almost childlike excitement.

                    It was the accessibility to his enviable collection of music gear – largely consisting of sought after synthesizers – that allowed Lindstrøm to experiment so freely with ideas and soundscapes. “The title track is a 10-minutes improvisation on the Moog Memorymoog. I liked the loose feel so I decided to keep everything unedited. The other tracks were written and arranged prior to the recordings. I then set up the instruments needed for my sessions, then recorded more or less everything in a single take. I’m really happy with the way this album came together.”

                    Lindstrøm has cited classical music as an inspiration the last couple of years “I used to study classical music at school. Back then I was listening to a lot of Opera, orchestral music and solo music on the piano. Listening to classical music again has been a revisit to my childhood days, just like I did when I embraced the 80s in the early 2000s”. Once embracing the freedom and the joy of making music without inhibitions, immersing himself in to the physical realm of making music with hardware, Lindstrøm learned something new not only about music – but about himself. “I guess I've been trying to re-educate myself”.


                    FORMAT INFORMATION

                    Coloured LP Info: Clear vinyl.

                    Here the ever reliable Soundway Records reissue Free Youth’s long sought-after 1985 single “We Can Move” - one of the first known examples of Ghanaian hip hop, emerging at the dawn of ‘hip-life’ (hip hop meets highlife). It was the trio’s only release and originally pressed on 7” vinyl, but now comes fully restored, remastered and available for the first time on 12” vinyl along with the original cover art.
                    Free Youth comprised three main members: Terry “Sir Robot” Bright, Lenny “Nii Addy” Dimple, and Abednego “King Abed” Ayim Bright. In the early 80s they began performing in clubs and parties across Accra, with friends and other dancers occasionally joining them on stage - including Reggie Rockstone, who later went on to find global stardom.
                    In 1985, the band were approached by a producer and invited to record at a local studio. Without having written down any music, Terry, Lenny and Abed sang the parts and beatboxed the rhythms to the session musicians prior to recording. Out of this session came “We Can Move”, a blend of hip-hop and Afro-funk with a proto disco-boogie beat, punchy trumpet riffs and melodic rap flow.
                    Included in this Soundway release is an exclusive instrumental cover version from Welsh ensemble Drymbago. This replaces the original B side track “Freedom Video Centre” which was an advertising jingle for a business associated with their former producer.

                    Night Moves

                    Can You Really Find Me

                      Night Moves’ new album, ‘Can You Really Find Me’, pulsates and glows with the same sublime energy that radiated from breakout single ‘Carl Sagan’ in 2016, however in the intervening years, John Pelant and Micky Alfano have grown up.

                      The songwriting, while still steeped in super-catchy, velvety riffs and pure pop glaze, feels more sophisticated and modern. Since the pair met in high school, awestruck by such ear-candy wizards as Brian Wilson, Todd Rundgren, Stevie Nicks and Lindsay Buckingham, they set off to craft their version of what sophisticated, emotional modern pop music can and should sound like.

                      2016’s ‘Pennied Days’ was a breakthrough and set a new bar for the members of Night Moves. After spending the subsequent two years on ‘Can You Really Find Me’, they’ve scaled new heights, where the sounds are still just as sweet but now smarter, more evocative and perfectly designed for a summer release.

                      ‘Can You Really Find Me’ was produced by Jim Eno (founding member and drummer of Spoon) out of Public Hi-Fi Studios in Austin, TX and recorded with live band members Mark Hanson and Chuck Murlowski.

                      STAFF COMMENTS

                      says: Night Moves expertly craft a brilliantly emotive and drippingly filmic selection of 80's inspired ballads and rhythmically fluid disco-tinged pop anthems on 'Can You Really Find Me'. Any of these pieces could easily be a slow-motion montage soundtrack, dynamic but with a hint of latent morosity, these are modern and eminently enjoyable anthems, and another reason to pay attention to Night Moves.

                      "Juan Pablo: The Philosopher" has been one of our favourite releases here at Piccadilly in recent years, so we were utterly buzzing to hear word of a new LP from the mighty Ezra Collective. Soon enough the London five-piece furnished us with a promo CD, and it's been on the Piccadilly player ever since. Continuing the genre-bending journey they began on "Juan Pablo", "You Can't Steal My Joy" sees the ensemble apply their incredible musicianship to elements of Afrobeat, hip-hop, grime and dub, wrapping their diverse influences into their fearless, fun and contemporary take on jazz. If you needed any further evidence of their top tier credentials, they recently broke off from a sold out, mosh-pit-filled UK tour to play at Quincy Jones' birthday party - nuff respect. This is the jazz sound of 2019 folks - get joyful.

                      STAFF COMMENTS

                      says: Contemporary Jazz 5-piece Ezra Collective have encapsulated joy in record form, and you can feel the happiness radiating through the tracks here, especially “Chris And Jane” and “Quest For Coin”. My record of the year by far, Afro-beat meets Jazz meets Hip Hop makes for a glorious combination to put you in an upbeat mood.

                      Walter Martino's "What Love Can Do", a dreamy piece of Italian disco, was originally found on Martino's 1980 album, "Nervi A Pezzi". Virtually impossible to acquire via discogs, I reckon this is previously the domain of secretive trips to the Italian countryside, pretending to the missus that you're taking her on a dream holiday when really you're off to mine the chazzers of Sardinia. Anyway, not only have Miss You sourced the best track of the whole album, they've given it a whole side of fresh 12" wax to entertain with, and backed with a tasty AF remix from Castro Helicopter which transforms it into an avant-disco percussive tool laced with acid blasts and a full percussionist really going to town. Essential stuff for the glitter ball dancefloors and certain to fly outta the door. Get those orders in quick folks! 

                      Various Artists

                      Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973

                        There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.

                        Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present Even a Tree Can Shed Tears, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.

                        In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene.

                        Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.

                        Even a Tree Can Shed Tears also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.

                        Nearly 50 years on, this “New Music” is born anew.


                        FORMAT INFORMATION

                        2xLtd LP Info: Double LP housed in a deluxe gatefold Stoughton tip-on jacket.

                        Soul Asylum

                        Say What You Will...Everything Can Happen

                          • Soul Asylum’s debut album.
                          • Produced by Bob Mould (Hüsker Dü).
                          • First time on vinyl since original pressing
                          • Reissue co-produced by Twin/Tone co-founder Peter Jesperson and Grammy®-winning producer Cheryl Pawelski. Soul Asylum first hit the Minneapolis music scene in early 1981.

                          Originally produced by Bob Mould, this reissue is co-produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner and Omnivore Recordings, Cheryl Pawelski. This fresh vinyl pressing of Soul Asylum’s debut, Say What You Will . . . Everything Can Happen is the first since it’s original 1984 Twin/Tone release and has been restored and mastered by Grammy®-award winning engineer, Michael Graves at Osiris Studio and cut by Chris Muth at Taloowa.


                          Detroit Cobras

                          What More / I Can't Go Back

                            Hooray, Detroit Cobras are delivering "What More" b/w "I Can't Go Back," featuring two covers of soul rarities. The 7", their first release since the 2008 7" "Ya Ya Ya (Looking For My Baby)" b/w "As Long As I Have You,. Fresh off a tour with the MC50, the Cobras were inspired to judiciously cherry-pick two soul rarities to record and press 'em hot in Detroit! The familiar sounds of Rachel Nagy's sultry vocals and Mary Ramirez's garagey guitar backed by a solid crew of veteran Detroit players -- Dale Wilson, Eddie Baranek, and Kenny Tudrick -- help to retool these vintage jams. "What More" is an uptempo, rug-cutting gem penned by Z.Z. Hill that gets a newly realized guitar crunch intro. In classic Detroit Cobras flip-the-script style, Rachel begs the question, "What more can I do?," while "I Can't Go Back" is a soulful, smooth and haunting ballad about lost love.

                            In 1978, Nova performed for Obama. Well, kind of: Nova was the band for the Punahou School prom in Honolulu, Hawaii, and a young student named Barack (known then as “Barry”) was in attendance.
                            Backtrack to 1976, and Nova was the opening band for Donald Byrd at the nearby Blaisdell Arena. The day was Sunday, June 27. The following day, Isaac Hayes would perform on island for the admission price of $1.
                            Nova, led by singer Checo Tohomaso, was one of several go-to party bands during the golden era of Hawaii funk and soul music in the mid-1970s through early 1980s.
                            The band’s infectious gospel-funk-disco can be heard on their sole release, a self-titled 1980 LP that feels like one big party recorded live in the studio. (Check out the Marvin Gaye-inspired “I Feel Like Getting Down” on the 2016 ‘Aloha Got Soul’ compilation on Strut Records).
                            The story is all too familiar, however: funk band releases LP, the music goes dormant in years to follow, and today original copies sell for hundreds online.
                            Not long after the album’s 1980 release, Checo met Marvin Gaye, who was living on Maui (where George Benson also resided). Shortly after, Marvin invited Checo and his counterparts to join his multi-city tour across Europe. Videos of Checo rocking keyboards, percussion and singing background vocals for Marvin Gaye’s last European tour can be found online.
                            Checo, born in Florida yet raised in lush Manoa Valley as well as Okinawa, Japan, now resides in Vancouver, Canada, where he leads the VOC Sweet Soul Gospel Choir and continues to deliver his signature sound: high energy, positive, “sweet soul” music.
                            AGS-7010 features two non-stop groovers with a 7” edit by Roger Bong on the A-side. LP reissue in the works!"

                            Seasick Steve

                            Can U Cook?

                              Seasick Steve, fresh from a fantastic performance at London’s Hyde Park (6th July), is announcing the release of his new album, ‘Can U Cook?’, on the 28th September 2018 via BMG Rights Management.

                              ‘Can U Cook?’ has Steve mixing up all of his much-loved ingredients to deliver a fresh new record that’s full of sunshine, as well as being a good ol' Seasick mix of boogie, blues, rock, americana and folk-music.

                              FORMAT INFORMATION

                              Coloured LP Info: Limited Edition RSD stores exclusive clear LP.

                              Coloured LP includes MP3 Download Code.

                              "I Can See Through You" is a club classic in its own right. A massive rare groove dancer that gives you all the vibes and feels! "Chicken Yellow" is a heavy mid-tempo groover with a classic heavy drum break sample. A long awaited 45 release!

                              FORMAT INFORMATION

                              7" Info: Limited to 500 copies.

                              Rays

                              You Can Get There From Here

                                Oakland band Rays return with their second album, You Can Get There From Here, their first release since their eponymous Trouble In Mind debut in 2016. You Can Get There From Here represents a turning point for the band, angling their scrappy, post-punk fury into a more refined & melodic pop sensibility, drawing inspiration from UK DIY pop & punk like Dolly Mixture, Cleaners From Venus & Television Personalities. Songs like "Fallen Stars" & "The Garden" temper their sonic crunch ever so slightly, relying more on the harmonic wallop of a solid hook than the sheer volume of guitars.

                                This is urgent, chiming guitar pop that clangs with a sonorous melancholy & a ramshackle grace. Rays can still lay it down with the rest of 'em; tunes like "Subway" & "Work of Art" shuffle & stumble forward, skirting chaos in a flurry of strums, recalling antipodean groups like UV Race or Dick Diver who cull inspiration from idiosyncratic UK greats like Mark E. Smith or Robyn Hitchcock. The new album finds the core group of Stanley Martinez, Eva Hannan, Troy Hewitt & Alexa Pantalone augmented by new member & keyboardist Britta Leijonflycht, whose synth flourishes add melodic embellishments, sonic heft or psychedelic swirl where needed. 

                                FORMAT INFORMATION

                                Coloured LP Info: Limited red vinyl version

                                Dead Can Dance

                                Dionysus

                                  From their inception in 1981, Australian duo Dead Can Dance have long been intrigued by European folk traditions, not solely in musical terms but also by secular, religious and the spiritual practises. Taking its inspiration from this backdrop and shaped as Brendan Perry explored the long and established spring and harvest festivals that originated from the Dionysus religious practices, a journey that brings to the fore, the rites and rituals that are still practised to the present day.

                                  Two years in the making, Perry has amassed an array of folk instrumentation and as often heard on previous albums takes inspiration from across the world, tracks evolve less like songs more akin to fragments of the cohesive whole. Dionysus follows a familiar path, witness to field recordings, that includes chanting, beehives from New Zealand, bird calls from Latin America and a Swiss goatherd. The aim in Perry’s mind is to not just invoke the atmosphere and symbolic reference points but to highlight that music can be found everywhere in some form or other.

                                  The album consists of two acts across seven movements that represent the different facets of the Dionysus myth and his cult and takes the musical form of an oratorio, which has informed both spiritual and secular pieces of music as far back in history as the early 16th century. Retaining a prevalent hold on contemporary paganism in Europe, the voices used on these movements are imagined as communities celebrating, in communion with each other at times, chanting and call and response – the various voices are present to convey emotion beyond the boundaries of language itself.

                                  Although taking its main inspiration from the Dionysus story, the album’s artwork resonates with links to rituals depicting a mask made by the Huizhou of the Sierra Madre Mountains in Mexico – famed for their beadwork and yarn paintings, whilst also partaking in peyote as a sacred rite and ritual for the purposes of healing and mind expansion – this is at heart of Dionysus, a celebration of not just humanity but humanity working hand in hand with nature with respect and appreciation.

                                  FORMAT INFORMATION

                                  Deluxe LP Info: Deluxe format is on exclusive heavyweight transparent purple 12” vinyl, accompanied by a CD and deluxe 16-page 12” x 12” hardback picture book with padded cover.

                                  DJ Madd

                                  Can't Test You

                                  Super limited, super illicit, mega heavy dub-wise soundsystem weapon here from DJ Madd. Landing slap bang in the middle of halt-time d'n'b and future dub, "Can't Test You" is the kinda secret bomb that'll send carnival crowds into uproar. Hoover subs ensure the subs are given an adequate workout while the tight flurries of hyper breaks tease ever-closer to erupting into jump up without ever breaking the seal.

                                  Highly recommended!


                                  Laughing Hyenas

                                  You Can’t Pray A Lie

                                    Formed in the mid 80s wreckage of American punk and hardcore, Laughing Hyenas were comprised of staples of the Detroit punk scene, including John Brannon (Negative Approach) and Larissa Strickland (L Seven) along with the locked-in rhythm section of Kevin Strickland and Jim Kimball. Groundbreaking, game-changing and some of the scariest records to come out of Detroit...or anywhere.

                                    Taking the name from a Mark Twain line, the Laughing Hyenas went back into Smart Studios with Butch Vig to record their debut full-length You Can’t Pray A Lie. The Hyenas further elaborated on the template that Merry Go Round set. Kevin, Jim and Larissa lay down deceptively simple hillbilly voodoo blues that at the same time is so rhythmically complex you’re never quite sure what’s going on. Brannon’s vocals are as frenzied and intense as ever. With the balance and everything just right on YCPAL, our dear Hyenas recorded and released one of the milestone/cornerstone albums of the 1980s American underground music scene.

                                    FORMAT INFORMATION

                                    Coloured LP Info: 1 copy only of this ultra limited coloured vinyl edition.

                                    Mirage

                                    Just Cause I'm Guilty / Can't Stop A Man In Love

                                    Preservation Records has supplied us with a double helping of two Mirage soul drenched tracks. The original single ‘Just Cause I’m Guilty’ was tucked away for 40 years until now to bathe in it’s full glory and limelight. Flip side, ‘Can’t Stop A Man In Love’ is a soulful underlying jazzy tones make this a must have record. A much-deserved pressing of two tracks which can light up a room in an instant and providing some soul-dance-fever. 

                                    STAFF COMMENTS

                                    says: Another Mirage killer hit that I can’t resist, a hidden gem uncovered is my favourite type of record. Very soulful tunes, gives you a burst of energy on each listen very, very good stuff.

                                    Heavy Ball

                                    When Can You Start?

                                      "When Can You Start? recounts a week in the life of an ordinary office worker. The diary of a nobody who represents everybody. He doesn’t know it, but this week is different. Because this week is his last on earth.

                                      Storytelling, humour and everyday observations wrapped up in sharp melodies. When Can You Start? is a story of the very ordinary told differently.

                                      The first track to be released from the album is ‘Top of Your Game’. You used to be someone, you used to be a contender. Now you work in an office doing nothing of consequence for people you hate. The memories are still there though, and there’s still a small chance you could still make it big! Upbeat, uplifting, a hint of melancholy – this is Heavyball!

                                      Heavyball are a self titled ‘new tone’ 4 piece band originally from Nottingham; signed to Magnetic North Melodies. They describe their sound as 'new tone', a modern interpretation of two tone and ska. Influences include Viz, Shane Meadows and the story writing traditions of country and western. "

                                      Ryan O'Reilly

                                      I Can't Stand The Sound

                                        Recorded between the chaos and bustle of a New York cinema on Bedford Avenue, Brooklyn and the windswept loneliness on the south-side of the Isle of Wight in the spring of 2017, I Can't Stand The Sound is the second album from Berlin based English/Irish songwriter Ryan O'Reilly. Produced by David Granshaw and in collaboration with Canadian, Tyler Kyte the album is an exploration in searching for meaning, the meaning in a fatal car accident, the beauty and darkness on the streets of Berlin, comprehending the American landscape at the end of 2016 and trying to filter out the noise of relentless opinions on 24 hour news TV and online.

                                        Littered with snapshots from myriad conversations; A Grandmother's warning that ghosts are never as dangerous as humans, talking to a loved one after a terror attack, a fall from a horse, with a hangover whilst reading in the bath and the faceless people who blithely tell you to 'live your dreams' the characters and conversations restlessly change locations and perspectives.

                                        I Can't Stand The Sound began life on the journey between New York and Tennessee in the aftermath of the American election in 2016, the long conversations, the search for conclusions and reasoning in a void of reason. Written on municipal Frisbee-golf course in East Nashville, a front porch in Hamilton, Ontario and along side the beautiful, dirty Spree in Ryan's adopted hometown of Berlin each place finds it's way into the heart of the album. In May 2017 Ryan, Tyler and Dave travelled back to New York. Joined by members of Toronto's Dwayne Gretzky and Ryan's European touring partners The O'Pears to begin recording of I Can't Stand The Sound in the Cinema/bar where the journey towards the album began six months earlier. 

                                        Tune-Yards

                                        I Can Feel You Creep Into My Private Life

                                        Officially now a duo, Merrill Garbus is joined by long-time collaborator Nate Brenner. Their new album, I can feel you creep into my private life, tackles race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album is their most immediate and upbeat yet – this is Tune-Yards’ music to dance to.

                                        The follow-up to 2014’s acclaimed album, Nikki Nack, much of I can feel you creep into my private life was recorded at John Vanderslice’s new Tiny Telephone studio in their hometown of Oakland, CA. To help finish this stunning record, they enlisted mixer Mikaelin “Blue” Bluespruce (Solange, Skepta, Kendrick Lamar) and mastered it in Harlem, NY with Dave Kutch (Jay-Z, Chance the Rapper).

                                        STAFF COMMENTS

                                        says: Sliding from floor-filling disco into hefty futuristic urban breakdowns within the space of a couple short minutes, this takes all the influence from an astounding line-up of collaborators, but manages to sound EXACTLY like tune-yards at their very best. Essential

                                        Jozef Van Wissem

                                        Nobody Living Can Ever Make Me Turn Back

                                          After the release of 2016's 'When Shall This Bright Day Begin', Jozef Van Wissem returns to Consouling Sounds for the follow-up album 'Nobody Living Can Ever Make Me Turn Back'. The album is inspired by a Vanitas painting by the Belgian artist Cindy Wright, which is also the cover of the album. This inspiration is beautifully reflected in the music of the album: Jozef Van Wissem's lute arrangements sound fragile, his sparse vocals delicate, as if the vanity, the temporality and senselessness of everything has been rendered audible. 

                                          Caroline Says

                                          50,000,000 Elvis Fans Can't Be Wrong

                                          The album title seems to refer to the contrast between what our elders tell us and the perspectives we form out of our own experiences. There's a vacillation between idealism and realism, and it expresses itself musically in the hairpin turns from gentle folk into brazen experimental flourishes, like on “Funeral Potatoes.” The track opens with lilting, somber, Satie-esque piano, but at the halfway point, typical choices of song structure and transition are discarded in favor of a screeching, static-washed loop of violin and feedback that transcends the formality of songcraft, becoming something altogether more daring and collage-like.

                                          The more band-driven songs on 50 Million recall an early-1990’s style of production in the way chorus-twinged electric guitars and tight, papery drumbeats point our mind’s eye to the West Coast sunset, like on the mid-album standout “Gravy Days.” Sallee decorates the background of most songs with hushed humming that could stand alone as a minimalist-ambient choral album, and when employed on her songs, elevates the ¬final product to an astral level. Sallee’s gift lies in pitting the familiar against the unexpected with a delicate assuredness, never compromising the one for the other. These kinds of debuts can sometimes feel like an over-promise of what is to come, but in the case of Caroline Says there's clearly plenty more thread to be unraveled. It'll be a pleasure to see where the next bus ride takes us. 

                                          Can – The Singles, a brand new collection of all of the band’s single releases, on triple vinyl and CD.

                                          This unique document is the first time the singles have been presented together and shows the breadth of their influential career, from well loved tracks like Halleluwah, Vitamin C and I Want More to more obscure and sought after singles such as Silent Night and Turtles Have Short Legs.

                                          The tracks are all presented in their original single version, many of which have been unavailable for many years and not presented outside of the original 7" release.

                                          The triple vinyl comes packaged in a trifold sleeve and decorated with a beautiful spot gloss lamination and is designed by the award winning Julian House from Intro, a long time design collaborator of Can's.

                                          The CD and download versions of the album serve as the perfect easy entry point to the world of Can for the uninitiated and are priced accordingly.
                                          The vinyl serves as a wonderful document to this corner of the Can world for the hardcore fan and is an often overlooked area of the band's career.

                                          STAFF COMMENTS

                                          says: Once described by my colleague Mandy (names have been changed for confidentiality) as a bunch of German druggies each playing a different song, Can have a reputation for the eccentric (or eclectic, or insane). It may surprise some then that the Kosmische legends were more than capable of knocking up killer pop tunes, 23 of which feature here. Alongside big tracks like the b-boy classic ‘Vitamin C’ and wavy Krautfunk great ‘I Want More’, we also get to sample some lesser known sounds like the bluesy blinder ‘She Brings The Rain’ and the infectious idiocy of ‘Turtles Have Short Legs’.

                                          FORMAT INFORMATION

                                          3xDeluxe LP includes MP3 Download Code.

                                          Nightlands

                                          I Can Feel The Night Around Me

                                            The third album from Philadelphia's Nightlands (War On Drugs’ Bassist Dave Hartley), is an exercise in synthetic nostalgia. Each of the nine songs use meticulous choral arrangements and bittersweet pop melodies to evoke a unique type of longing, not for the past, but for a future that once lay ahead but has drifted out of reach. For Dave Hartley, the artistic force behind Nightlands, the answer is found on an inward retreat, away from the cold static of modern life and into the warmth of love and protection. I Can Feel the Night Around Me showcases Hartley's finely tuned ability to layer his voice and conjure some of the most beautiful and elaborate virtual choirs in modern music. If his first two records were vocal layering experiments, his third stands as Hartley's thesis statement: "I was determined to use vocal stacking to enable my songwriting, not shroud or obscure it."

                                            He recorded most of the album alone in a cold warehouse basement, which he affectionately calls The Space -- it's where The War on Drugs formerly rehearsed and stored their equipment. "The dissonance between the sound of the album and the atmosphere in which it was recorded is pretty striking," Hartley says. Indeed the music seems more geographically inspired by the microclimates of the Lost Coast and the moonrises of Big Sur than the post-industrial cityscape of North Philadelphia. Perhaps his periodic westward sojourns and healthy obsessions with mid-career Beach Boys albums and Denis Johnson's Already Dead: A California Gothic were influencing him more than he was aware.

                                            Despite the warm astral vibes of opener “Lost Moon," the song was born in that unheated warehouse basement during a record-setting blizzard. "I wanted to write a song like Jimmy Webb's ‘Wichita Lineman’," he recalls. "But it didn't come out like that at all. I ended up in a lonely and unexpected place, which was a really nice surprise." The massive "Only You Know”, a cover from Dion's Phil Spectorproduced masterpiece Born to Be With You, blends perfectly with the rest of the album's shades of psyched-out doo wop revivalism If there is an outlier on I Can Feel the Night Around Me, it's the exotica-tinged “Fear of Flying,” which Hartley composed with minimalist synth virtuoso Frank LoCrasto before the two had ever even met. Soft tangles of voice wash up on the shore of the song's warbling synth backbone, pushing the album briefly into the sunlight without sacri¬cing its melancholy, late-night vibe. It's the sound of the earth turning, night falling. Soon it will be dark, but there's still light seeping over the horizon. And that's a beautiful thing. 

                                            Dead Can Dance

                                            The Serpent's Egg

                                              Dead Can Dance’s fourth album, The Serpent’s Egg (1988), came during a prolific period for the band, being released just four years after their debut. It was also the first they made at their own studio which, according to Brendan Perry, allowed them to continue to grow in “their own self-proclaimed direction”. A minimal yet rather grandiose record which includes fan favourites ‘The Host Of Seraphim’ and ‘Ullyses’, The Serpent’s Egg is a triumph and perhaps the finest example of where Brendan and Lisa’s diametrically different influences are overcome to form a new, almost synaesthetic whole.

                                              Helena Celle

                                              If I Can't Handle Me At My Best, Then You Don't Deserve You At Your Worst

                                                HELENA CELLE is the synth work and multi-dimensional audio practise of Glasgow-based musician Kay Logan. A 21st century polymath, Logan’s interests lie in the power relationships inherent in technology, how to harness aleatoric practise in a discipline that is often rigid and in exploring the interface between computer science (Logan is also a computer programmer) and sound. Originally recorded in 2014, "If I Can't Handle.." is the first step on the wander, a deliriously sun-burnt foray into abstract techno and a very personal take on an electronic music language that remains obscure to outsiders but here rendered a unique form of emotional communication.

                                                While Logan’s interests are powered by academic exploration, what’s most striking about Helena Celle’s approach to electronic music is how effortlessly she deconstructs it, makes it personal: the results are emotive without being explicit, raw and engaging, a true outsider music. The taking apart of norms can be heard on the squelched solo on "I'm Done With 666", governed by the love of noise, the wave is eviscerated, smothering the track in a glorious disregard for convention. The crashing, ultra-compressed chords that flatten opener "Streaming Music for Biometrics" re-wire the listener to appreciate chance, to break the loop. Recorded exclusively using a faltering MC303, live in a room straight to consumer dictaphones, the breadth of texture and depth of ideas on these tracks is truly astonishing. "Miming Swinging Baseball Bat" manages to submerge a bass-line straight into the tape heads, grounding a celestial synth arpeggio that flutters overhead.

                                                Informed by limit yet sounding limitless, If I Can't Handle Me... evokes a personal space, a rewired take on electronic music, convention seen through the prism of anti-tradition, a wonderfully careless disregard for electronic music dogma before Logan's next phase as Helena Celle. After several releases under various other pseudonyms (Rick Ross, Larks) Helena Celle sees Logan focusing her ideas into a coherent whole, questioning the hegemony of neo-liberal ideas and their intersection with capital, culture and social practises, how these ideas inform the music we make, the choices we buy. Indeed, while Logan's current practise is moving further into the field of an open-source musical programming language, developing a truly democratic music practise set adrift from capital, here Logan's intent is to make sense of the nonsense we take for granted.

                                                Holy Family

                                                Can't Dance, Wont Steal, Need Some Help

                                                As anyone who’s ever stayed in one place far too long will know, sometimes a drastic change is what’s needed. For Holy Family, the duo of non-blood brothers Anton Ekman and Viktor Hansson, a radical relocation from Sweden to Canada has helped shape the sound of their transatlantic debut album Can’t Dance, Wont Steal, Need Some Help.

                                                “The last months before moving to Montreal, living in Gothenburg had become increasingly unbearable,” recalls Ekman. “To us, Gothenburg was the city that we'd initially adopted as our home and it's accepting us was a big deal. But inevitably we started dragging our feet behind us and needed a change of pace.”

                                                Country kids at heart, Montreal’s lush scenery provided respite from the daily rigmarole of their home city with Canada’s open spaces having a far bigger influence on the pair than they expected. The expedition wasn’t a case of simply ‘finding’ themselves, this was a band who had already met, gotten to know each other, performed at Toronto Film Festival, received an award from the Swedish Association of Composers (STIM), and broken up with themselves; originally a trio until their third member left town, if anyone could be certain of their identity, it’s Holy Family. “As a trio we struggled to make long-distance work but after a while we had to accept that sending files back and forth between each other wasn't for us,” admits Hansson. “Our sole goal was to make enough tracks to fund inter-rail tickets for an Eastern European tour. Somewhere down the line we stopped dreaming of Eastern Europe but continued making tracks.”

                                                Ironically, going the distance was precisely what the pair needed, and under their new guise as a duo they set course for Montreal having felt a kinship with Canadian exports Wolf Parade and Godspeed You! Black Emperor whilst needing to venture far enough away so that backing out wasn’t an option. Whilst strolling around downtown on one of their first days in the city, the pair passed a homeless man with sign that said "Can't dance, won't steal, need some help". “It stuck with us. Possibly because it did feel like we needed a whole lot of help being in a new town without any real safety nets,” they remember.

                                                Superbly demonstrating Holy Family’s uniquely ambivalent sense of place, five of Can’t Dance’s tracks were completed in Montreal with the other five completed back in Gothenburg. The sound of two worlds colliding, it’s a culmination of where the duo is headed and where they’ve already been. Written whilst sharing the one-bedroom Montreal apartment where the band currently resides, ‘East Coast Nerves’ resurfaces the mechanical rhythms heard by Viktor in a previous life as a Gothenburg dock-worker, whilst home-grown track ‘Youth Cult’s stripped back mood looks towards the pair’s future in their new location. The fuzz ripping through the doom laden garage sound of Gothenburg track ‘Keeping Up’ recalls the city’s unquenchable thirst for romanticising the industrial working class days and it’s brilliantly offset against the uplifting atmospherics of Montreal track ‘Trail Of Songs’.

                                                “To be able to have the perspectives of both being inside looking out and outside looking in was important,” they say. “The first couple of months after moving to Montreal we hadn’t really started working so inevitably a lot of time was spent reflecting on how our lives had been previously and trying to figure out how we wanted them to be.”

                                                Whether finding a way to mix things up a little or simply as a means of escape Can’t Dance is an album fuelled by hope. From questioning the status quo and social roles of a previous life to focusing upon wants and needs mostly born out of personal frustrations for now, Holy Family’s distinct approach comes from appreciation rather than disdain; from hoping that life will prove itself somewhat moldable, wherever they find themselves. 

                                                Can

                                                Can - Remastered Edition

                                                  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.

                                                  ‘Can’ was originally released in 1978. Lost on its initial release amongst the punk explosion, ‘Can’ features the classic ‘Sodom’ and ‘Can Be’.

                                                  The album sees Holger Czukay take more of a back seat and would be Can’s last album before they reformed one more time with Malcolm Mooney on ‘Rite Time’ in 1986.

                                                  Can

                                                  Out Of Reach - Remastered Edition

                                                    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’.

                                                    Can

                                                    Saw Delight - Remastered Edition

                                                      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. 

                                                      The Wedding Present

                                                      EP 4 Cân - Clear Vinyl Edition

                                                        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                        The Wedding Present’s 'Record Store Day' releases seem to have become something of a little obsession for David Gedge. The yearly 10” EPs make him little profit; he just gets the satisfaction of singing and recording in other languages… and producing Extremely collectable records. In 2012 he tried his tongue at French and 2013 brought us his Teutonic warblings. This year, he’s really gone all out… this 10” vinyl only release has been sung in Welsh! A big fan of Wales and the Welsh in general, David doesn’t actually speak the language, but this didn’t stop him. He called in renowned Welsh actor, Andrew Teilo, who translated and created demos of four existing Wedding Present songs. David then travelled to Penarth where he and Andrew recorded the vocals with some recording expertise from Arwyn Davies. They kept the Welshness going with a little help from Andrew's fellow actor, Llinor ap Gwynedd, on backing vocals. The songs [recorded in the same session as the recent album, ‘Valentina’] are different from the songs on the other two ‘language’ EPs from Record Store Days past… and include the charming ‘Valentina’ album track ‘Meet Cute’. There were a few little hiccoughs during the translation from English into Welsh… the first song, 1000 Fahrenheit, had to be translated into Welsh as 10,000 (Deng Mil) Fahrenheit... not because there is no word for 1000, but apparently it just sounded better! Perhaps the songs all sound better in Welsh! All Welsh album next time Mr. Gedge?! The band will be promoting the release of ‘EP 4 Cân’ with a performance at the 'Wales Goes Pop’ festival in Cardiff during the evening of April 19 following an acoustic set at Spiller’s Records during the afternoon.

                                                        Nathan Salsburg

                                                        Hard For To Win And Can't Be Won

                                                          Nathan Salsburg’s 2011 debut was a beautiful ode to racehorses (a point of pride for any resident of Kentucky). Comprised of seven acoustic guitar instrumentals and one vocal track, ‘Affirmed’ caused Popmatters to declare the record “one that others like it will soon be measured against.”

                                                          His second album, ‘Hard For To Win And Can’t Be Won’, is a grander effort. Although still primarily composed of acoustic guitar, the songs sound bigger. They bounce along, weaving through unexpected twists and turns, with the occasional piano melody or fiddle line.

                                                          Soul Jazz Records re-release "Acid: Can You Jack?", a double CD and two DJ-friendly super loud vinyl double packs presenting the definitive guide to the evolution of house and acid in Chicago. The album traces how the sound developed as clubs like Ron Hardy's legendary Music Box and Frankie Knuckles' Warehouse, along with radio mixes by the Hot Mix Five, put Chicago on the map. The album features all-time classic tracks such as Phuture's epic 12 minute "Acid Trax" and Sleezy D's "I've Lost Control" alongside many rare and experimental tracks such as Lil Louis's "Video Clash" and Marshall Jefferson's "Go Wild Rhythm Tracks". With sleevenotes by Tim Lawrence (who wrote "Love Saves The Day"), exclusive photos and interviews with Marshall Jefferson, Adonis, Tyree and more, the album shows how Chicago's unique culture and artists led to some of the most important music ever made.

                                                          Can

                                                          A Double Promo Album By

                                                            Vocalist Damo Suzuki’s departure from CAN in 1973 had forced the band to re-evaluate their sound. Now with Michael Karoli and Irmin Schmidt sharing vocal duties, the band had also begun drawing on influences from disco and glam. While still remaining staunchly outside the mainstream, they undoubtedly became more accessible to a wider audience, and soon had a huge fan base in the UK. In fact, just a few months after playing the live show found on this double LP (recorded in Lyon in January of 1976), CAN was even on Top Of The Pops!

                                                            FORMAT INFORMATION

                                                            2xLtd LP Info: 140 gram 2LP - CLEAR vinyl with multi-colored labels in PVC sleeve (ltd. 500 copies)

                                                            Amida

                                                            My Life As A Trash Can

                                                              The new mini-album from Manchester-based, indiepopping Amida, and their first for Seattle's legendary Jigsaw Records. “Caffeine fueled dumpster diving hijinks.”- LOOFK.

                                                              Since their inception in 1978 with the legendary "Damaged Goods" EP and debut album "Entertainment!", Gang Of Four, have been one of the most radical and radically important groups of the last thirty years.

                                                              Gang Of Four have triumphantly defined their place on the musical landscape, influencing a wide range of bands including R.E.M., Red Hot Chili Peppers, Sonic Youth, Bloc Party, The Rapture and Franz Ferdinand.

                                                              "Content" is their first new studio album in 16 years, and is the catalyst for a year long international marketing plan in 2011, driven primarily by massive press and online interest in the band, and supported by an aggressive live performance schedule and radio and TV exposure. ·

                                                              FORMAT INFORMATION

                                                              Ltd CD Info: Limited to 500 copies, this edition contains six booklets: the new album on CD, a history art piece (a series of twenty drawings and montages), a book of lyrics, a book of Rotoscoped photographs of the band’s emotions, a book containing sachets of the band’s blood and a scratch and sniff booklet which reflects the key areas of human activity.

                                                              Snide Rhythms

                                                              I Can't Keep Up

                                                                "Not one, but two songs, essentially epic in their succinctness. A 7-inch’d musical debut with a view (and an audible one at that), with its A-Side offering of ‘a life that’s moving too fast-track’, nimble on it’s Snide-winding feet and lyrically heralding a drum punctuated game of ingestible and acronym’d chemical keepie-up. An inaugural no’ that’s closely followed flipside by an east-coasting and bass city roller of a tune, one initially dominated by a ruddy and happy slapping bass guitar, artistically doodling and fluidly noodling away, not unlike the re-vivified ghost of a certain and funk-driven finger and thumbing Bobby Watson. 2 fine and finite examples of some altogether raucous and truncated brevity, with each track vocally Cruickshank’d by ‘The Rhythm’s’ North-Eastern and Full-Back to Frontman. Frenetically delivering 2 songs, ever so quickly, by First-Class-Post-punk; postally popping itself straight through our Bonjouring and Branching French-Letterbeatboxes. Zut alors!"
                                                                The Lonely Piper 2010

                                                                Laura Marling’s 2008 debut album "Alas, I Cannot Swim" proved to be one of the most endearing critical successes of recent years and earned the young singer-songwriter a Mercury Music Prize nomination, and more importantly being one of our top five albums of the year. Now Marling is back with her second album, "I Speak Because I Can". Crafted with producer Ethan Johns (Kings of Leon, Ryan Adams, Paolo Nutini, Rufus Wainwright), "I Speak Because I Can" sets quintessentially English lyrical themes and stories to a backdrop of music that recalls prime Americana and the Laurel Canyon scene. Backed by sublime performances by musicians including Mumford & Sons, the album represents a coming-of-age for Laura; her unique identity - thoroughly English, unapologetically female, and a fully-fledged musician – now freshly defined.

                                                                Manchester-based six-piece Table are led by songwriter David O'Dowda, who combs together different strands of modern folk music to create something new and wonderful on this, their first seven-inch titled "Songs You Can Sing". The two tracks on this single are sumptuous delights, airy and ornate while being oddly familiar. Marshalled by David, Table waltz through quietly elegant folk-pop with minimal guitar, stately piano and low-key vocals on what sounds like an endearingly sweet single, despite the deceptively barbed tale woven throughout. If "Songs You Can Sing" is beguilingly understated, then "Most" is multi-layered and bursting with ideas where electronic and organic sounds collide. It's a many hued delight which pulls together disparate elements and twists them into a myriad shapes, blurring excitedly before sweeping to a beautiful climax. Music that reaches into you and pulls out your soul, personal and frankly as dangerous as it is fragile. Imagine East River Pipe covering a Richard Hawley penned lullaby and you'll have a good idea of what to expect.

                                                                STAFF COMMENTS

                                                                says: I can't really think what to say about this, other than I really like it! Two slices of cleverly constructed folkiness which despite the addition of electronics, maintains a real warmth and charm. Lovely stuff!

                                                                The Capitol Years

                                                                You Can Stay There

                                                                Philadelphia's The Capitol Years return with this new single on new label SOE. "You Can Stay There" is wonderful sunkissed pop that has similar shimmering pop dynamics to The Shins: Melodic, intricate guitars, vocal harmonies, and dreamy vocals. Over on the flip, "1000 Guns" employs the same melodic guitar work, over a lolloping drum beat again topped with gorgeous dreamy vocals. Reminiscent of Piccadilly favourites Ambulance LTD. Lovely stuff!

                                                                Nelson have been hailed as 'the best French band to join the music scene in over 10 years'. Their music can be described as a cross between Joy Division, The Rapture, and Animal Collective. They promise explosive performances where aggressive guitars compete with delicate electronic sounds.

                                                                FORMAT INFORMATION

                                                                Ltd 7" Info: Limited 7" includes "Dammerung" on the flipside.

                                                                The album condenses the bands first three years of work, influenced by the likes of Fugazi, Fela Kuti and The Mars Volta into one un-cohesive package. Ranging from the folky lament of "Menwith Hill" to the frenetic avant-rhumba-punk of "Zeroes And Ones", a dystopian view of 'the idea of a liberating universal internet consciousness'.

                                                                O Fracas

                                                                Factfinding

                                                                O Fracas return with the limited edition "Factfinding" EP featuring two tracks from their forthcoming debut album, "Fits & Starts", due early next year (08). The band recently signed to I Can Count in the UK and Vinyl Junkie in Japan and this release follows the release of two critically acclaimed singles on Marquis Cha Cha. This EP comprises of two lead tracks "Factfinding" and "And So A Scratch Runs Down A Wall", taken from "Fits & Starts". Along with "Moth To A Flame" and a remix of "Scratched Wall" by Leeds' up and coming hip hop export Breaking The Illusion. O Fracas are the collision of a myriad of influences. Inspired as much by the DC hardcore of Fugazi and Q And Not U along with the rhythms of Billy Cobham and Fela Kuti, they bring this together with the range of Talking Heads songbook and condense it into three minutes pop songs played with a vigour and taut musicianship beyond many of their peers. Lyrically, lead singer Ben writes about the human condition with the insight of a man twice his age, O Fracas set themselves apart from the pack and with an average age of just twenty this really is surely just the beginning for O Fracas.

                                                                FORMAT INFORMATION

                                                                Ltd 10" Info: Limited to just 500 copies.

                                                                Although recorded in the late 60s, the material included on "Delay 1968" did not appear commercially until 1981. A collection of cuts featuring early vocalist Malcolm Mooney, these seven songs are among the very first Can ever recorded. As an early insight to the future sound of the krautrock legends this features some essential tracks like "Thief", "Butterfly" and "Uphill".

                                                                STAFF COMMENTS

                                                                says: If you have always found Can a little too weird and don't know where to start, this one's for you. Delay 1968 is a brilliant but very approachable album by the German Krautrock pioneers. It is by far my favourite and I have yet to play it to someone who doesn't like it!

                                                                FORMAT INFORMATION

                                                                CD Info: Remastered edition.

                                                                Originally released in 1973, "Future Days" was probably the most balanced albums from these Krautrock legends. Dreamy and pulsating cosmic music with more melodic overtones compared to their earlier albums. From the glorious opening rumblings of the title track through to the epic hazy transcendence of the 20 minute closer "Bel Air" this was Can at the height of their powers. An essential album!

                                                                FORMAT INFORMATION

                                                                CD Info: Remastered edition.

                                                                Recorded in their own Inner Space Studio in 1972, this was yet another landmark krautrock moment. Following on from the genius "Tago Mago" album was never going to be easy, but this was Can working at their peak. Another classic album featuring the genius shuffling drum beat of Jaki Liebezeit, the rhythmic grooves the towering kosmic guitars and experimental almost free-jazz approach. In a word this is magnificent, every home should have one!!!!!

                                                                FORMAT INFORMATION

                                                                CD Info: Remastered edition.

                                                                The first album from Can and featuring the vocals of Malcolm Mooney, an African American sculptor artist. Possibly the rawest and rockiest of all Can's releases, this combined all the elements of Can, the classic krautrock groove, their shuffling funkiness and the stoned psyche guitar freakouts.

                                                                FORMAT INFORMATION

                                                                CD Info: Remastered edition.

                                                                For their second album Can decided to release a collection of tracks that they had recorded in 1969 and 1970 for movies. Surprisingly considering that these tracks also feature different vocalists they gel into a cohesive album very well. Malcolm Mooney the original vocalist had a breakdown and returned to America and he was replaced during this time by the enigmatic Damo Suzuki. A sometimes overlooked album this is an essential groove laden krautrock classic.

                                                                FORMAT INFORMATION

                                                                CD Info: Remastered edition.

                                                                As krautrock albums go, this is one of the classics. Malcolm Mooney had left the band and returned to America after his nervous breakdown, and in was brought a travelling entertainer / busker by the name of Damo Suzuki. Recorded in 1971 this has everything, free shifting rhythms, superb vocals, dark throbbing basslines and that funky kraut groove and all of this housed in that beautiful artwork that seems to sum up the mysterious European music inside. This was spacerock of the highest order and is one of the most influential albums of all time. All hail the kosmiche!!!

                                                                FORMAT INFORMATION

                                                                CD Info: Remastered edition.

                                                                Dag Nasty

                                                                Can I Say

                                                                Absolutely essential, all time classic DC hardcore / punk album, now remastered by Ian Mackaye. This was their debut album, recorded in 1986. As well as the original album tracks, this release also includes two tracks recorded at the same session as the album "Another Wrong" and "My Dog's A Cat", along with four previously unavailable live recordings. Quality!

                                                                Various Artists

                                                                We Can Fly Volume 2 - Psychedelic Rarities 1966 - 1971

                                                                22 track compilation of psychedelic obscurities released between 1966 and 1971. It features acts like Brainbox (featuring Jan Akkerman), The Cedars, Joy Unlimited and Pugh (sampled by DJ Shadow)and many more acts from all over Europe.

                                                                Joan Of Arc

                                                                How Can Anything So Little Be Any More?

                                                                One of the chorus lines goes "Fucking strangers feels better, feels better...". Yes it's more alienated introvert emo from those experimental bunch Joan of Arc. This is the follow up to the critically acclaimed "Gap" album that came out last year. At once disturbing but accessible.

                                                                U2

                                                                All That You Can't Leave Behind

                                                                  Brand new album from Bono and the boys, back to playing straight forward rock songs.

                                                                  FORMAT INFORMATION

                                                                  CD Info: Limited edition numbered CD in a slip case.


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