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Steven Wilson

Eminent Sleaze

    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.

    Vinyl release of new single from Steven Wilson featuring a couple of exclusive remixes, EMINENT SLEAZE is a wholly unethical life lesson strapped to a piece of grimy, low-slung funk, and as much a departure from Steven’s previous records as its immediate predecessor. A limited edition 12” of EMINENT SLEAZE will be released as part of this year’s Record Store Day. It will be available in participating #RSD20 shops both in person and online as part of this year’s third and final RSD20 drop on October 24th. The 12” vinyl features exclusive tracks recorded during the album sessions EYEWITNESS and IN FLORAL GREEN.

    Jenny Lee

    I'm So Tired / Some Things Last A Longtime

      THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
      LIMITED TO ONE PER PERSON.


      New single by Jenny Lee of Warpaint

      Penny Rimbaud

      Christ's Reality Asylum

        Written and published as a journal of dissent in 1977 by Penny Rimbaud before the formation of anarchist tricksters Crass, ‘Christ’s Reality Asylum’ became the template for much of the socio-political attitudes of the band. Crass’ first album, ‘The Feeding of the Five Thousand’, included a short section of the journal, going under the title of ‘Reality Asylum’, which led to immediate interest from the authorities. Charges of ‘criminal blasphemy’ were eventually dropped, but from that time on Crass were under constant surveillance by the police and MI5 (the New York mafia didn’t like it either!). In short, ‘Christ’s Reality Asylum’ is Crass in a very large nutshell.

        The decision to release ‘Christ’s Reality Asylum’ was made to celebrate Crass’ change of label from Southern Records to One Little Indian. Having in 2019 lovingly remastered their entire catalogue at Abbey Road Studios, it seemed only natural that they should release ‘Christ’s Reality Asylum’ as the cherry to top the cake. Radical in the extreme, the release of ‘Christ’s Reality Asylum’ is also a celebration of creative freedom.

        The genesis of ‘Christ’s Reality Asylum’ is a story in itself – script written by Penny Rimbaud in Spring 1977, later to be used in part as ‘Reality Asylum’ performed by Eve Libertine as the first track of Crass’ first album ‘The Feeding of the Five Thousand’, released in 1978. Initial recording of Penny Rimbaud’s reading by A-Soma at Red Herring Studios, Autumn 1991. Mastered at Southern Studios by A-Soma and Paul Harding in Winter 1991. Solo voice recording released in cassette form on Crass Records, Summer 1992. Hugh Metcalfe’s backing voice and noise recorded by Tony Barber at The Shedio Studio in Summer 2012. Eve Libertine’s backing vocals recorded by Harvey Birrell at Old Street Studios in Autumn 2019.

        It’s also worth noting that the now legendary Crass logo was designed by Dave King (sadly, recently deceased) not as a logo for the band, but as a frontispiece for ‘Christ’s Reality Asylum’ published in 1977 in its journal form. It became the band’s logo more by mistake than by design when Gee Vaucher incorporated it into her stunning broadsheet publication, ‘International Anthem’, from which it became assumed to be a Crass logo. Appropriately, the release of ‘Christ’s Reality Asylum’ coincides with the end of politics as we have known it. A clown in the White House, a joker in Number Ten, but no one is laughing. EXIT STAGE RIGHT.

        Nine Inch Nails new full-length Bad Witch completes the trilogy that began with 2016’s Not The Actual Events and 2017’s Add Violence. 

        We kick things off in spectacular style, with 'Shit Mirror' echoing the early days of NIN, all perilous ambient distortions and thumping machinated drums, while retaining the momentous drive of their later records. 'Ahead Of Ourselves' features Reznor's vox twisted out of all proportion, with a wizened percussive detritus trailing behind before snapping into a cutthroat about-turn into the trademark fuzzed-out static redux we've come to expect from them 

        'Play The Goddamned Part' on the other hand is much more reminiscent of the scattered but cohesive ambience of their greatest full-scope cinematic epic, 'The Fragile, scattered insectile stutters and electronic static underpins the oft-uncomfortable dissonance of a chorus of horns and jazzed-out abstractions.  

        Flipping over, we get a continuation of the horn-filled dissonance, but pulled along by a frenetic resonant saw-wave, lending an acidic undertone and momentous drive to proceedings before breaking down into a bleak and uncompromising closing duo of the full-spectrum gothic gloom of 'I'm Not From This World' and the twinkling syncopated shuffle of the chillingly deep 'Over And Out'.

        Slow Club

        Complete Surrender

          Since forming in Sheffield in 2006, Slow Club have released two EPs and two albums, each showcasing different and distinct facets of their musical DNA. While most bands seem happy to rest on their laurels, afraid to push their sound forward, multi-instrumentalists Rebecca Taylor and Charles Watson, for it is they, get a bit bored of recreating the same things over and over.

          So while their debut album, 2009's Yeah So, was a beautifully ramshackle collection of country and folk-tinged strumalongs, 2011's more experimental Paradise pushed and pulled the band into myriad new musical directions. But nothing can quite prepare you for the quantum leap that takes place on their beautifully epic forthcoming third album, Complete Surrender.

          Recorded with producer Colin Elliot, who's previously helped create an equally widescreen sound on albums by Richard Hawley, Complete Surrender touches on everything from Motown and the output of Memphis' Stax Records to the immaculately produced pop of the 1970s, via Frankie Valli and David Bowie.

          FORMAT INFORMATION

          Ltd CD Info: Limited digi-pack edition including three bonus tracks:
          12. Don't Call Me Kid
          13. Not Mine To Love (Acoustic)
          14. Wanderer Wandering (Acoustic)

          Chrissie Hynde

          Dark Sunglasses

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

            Brand New single.

            Limited to 500 copies.


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