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Various Artists

The Problem Of Leisure: A Celebration Of Andy Gill And Gang Of Four

    The Problem of Leisure: A Celebration of Andy Gill and Gang of Four is a double album of tracks written by Andy Gill and Gang of Four, all newly reinterpreted and recorded by artists whose own unique contributions to music were enriched by listening to Gang of Four.

    The album features songs from across Gang of Four’s 40-plus year career, each individually chosen by the artists who covered them.

    Andy Gill originally conceived of the album to mark the 40th anniversary of the release of Entertainment! in 2019.

    His widow, Catherine Mayer, explains that this plan had already changed by the time of Andy’s death in 2020, after some artists chose tracks from different albums and periods.

    “Andy was massively excited about this project,” Mayer says. “It wasn’t of course conceived as a tribute album, but it’s comforting to me that he lived to see artists he hugely admired enthusiastically agreeing to participate, signalling that the admiration was mutual.”

    The album artwork has been created by English artist Damien Hirst, a long-time friend of Andy’s.


    Barry says: A wonderful collection of some of the world's most respected artists covering the beloved tunes of Gang Of Four. From genres spanning electronic, indie and avant and from a huge variety of eras, it's clear how many people Andy Gill influenced, and how important these compositions are to today's musical landscape.


    Idles - Damaged Goods
    Tom Morello & Serj Tankian - Natural’s Not In It
    Helmet - In The Ditch
    3D X Gang Of Four Feat. Nova Twins - Where The Nightingale Sings
    Hotei - To Hell With Poverty
    Gary Numan - Love Like Anthrax
    Gail Ann Dorsey - We Live As We Dream Alone
    Herbert Grönemeyer Feat. Alex Silva - I Love A Man In A Uniform
    LoneLady - Not Great Men
    JJ Sterry - 5.45
    La Roux - Damaged Goods
    Everything Everything - Natural’s Not In It
    Dado Villa-Lobos - Return The Gift
    The Dandy Warhols - What We All Want
    Warpaint - Paralysed
    Flea & John Frusciante - Not Great Men
    The Sounds - I Love A Man In Uniform
    Hardcore Raver In Tears - Last Mile
    Killing Joke X Gang Of Four - Forever Starts Now (Killing Joke Dub)
    Sekar Melati - Not Great Men (live Version)

    Biffy Clyro can announce that their eagerly anticipated new album ‘A Celebration of Endings’ will be released on 15 May. It follows the band’s previous two studio albums – ‘Ellipsis’ (2016) and ‘Opposites’ (2013) – both of which went straight to #1.

    The band’s approach to opus eight was simple. Keep things fresh and maintain the wide-eyed wonder of what they do. Surprise themselves and each other. Push things to their furthest extremes. Their first building block in embracing the new was to turn to an old friend. In came Rich Costey, producer of ‘Ellipsis’.

    “This is a very forward-looking album from a personal perspective and a societal perspective,” explains frontman Simon Neil. “The title is about seeing the joy in things changing, rather than the sadness. Change means progression and evolution. You can retain everything you loved before, but let’s lose the bad shit. It’s about trying to take back control.”

    That idea manifests itself in various ways. On a personal level that might be a relationship which has reached a point where it’s in both parties’ interest to separate. And on a wider scale, it’s about standing up for what you believe in.

    Sonically, Biffy Clyro playfully push the outer reaches of their sound to the extreme – often in the case of the same song. Opening track ‘North of No South’ hits hard before finding the space for the Johnston brothers to unleash some soaring Queen-style vocal harmonies, before ‘The Champ’ throws piano, cinematic strings (conducted by Bruce Springsteen collaborator Rob Mathes at Abbey Road) and Biffy’s prototyped jagged rhythms into the mix without ever losing any of its sleekness.

    Other songs are far more direct. ‘Tiny Indoor Fireworks’ is the best direct rock anthem they’ve ever written, somehow snappy, melodic and light on its feet while feeling so natural you could imagine it was conceived in minutes. Meanwhile, ‘Space’ is a natural successor from previous lighters-in-the-air highlights ‘Many of Horror’ and ‘Rearrange’. It’s a sincere message of reconciliation for someone you love, and Biffy’s most tender, unguarded moment from the sweet spot of their catalogue.

    How can you conclude an album of such esoteric diversity? Biffy launch headfirst into ‘Cop Syrup’. There’s the rush of ‘The Vertigo of Bliss’, a detour into Sub Pop-style grunge and manic shrieks which wouldn’t sound out of place on a Liturgy record. But then it contorts again, first into ethereal orchestration and then with a final burst of violence. It’s an ending to celebrate.


    Barry says: Biffy are back! Fulfilling every bit of their pop-punk legacy on the storming, 'A Celebration..'. Jagged hooks, huge riffs and a superb mix of the anthemic and rocky grit. A brilliantly balanced and absolutely on-brand return.


    1. North Of No South
    2. The Champ
    3. Weird Leisure
    4. Tiny Indoor Fireworks
    5. Worst Type Of Best Possible
    6. Space
    7. End Of
    8. Instant History
    9. The Pink Limit
    10. Opaque
    11. Cop Syrup

    Art Ensemble Of Chicago

    We Are On The Edge: A 50th Anniversary Celebration

      Iconic, innovative and internationally renowned force in avant-garde music The Art Ensemble of Chicago released their 50th anniversary celebratory album We Are On The Edge in April, and Erased Tapes are honoured to announce the vinyl edition of this exceptional body of work. Led by surviving founding members Roscoe Mitchell and drummer Famoudou Don Moye, these brand new recordings involve a staggering array of contemporary artists ranging from across the jazz, experimental and improvised music spheres; from the visionary poet and musician Moor Mother, trumpeters Fred Berry and Hugh Ragin, who have performed with Mitchell for over five and four decades, to bassist Jaribu Shahid, supreme cellist Tomeka Reid, celebrated flute virtuoso Nicole Mitchell and the extraordinary voice of Rodolfo Cordova-Lebron.

      The vinyl edition will be available as a double album featuring a meticulous studio session of the newly assembled group of musicians, combining re-recordings of works spanning the last 50 years, some never before recorded, as well as new compositions. The 4-LP special edition also includes their live set recorded at Edgefest, the annual experimental jazz and creative new music festival in Ann Arbor, Michigan.

      Having witnessed this exciting new formation around Roscoe and Don live at Big Ears Festival in Knoxville, Robert Raths was compelled to start a conversation with their US label Pi Recordings, based out of New York, and support this project in any way possible.
      The Art Ensemble of Chicago is a band that has been at the forefront of creative improvised music since forming in 1969. It has also long served as the flagship ensemble of the Association for the Advancement of Creative Musicians (AACM), the august Chicago-based organisation that also fostered the careers of members such as Muhal Richard Abrams, Anthony Braxton, Henry Threadgill, and Wadada Leo Smith, among many others. Now led by the surviving members Roscoe Mitchell and drummer Famoudou Don Moye, their new album We Are On The Edge: A 50th Anniversary Celebration is not only a commemoration of a half-century of magical music making, but also a loving tribute to the band’s three original members who have passed: Lester Bowie, Malachi Favors, and most recently, Joseph Jarman.

      The greatness of the Art Ensemble has always been the shared commitment of its original members to the total realm of African diasporic music: what they have long-termed “Great Black Music — Ancient to the Future”. Also important are the group’s disparate musical and artistic personalities, comprised of jazz, advanced compositional techniques, theatrical performance, poetry, Pan-African percussion, all tied together with improvisational flair, a taste for the absurd, and the exploration of pure sound and space. It is this open-mindedness – absorbed from the basic tenets of the AACM – that has made the band one of the most important in the history of music.

      Mitchell and Moye are now 78 and 72, respectively, but one would never guess by their outlook. Mitchell, who was recently named to a prestigious United States Artist Fellowship, is about to retire from his teaching position at Mills College, is most excited when you ask him about his upcoming projects, gushing about a dizzying array of performances, commissions, collaborations, composition ideas, and musical studies and inventions. There is, of course some wistfulness when looking back, particularly with the passing of Joseph Jarman earlier this year, but the overwhelming feeling is anticipation of what is coming next or, as Moye always says, "focus and forward motion". It’s a clarion statement that Mitchell and Moye are intent on ushering The Art Ensemble of Chicago forcefully into its sixth decade. As Moor Mother declares: "We are on the edge!" 


      1. Bell Song
      2. We Are On The Edge
      3. I Greet You With Open Arms
      4. Chi-Congo 50
      5. Jamaican Farewell Part I
      6. Villa Tiamo
      7. Saturday Morning
      8. Jamaican Farewell Part II
      9. Mama Koko
      10. Fanfare And Bell
      11. Variations And Sketches From The Bamboo Terrace
      12. Oasis At Dusk
      13. We Are On The Edge/Cards (Live)
      14. Oasis At Dusk (Live)
      15. Chi-Congo 50 (Live)
      16. Tutankhamun (Live)
      17. Mama Koko (Live)
      18. Saturday Morning (Live)
      19. Odwalla/The Theme (Live)

      Frightened Rabbit

      Tiny Changes: A Celebration Of The Midnight Organ Fight

        Context to ‘Tiny Changes: A celebration of the Midnight Organ Fight’:

        Before Scott died, an idea was formed to celebrate 10 years of their seminal album The Midnight Organ Fight by asking some of their talented buds in music to take a crack at their own versions of a song on the album. The whole album was recorded and was due to be released last summer, but then unfortunately Scott passed away last May.

        The band have decided they still want to release the record as a testament to the album, and to Scott. It’s going to be released on 12th July via Atlantic, and the band are going to be very much behind the release

        History of the band:

        Frightened Rabbit are a Scottish indie rock band from Selkirk, formed in 2003. Initially a solo project for vocalist and guitarist Scott Hutchison, the line-up currently consists of Grant Hutchison (drums), Billy Kennedy (guitar, bass), Andy Monaghan (guitar, keyboards), and Simon Liddell (guitar). From 2004 the band were based in Glasgow.

        Frightened Rabbit's first studio album, Sing the Greys, was recorded as a duo by the Hutchison brothers, and released on independent label Hits the Fan in 2006. The band subsequently signed to Fat Cat Records, in 2007, and became a three-piece with the addition of guitarist Billy Kennedy for its second studio album, The Midnight Organ Fight (2008). The album was released to strongly positive reviews and extensive touring, with guitarist and keyboardist Andy Monaghan joining the band to flesh-out its live performances.

        The band's third studio album, The Winter of Mixed Drinks, was released in 2010, with former Make Model guitarist Gordon Skene joining the band for its accompanying tour. Frightened Rabbit signed to Atlantic Records later that year, and issued two EPs, A Frightened Rabbit EP (2011) and State Hospital (EP) (2012), before the release of its fourth studio album, Pedestrian Verse in 2013. A critical and commercial success in the UK, the album peaked at number nine on the UK Albums Chart, with additional guitarist Simon Liddell joining the band on its subsequent tour.

        Disillusioned from touring, Hutchison, Monaghan, and Liddell recorded a studio album without the band, entitled Owl John (2014). Gordon Skene departed from the band in early 2014, and the band recorded Painting of a Panic Attack the following year with producer Aaron Dessner (The National), in New York, with Liddell joining the band as a full contributing member.

        Scott Hutchison died in May 2018 after going missing. In December 2018, the remaining members of the band played together for the first time since Hutchison's death, at a charity gig in Glasgow.


        Barry says: There is no better a dedication to a hugely talented songwriter and superb band than a variety of artists covering your songs and retaining all of the appeal they held in the first place. From huge, folk crescendos and punky drive to gently electronic shimmerers and gently throbbing ambience, this has everything, and goes to show how timeless Scott Hutchison's writing is. Gorgeous.


        1. The Modern Leper – Biffy Clyro
        2. I Feel Better – Oxford Collapse
        3. Good Arms Vs Bad Arms - Fiskur
        4. Fast Blood – Right On Dynamite
        5. Old Old Fashioned – Josh Ritter
        6. The Twist – Wintersleep
        7. Bright Pink Bookmark – Peter Katis
        8. Head Rolls Off – Craig Finn
        9. My Backwards Walk – Katie Harkin & Sarah Silverman
        10. Keep Yourself Warm – Benjamin Gibbard
        11. Extrasupervery – Jeff Zeigler
        12. Poke – Daughter
        13. Floating In The Forth – The Twilight Sad
        14. Who’d You Kill Now – Aaron Dessner & Lauren Mayberry
        15. The Modern Leper – Julien Baker
        16. The Twist – Piano Bar Fight
        17. My Backwards Walk – Manchester Orchestra


        Wounded Healer

          “It seems like the last three years have been filled with contrasts,” says Katrina Ford, force-of-nature singer in Baltimore’s Celebration. “Fantastical musical adventures against the backdrop of adult crisis.” From this collision of opposites comes the kaleidoscopic ‘Wounded Healer’, released via Bella Union. Drawing its galvanic thrust from contrasting elements, the band’s fifth album is their purest and most richly realised statement yet: intimate and expansive, cohesive and wide-ranging, bruised and restorative.

          Since the release of Albumin in 2014, the core trio of Ford, husband (multi-instrumentalist and organ player/rebuilder) Sean Antanaitis and drummer David Bergander have battled in times of struggle to uphold their founding strengths. “Midlife, we find ourselves dealing with bathroom renovations, death and elder care for parents, raising kids, careers, multiple surgeries, and totally fucked scheduling,” says Ford. “But despite it and yet inspired by it all, we have a place to come together and do this thing we love.”


          Rolling On
          Velvet Glove
          Sacred Clown
          Summer Season
          Freedom Ring
          Georgia Roots
          Paper Trails
          Drum And Phife

          Birds Of Maya


            Amped up super guitar overload from the coolest of combos..Philly’s Birds Of Maya…comprised Purling Hiss / Spacin members, this three piece released their debut on Holy Mountain, their double album epic “Ready To Howl” on Richie (re-released on CD by Agitated) and now, this on Little Big Chief records. Though the game mighta changed round em, the three years since Ready to Howl ain't diminished Birds of Maya one ounce (or do they measure in...grams?). You can tell right away on Celebration, cuz it's just as stupefying to describe as every other moment they've put down. Why is that? Seems so simple! But ya get near pronouncements like "Free or The Groundhogs as seen in the busted mirror mosaic of Japanese underground psych" and a lil balloon of acid anxiety busts in yer gut. Insufficient. This ain't just about shred and dread; this is about sweat and spit and busted bottles. This is about volume--meaning both quantity AND decibels. It takes a lot for many of us to sit still for side-long live tracks, so I suggest you dethrone that ass and break some valuables when the evil busts start rollin' out like smoke from Sleep's van; it's only natural. And don't fear the "TV Eye" cover, neither, cuz it surely made me forget the last 67 beef-witted versions I'd heard. Course, there's so much snarl all over this thing, I'm surprised the mic ain't slumped in the corner, nursing an ulcer, by the end. Another fetid feather in Philly's cap. Dressed in hand-painted sleeves, it'll make all the records you file it next to cooler via osmotic paint flakes. - Sebastian Morris-White, Buffet of Loathsome.

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