John Cooper Clarke may have a doctorate and a poem on the English Literature GCSE syllabus, but don’t let that fool you: the “Poet Laureate of Punk” is still a bona fide iconoclast. In Have It, a collection of scathing new poems, the Bard of Salford puts his pen to work across a host of painfully funny critiques of modern life. 

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.

“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.

“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”

‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”

Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.

Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.

The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.

At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.

“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”

Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris. 

TRACK LISTING

A1) Gift And Wound
A2) Infinite Roller
B1) No Pills U
B2) Janus Modal
C1) 1 BEDO Bailiff
C2) Globecore Flats
C3) Blowtorch Thimble
C4) Civilians
D1) Inpatient’s Day Out
D2) Who Booed The Goose
D3) 5 Millionth Cave Painting
D4) Negation Loop
D5) Micro Lyf

“In the dark night, amongst the trees, between moonlit leaves, is this super-secret, lovely lo-fi, raw, intimate, analogue album made in a cabin deep in the woods…”

Recorded straight to 1/8” tape from a book of handwritten notes in a rented cabin in the woods in the depths of the Scottish highlands deep in the middle of winter, Far From Nowhere by Josienne Clarke is her songwriting & voice in it’s purest form.

TRACK LISTING

1. We’re Never Coming Back
2. What Do I Do
3. Tiny Birds Lament
4. In The Dark Of The Night
5. Dreams Of Sleep
6. The Sucker Of Struggle
7. AI Love You
8. Bushes, Briars & Thorns
9. Ssanna
10. The Madler Horror Story
11. Afternoon Shadow
12. A Slow Burn

“Disguise In Love” released in 1978, is the debut album of British punk poet John Cooper Clarke. Renowned for his quick-witted delivery and sharp humor, Clarke fuses punk rock with spoken word, resulting in a one-of-a-kind sonic experience. The album includes tracks such as “I Don’t Want To Be Nice,” “Valley of the Lost Women,” and “(I Married a) Monster from Outer Space,” highlighting Clarke’s talent for social commentary and dark comedy. Produced by Martin Hannett, known as one of the creators of the ‘Manchester sound’, the album captures the unrefined energy of the late ‘70s punk scene. “Disguise In Love” stands out not only for its incisive, observational poetry but also for its stripped-down and edgy musical accompaniment, solidifying its status as a pivotal work in Clarke’s career and a significant contribution to the punk genre.

TRACK LISTING

Side A
1. I Don't Want To Be Nice
2. Psycle Sluts
3. (I've Got A Brand New) Tracksuit
4. Teenage Werewolf
5. Readers Wives
6. Post-War Glamour Girl

Side B
1. (I Married A) Monster From Outer Space
2. Salome Maloney
3. Health Fanatic
4. Strange Bedfellows
5. Valley Of The Lost Women

This album from 1957 excellently captures what was the definition of jazz at that time, and this became one of the best jazz albums of all time. Sonny Clark's playing on this album has the sound of beautiful perfection, and (along with the great work of Paul Chambers on bass and ‘Philly’ Joe Jones on drums) the playing really swings. Sonny shines on “Tadd's Delight” and “I Didn't Know What Time It Was” with the crisp support from Chambers and ‘Philly’ Joe. He takes on the challenge of 'Be-bop', a very difficult tune, and pulls it off with his typical Sonny Clark touch.

TRACK LISTING

1. Be-Bop
2. I Didn't Know What Time It Was
3. Two Bass Hit
4. Tadd’s Delight
5. Softly As In A Morning Sunrise
6. I’ll Remember April

A rich and revealing examination of the legendary pop duo Soft Cell. Soft Cell are not your average pop band. Marc Almond and Dave Ball may be best known for the string of hits they released in 1981, but the powerful first phase of their collaboration embraced a staggering array of sounds, influences and innovations that would change the face of music to come.

In Bedsit land, Patrick Clarke plunges into the archives and interviews more than sixty contributors, including the band members themselves, to follow Soft Cell through the many strange and sprawling worlds that shaped their extraordinary career. They lead him from the faded camp glamour of the British seaside to the dizzying thrills of the New York club scene. From transgressive student performance art to the sleaze and squalor of pre-gentrified Soho.

From the glitz of British showbiz to the drug-addled chaos of post-Franco Spain.

Freestyle Records drop a killer UK soul/early street soul reissue LP from 1988, in the form of Rick Clarke's hard to come by 'Time Keeps Moving On' album.

Originally appearing on the Raven label in 1988, Time Keeps Moving On constituted Rick Clarke's first LP following his work in the earlier eighties as part of brit-funk groups Potion and Side On, and solo output including Love with a Stranger (released on The Specials' Ghost Town's producer John Collins' Local Records imprint) and a few singles for RCA. Largely co-written and co-produced with Peter Hinds (Take Three, Atmosfear, Light of the World) and a guest turn from Master T aka Toyin Agbetu - this is foundational street soul that appeared at a time when the likes of Loose Ends were starting to break through to the US, and Soul II Soul just emerging.

TRACK LISTING

1. Time Keeps Moving On
2. If You Think You're In Love
3. Grooving On
4. Better Luck Next Time
5. Love
6. Got To Get A Hold
7. See You Along The Way
8. I Wanted Your Love
9. Don't Say A Word
10. Perfect Lady

On Parenthesis, I, Josienne Clarke has not only embraced her past but has also redefined herself in the present, presenting a body of work that is shimmering, warm, intimate, and at times, profoundly heart-wrenching. Throughout her career, Clarke has been both a Rough Trade-signed artist and a BBC Radio 2 Folk Award-winner, two opposing poles that neatly sum up her inability to be pigeonholed. Parenthesis, I is a masterful journey through her personal and musical evolution, drawing influence from folk greats Nick Drake and Sandy Denny, as well as more contemporary artists like Julia jacklin, Courtney Marie Andrews, Anaïs Mitchell and Lucy Dacus.

TRACK LISTING

1.  Friendly Teeth
2.  Spherical
3.  Fear Of Falling
4.  Do You Know Now
5.  Looking Glass
6.  Forbearing
7.  Most Of All
8.  Double-Edged Sword
9.  Firecracker
10.  Dead Woman’s Bones
11.  The Calm
12.  Parenthesis, I
13.  Magic Somehow

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

'Nothing short of dazzling' - Alex Turner

Dr John Cooper Clarke's dazzling, scabrous voice has reverberated through pop culture for decades, his influence on generations of performance poets and musicians plain for all to see. In WHAT, the original 'People's Poet' comes storming out of the gate with an uproarious new collection, reminding us why he is one of Britain's most beloved writers and performers. James Brown, John F.

Kennedy, Jesus Christ: nobody is safe from the punk rocker's acerbic pen - and that's just the first poem. Hot on the heels of The Luckiest Guy Alive and his sprawling, encyclopaediac memoir I Wanna Be Yours, the good Doctor returns with his most trenchant collection of poems yet. Vivid and alive, with a sensitivity only a writer with a life as varied and extraordinary as Cooper Clarke's could summon, WHAT is an exceptional collection from one of our foremost satirists.

As the album title suggests, Songs of Silence is a lyric-less, instrumental album, and is hugely evocative for that. Unlike anything you’ve previously heard from Vince Clarke, as an artisan of dynamic electropop, (Erasure, Depeche Mode, Yazoo), Songs of Silence has about it a more sober ambient electronic beauty, its unique characteristics put it in a category of its own.

For the creation of the record Vince set himself two rules – first that the sounds he himself generated for the album would come solely from Eurorack (a modular synthesizer format introduced in the mid-90s) and secondly that each track would be based around one note, maintaining a single key throughout. The resultant pieces, with the Eurorack sound clay then manipulated on Logic Pro, amount to wordless narratives, in which a sense of synth-generated, cosmic remoteness is often jolted by stark interventions, reminders of the human hand at work amid this machinery.

This album sees Vince Clarke not content to rest on his considerable pop legacy, and instead open up for himself, and for the rest of us, exciting new electronic vistas in which the permutations and possibilities are limitless.

TRACK LISTING

1. Cathedral
2. White Rabbit
3. Passage
4. Imminent
5. Red Planet
6. The Lamentations Of Jeremiah
7. Mitosis
8. Blackleg
9. Scarper
10. Last Transmission

Following the success of Wewantsounds' Alice Clark RSD edition featuring an extra 20 page booklet, we are reissuing the standard version of Alice Clark's highly sought-after Soul Jazz classic produced by Mainstream Records' Bob Shad in 1972. Featuring original artwork, remastered sound making this reissue is the first official reissue of Alice Clark's original album for decades, a long overdue release of one of the best Soul albums ever recorded.

TRACK LISTING

1. I Keep It Hid
2. Looking At Life
3. Don't Wonder Why
4. Maybe This Time
5. Never Dit I Stop Loving You
6. Charms Of The Arms Of Love
7. Don't You Care
8. It Takes Too Long To Learn To Live Alone

Following previous albums exploring British coastal quicksands, shorelines, caves and forests, Dave Clarkson takes his recorder into faded seaside towns and fairgrounds (including Rhyl, New Brighton, Blackpool, Porthcawl, Northumberland, Margate and Hastings) and applies his production technique to the results. Some tracks are melodic and rhythmic while others are more desolate, capturing the unique fading atmosphere for the locations. Music was generated from the source sounds he recorded of penny falls, onboard rides, fairground organs, demolition noise, electrics and location ambience. One track (Spectral Pier Ballroom) is a spliced and stripped composite of three separate old musical recordings from his family archive, featuring his late father, grandmother and grandfather.

Contains natural source sound ingredients, some left pure, some processed, some mangled, some untangled. Field recordings at funfairs and coastal ghost towns, plus voices, instrumentation and electronics.

Location recordings plus composition, production, mastering, photography, sleeve design, packaging and coordination by Dave Clarkson at Cavendish House studios between December 2021 and September 2022.

TRACK LISTING

1. Organ Donor 00:48
2. Rollercoaster Ghost 04:54
3. Illuminations (Dirty Electricity) 05:54
4. Sizzling Hot Dogs And Burnt Onions 02:54
5. Spectral Pier Ballroom 05:34
6. Penny Arcade In The Rain 05:18
7. Tiny Lights (Magic In A Child's Eyes) 03:12
8. Coastal Ghost Towns 04:06
9. Memories And Loss 06:04
10. Organ Transplant 02:44

Further Afield Recordings....

Hunting in search of sound food in remote, isolated and sometimes dangerous locations. Audio is taken as original sound source material for the foundation of sound collages and compositions. Field recordings as sound ingredients like natural ingredients in a carton of orange juice. Location recordings are re-fabricated e.g. rhythms created from dry snapped twigs or water pumps. The transformation of gentle splashes of sea water into harmonic layers of celestial sound. The sounds are processed, mangled, untangled, enhanced, collaborated with unnatural sounds and instrumentation, like painting with a palette of electronic colours. These turn out as further afield from the original sound source.

Following previously exploring faded seaside towns and fairgrounds, Dave Clarkson has investigated a number of isolated, unpopulated and obscure locations and applied the Further Afield production technique to the results. Some tracks are melodic and rhythmic while others are more desolate, capturing the unique atmosphere of the locations.

TRACK LISTING

1. Piel Island Quicksands And Fast Tides 09:04
2. Woodland Sanctuary 02:40
3. Ghosts Of Norfolk Coast 03:44
4. Traeth Porthor (Whistling Sands) 05:14
5. Limestone 03:36
6. Rollercoaster Ghost (Live) 08:34
7. Rendlesham (Live) 06:28
8. Clear Well (Live) 13:44

Berlin-based Bretford Records releases Locust, the new solo album from Jeff Clarke (Black Lips member) – a stripped-down, melancholic change of pace from the Canadian singer-songwriter whose boisterous garage rock compositions with the bands Demon’s Claws, Hellshovel, and the Black Lips led to King Khan identifying him as one of the “unsung heroes of rock n’ roll.”

This time out, Clarke’s sincere, poetic texts are accompanied only by his acoustic guitar. The warm, dreamy, minimalist folk sound is enhanced by the recordings themselves – all done in a single session, outdoors in a forest north of Berlin, Clarke’s adopted home since 2016.

The concept for the intimate setting came from Lorenz Szukal, guitarist in legendary Berlin indie rockers Chuckamuck and die Verlierer, who recognized that Clarke’s songwriting, which he had long admired, would be equally powerful when pared down and showcased in a different light. When the two took Szukal’s mobile recording equipment into the woods, the more naturalistic atmosphere revealed a mixture of light and shadow, fragility and resilience, pain and relief in the songs.

And yet Locust is much more than a mere study in contrasts; harmonized by Clarke’s extraordinary writing, the thirteen songs of the album create a coherent ambiance in which Clarke’s voice – like the soft complaint of a lonesome wolf – blends with the vivid lyrical imagery, the subtle dynamics of his guitar playing, and an almost imperceptible echo to leave the listener in a daydream state. In daring to present his unique sensibility in such a raw, elemental setting, Locust marks a striking new direction and reveals Clarke to be a spiritual descendant of Townes van Zandt.

TRACK LISTING

01. Something Happened
02. Feathers Of A Moth
03. Bed Of Glass
04. Whips Of Holly
05. Locust
06. Left Out In The Cold
07. Hypothermia
08. Elizabeth
09. Weird Ways
10. Stolen Valor
11. Strawberry Sun
12. Kind Of Boy
13. Never Going To Run

Ex-Warp artist Clark recruits none other than Thom Yorke as Exec Producer for his first album on his label centred on his own singing. It combines his trademark searing synth melodies and beats with vocal hooks.

Thom says "the way he approached it all wasn't the usual singer songwriter guff thank god; it mirrored the way he approached all his composition and recording, but this time it had a human face. His face." Chris says "I kept on thinking what would it sound like if The Beach Boys took MDMA and made a rave record".

STAFF COMMENTS

Barry says: Chris Clarke has been slowly morphing his finely detailed productions from the thumping technoid excursions of the early days into the thoughtful, brittle ambient electronica we hear today. While there are still moments of fiery drive, it's a much more crystalline and focused end result, placing more emphasis on the quieter parts, and the silence between the notes than his (still) impeccable priduction aesthetic.

TRACK LISTING

1. Alyosha
2. Town Crank
3. Sus Dog (feat. Anika)
4. Clutch Pearlers
5. Over Empty Streets
6. Wedding
7. Forest
8. Dolgoch Tap
9. Bully
10. Dismissive
11. Medicine (feat. Thom Yorke)
12. Ladder

Chris Clark Ms. Clark is often cited as the Dusty Springfield of Motown, a white soul singer with a black Southern voice. And she is no stranger to the Northern Soul scene with songs like “Love’s Gone Bad”, her version of Frank Wilson’s “Do I Love You” and the unreleased “Something’s Wrong”. But Clark’s Motown legacy continues surprise with the 2018 discovery – “Whenever I’m Without You” – originally recorded in 1968. Finally making its vinyl debut 55 years on!

The Temptations The Temps need no introduction, they were, of course, Motown’s most successul male vocal group scoring 18 No.1 R&B/Hot 100 singles and 3 Grammy’s. “All I Need Is You Love To Me” is another 1968 recording that eluded release at the time and is one their best, how could this slice of Motown magic escape. Finally making its vinyl debut 55 years on!

TRACK LISTING

1. Chris Clark - Whenever I'm Without You
2. The Temptations - All I Need Is You To Love Me

In her own words, Josienne Clarke viewed her 2021 album – A Small Unknowable Thing – as a leap into the abyss. Finally free from the industry structure that had been built around her over the preceding decade and more, she released the album via her own label, Corduroy Punk Records, and handled every aspect of the album’s writing, recording, and release herself, on her own terms. Free from her previous role as one-half of a duo and losing the genre constraints she was quickly and lazily placed within, she came out of that chapter emboldened – but still not truly free.

From her home on Scotland’s Isle of Bute, Josienne began thinking about the idea of reclamation. Cutting her teeth in an industry that so often works against the artist it's supposed to support – and with a lingering idea in the wake of Taylor Swift’s ‘Taylor’s Version’ project – Josienne began revisiting the songs in her back catalogue that felt buried somehow; that had never had the spotlight she felt they deserved, for myriad reasons.

Onliness is both a wholesome project and a spellbinding work in its own right. Opening with one of her earliest compositions – ‘The Tangled Tree’ – and closed by a brand-new song, it presents a career retrospective viewed through a new lens. The album is comprised of reworked versions of fan favourites and hidden gems from a back catalogue that always glimmered, but this time they’re entirely hers, carrying everything from booming drums to intimate acoustic guitars, with Josienne's powerful yet, at times, fragile voice whispering and screaming straight into the listeners ear.

STAFF COMMENTS

Barry says: Warm, mildly distorted guitar plucks and Clarke's powerful vocals twist around each other in a hypnotic display of melodicism and drive. It's a testament to Clarke's songwriting skill that she can turn the tide of the groove in an instant, shifting into a woozy psychedelic redux. A wonderful rework of some of her classic pieces, and a great introduction for any new listeners.

TRACK LISTING

1. The Tangled Tree
2. Only Me Only
3. It Would Not Be A Rose
4. Ghost Light
5. Silverline
6. Bells Ring
7. Something Familiar
8. The Birds
9. Homemade Heartache
10. Chicago
11. Things I Didn’t Need
12. Bathed In Light
13. Anyone But Me
14. I Never Learned French
15. Done
16. Workhorse
17. Words Were Never The Answer 

Now regarded as something of a classic in the Clark catalogue, it has been cited by producers including Arca, Rustie and Hudson Mohawke as being an influential record. Writing for The Quietus back in 2014, Ed Gillett commented: “It's no hyperbole to say that Clark's 2006 LP Body Riddle is one of electronic music's unheralded masterpieces, its layers of heat-warped melodies, flickering textures and muscular drumming (played by Clark himself) creating a beautiful and unstable mixture of violence and wistfulness. Its production is immaculate, almost inhumanly so, swaddling the listener in midrange before pummelling them viciously, shifting seamlessly between organic instruments and impossible, vertiginous sound design.”

Recorded during a period the producer was living in the Midlands city of Birmingham in the UK, shortly before leaving for Berlin, Clark recalls the genesis of the album: “I can remember that period as getting really into krautrock and spending the day drumming on pillows along to Can records for six hours a day, when I think of that record that’s what I think of.”

Striking up a friendship with local band (and Warp labelmates) Broadcast was also a key factor: “They lived about ten minutes from me and I borrowed James Cargill’s drum kit and some mics of his, and all of the drums on that album are his old drum kit. There were some jams that me and James had, there’s one at the end of ‘Roulette Thrift Run’ which is basically just him on guitar and me plundering away on some drums, and I just pitched it up. Broadcast weren’t really in my circle of friends at the time but going to their place was sort of like a holiday from my normal social life, and I just loved it. Both Trish and James were both so full of wisdom, but I wasn’t really in with their scene of people at all, I’d just go there on my own and listen to records and have cups of tea.”

Broadcast also feature on an improvised version of ‘Herr Barr’ that was only previously available as a download on the Clark website. It has been compiled alongside other sought after rarities and unreleased material that related to Body Riddle on the new 05-10 collection. Clark explains a bit more about the tracks on it:

“It is that thing of collecting things that would otherwise be lost to the internet and wanting to put a shell around it. It’s important to do because I really love some of that material. I suppose what I love is some of those processes, there’s a modular jam called ‘Boiler The Wick’ that I just had all my gear setup and was recording like five modular tracks a day. I still miss that time because my studio is very different today and I’m slightly sick of modular because everyone’s got modular and everyone’s doing it, but this was like ten years ago and I can’t really say it’s connected to Body Riddle exactly, but it feels like a companion piece of sorts. For example that ‘Boiler The Wick’ track has a very similar energy to ‘Re-Scar Kiln’ and it feels like it could be from the same world.

The Throttle Furniture EP was 2005, and some of those tracks could have gone on Body Riddle but they would have took it in a more clubby direction, so it felt good to put a fence around them and just use those for live shows. Around the time of the Body Riddle live shows I was playing those tracks out a lot in various forms. So tracks like ‘Urgent Jel Hack’ were written before Body Riddle was finished, that was me getting into Valve and Dillinja and loving that stuff as well.

The more beatless, reflective pieces that are included connect to my recent album on Deutsche Grammophon, and also other ambient pieces I’ve done for Warp, they’ve been peppered throughout my back catalogue. ‘Sparrow Arc Tall’ is like a cousin of ’Springtime Epigram’ or ‘Dew On The Mouth’, it’s that vibe of something captured on 4-track and rendered in a session. So they all feel connected to that family of pieces, and it’s nice giving people ten more tracks after however many years.”

In conclusion, looking back on Body Riddle with 16 years of hindsight, Clark reflects: “I feel really good about it, it’s interesting hearing it again. It seems to be an album that meant a lot to some people and be a significant record, but for me it is just another album of mine.

It is a bit of a blueprint for how things have gone with my music since then, because it’s just so dynamic and all over the place and messy, but intentional, and the mess feels deliberate and the accidents feel illuminating and exciting, and that’s a spirit that I think I always want to capture in music. You know when you hear music that is less than the sum of its parts, and it should work because everything’s tidy and in its place but something doesn’t work? I think I always aspire to make music that’s more than the sum of its parts, that shouldn’t really work but it does, and that’s such a magical quality. I don’t know whether the record has that or not, but the album is certainly the result of trying to be like that, all of these diverse styles sitting alongside each other but the overall album makes it coherent.

I’ve always tried to write albums rather than tracks for streaming services. I’m always going to be an album artist whether the form’s alive or only loved by a hundred people on the planet, for me it’s still the ultimate form of expression. An album’s a perfect length of time, it’s like a short story, you can do it in a sitting and it’s not too much. With an album you can just go for a walk and have it in your headphones, and Body Riddle is that classic ‘go for a walk and listen to an album in one go’ kind of record. It’s not trying to be a club record, it’s pure listening music.”

TRACK LISTING

A1. Herr Bar
A2. Frau Wav
A3. Springtime Epigram
B1. Herzog
B2. Ted
B3. Roulette Thrift Run
C1. Vengeance Drools
C2. Dew On The Mouth
C3. Matthew Unburdened
D1. Night Knuckles
D2. The Autumnal Crush

A unique collection put together by Clark of new tracks, unreleased music and sought after fan rarities.

Mastered from the original tapes.

C2 is a previously unheard improvisation with Broadcast.

TRACK LISTING

A1. Frau Wav (Brief Fling)
A2. Re-scar Kiln
A3. Urgent Jell Hack
B1. Dead Shark Eyes
B2. Boiler The Wick
B3. Dusk Raid
C1. Roller The Wick
C2. Herr Bar (Improv)
C3. Observe Harvest
D1. Sparrow Arc Tall
D2. Dusk Swells
D3. Autumn Linn 

Double CD featuring a remastered edition of Clark's 2006 album Body Riddle alongside the companion LP 05-10.

Mastered from the original tapes.

Includes previously unheard improvisation with Broadcast (Disc 2 track 8).

TRACK LISTING

Disc 1 - Body Riddle
01 Herr Bar
02 Frau Wav
03 Springtime Epigram
04 Herzog
05 Ted
06 Roulette Thrift Run
07 Vengeance Drools
08 Dew On The Mouth
09 Matthew Unburdened
10 Night Knuckles
11 The Autumnal Crush

Disc 2 - 05-10
01 Frau Wav (Brief Fling)
02 Re-Scar Kiln
03 Urgent Jell Hack
04 Dead Shark Eyes
05 Boiler The Wick
06 Dusk Raid
07 Roller The Wick
08 Herr Barr (Improv)
09 Observe Harvest
10 Sparrow Arc Tall
11 Dusk Swells
12 Autumn Linn

Sonny Clark was the epitome of cool - he has nearly 300 playing credits to his name The partial list is staggering. Donald Byrd, Dexter Gordon, John Coltrane, Grant Green, Kenny Burrell, Sonny Criss, Hank Mobley, Jackie McLean, Charles Mingus, Sonny Rollins, Billie Holiday, Lee Morgan and many more. On Sonny's Crib, Clark used the sextet format consisting of one of the all-time great jazz line ups. John Coltrane, Donald Byrd, Curtis Fuller, Paul Chambers, and Art Taylor. Trane had struggled with addiction earlier in the year but by this session had quit heroin for good and was reclaiming his spot as a major force in Jazz. By any measurement Sonny's Crib is a classic that features remarkable solos. Two weeks later Coltrane would record the epic "Blue Train" with Fuller and Chambers. More than a few critics and fans have compared the two

TRACK LISTING

With A Song In My Heart
Speak Low
Come Rain Or Come Shine
Sonny's Crib
News For Lulu

Originally released in 1983 on Becket Records, "Time To Throw Down" is a slick and futuristic bulldozer of boogie-electro. Somewhere between P-funk & boogie, its high voltage electric bass, face slapping drums and creeping tectonic force is one of Paul Thomas' most masterful creations. The bandleader had produced three 12" single's released under the title Circle City Band in 1983-84, one of those records titled "Magic" became extremely popular in the mid1980's, but this record was supposed to be the 4th 12" single on Becket Records.

At the same time in 1983, when Reggie Griffin and Paul Thomas was mixing this instrumental track in L.A, the reverend Rickie Clark originally from Circle City in Indianapolis, came to see them and fell in love with the track, asking if he could used it for himself.

Licensed reissue on dinked 7" vinyl with an alternative edit of the track on the flip. Tasty! 

STAFF COMMENTS

Matt says: Boogie Butt continue to provide rare-ass boogie and electro-funk reissues on 7". A true holy grail, you'd be looking at dropping at least a ton on this beaut if you were to even lay your eyes on a copy!

TRACK LISTING

Side 1
1. Time To Throw Down (5:01)
Side 2
1. Time To Throw Down (45 Edit) (3:46)

‘I Promised You Light’ follows on from Clarke’s critically acclaimed 2021 LP, A Small Unknowable Thing, an emotionally charged album bubbling with courage and defiance. 

TRACK LISTING

1. Where The Light Comes In
2. Driving At Night
3. You Know Me Better
4. Workhorse
5. I Promised You Light

For the first time since her early beginnings, Clarke is flying solo. No label, no musical partner, no producer. Clarke is in complete control of her songwriting, arranging, producing, release schedule and musical direction. While the themes might feel familiar to her fans, the musical journey will not, with Clarke taking in a wide range of new and diverse influences across the album – from Adrianne Lenker’s ‘Hours Were The Birds’, IDLES’ ‘Colossus’, Radiohead’s ‘Airbag’ to Phoebe Bridgers ‘Garden Song’ and more, the album’s touchstones span a vast musical collage of anger and hope. Lead single, ‘Sit Out’ is frustration and defiance in sonic form. “All you stand for / Makes me want to sit out” she sings over thick, driving guitars and an almost Beastie Boys-esque drum beat.

STAFF COMMENTS

Barry says: Josienne Clarke's new album manages to take a diverse range of influences and seamlessly integrate them into a beautifully accomplished whole. The more cavernous percussion and distorted guitars perfectly offset Clarke's haunting vocals in the more meditative pieces here. A wonderful collection.

TRACK LISTING

Super Recogniser
Like This
Never Lie
Chains
If It’s Not
Sit Out
Sting My Heart
The Collector
Tiny Bit Of Life
A Letter On A Page
Deep Cut
Out Loud
Repaid
Unbound 

This is a memoir as wry, funny, moving and vivid as its inimitable subject himself. This book will be a joy for both lifelong fans and for a whole new generation. John Cooper Clarke is a phenomenon: Poet Laureate of Punk, rock star, fashion icon, TV and radio presenter, social and cultural commentator.

At 5 feet 11 inches (32in chest, 27in waist), in trademark dark suit, dark glasses, with dark messed-up hair and a mouth full of gold teeth, he is instantly recognizable. As a writer his voice is equally unmistakable and his own brand of slightly sick humour is never far from the surface. I Wanna Be Yours covers an extraordinary life, filled with remarkable personalities: from Nico to Chuck Berry, from Bernard Manning to Linton Kwesi Johnson, Elvis Costello to Gregory Corso, Gil Scott Heron, Mark E. Smith and Joe Strummer, and on to more recent fans and collaborators Alex Turner, Plan B and Guy Garvey.

Interspersed with stories of his rock and roll and performing career, John also reveals his boggling encyclopaedic take on popular culture over the centuries: from Baudelaire and Edgar Allan Poe to Pop Art, pop music, the movies, fashion, football and showbusiness - and much, much more, plus a few laughs along the way.

Gene Clark’s 1974 masterpiece gets the reappraisal it’s long overdue.

“One of the greatest albums ever made. Initially celebrated for its obscurity, No Other is now celebrated for its magnificence. It was in every way a magnum opus: epic, sprawling, poetic, choral, rococo.” The Guardian

On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other. Released in 1974 on Asylum Records, a year after the Byrds shortlived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make. Although received warmly by critics, it flopped and was soon deleted, a failure Gene never came to terms with.

However, as The New York Times wrote around the record’s 40th anniversary in 2014, “hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star’s Third/Sister Lovers and Lou Reed’s Berlin,” with the album now being increasingly recognised as one of the greatest of its time, if not all time.

45 years on and recently remastered at Abbey Road, 4AD have given No Other the reappraisal it deserves. 

STAFF COMMENTS

Darryl says: Recently remastered at Abbey Road and 45 years on from its original release 4AD are giving Gene Clark’s 1974 masterpiece it’s long overdue reissue. Available on black vinyl, standard CD, a limited deluxe CD edition in a hardbound book cover, and an all encompassing and sumptuous silver box set containing vinyl, three SACD’s, Blu-Ray and an 80 page hardbound book.

TRACK LISTING

LP & CD Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

2CD Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

No Other (Sessions 1)
1. From A Silver Phial (Version 4)
2. Silver Raven (Version 2)
3. Some Misunderstanding (Version 3)
4. Life’s Greatest Fool (Version 2)
5. Train Leaves Here This Morning (Version 2)
6. Lady Of The North (Version 2)
7. The True One (Version 2)
8. Strength Of Strings (Version 2)
9. No Other (Version 2)

Deluxe Boxset Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

No Other (Sessions 1)
1. From A Silver Phial (Version 4)
2. Silver Raven (Version 2)
3. Some Misunderstanding (Version 3)
4. Life’s Greatest Fool (Version 2)
5. Train Leaves Here This Morning (Version 2)
6. Lady Of The North (Version 2)
7. The True One (Version 2)
8. Strength Of Strings (Version 2)
9. No Other (Version 2)

No Other (Sessions 2)
1. From A Silver Phial (Version 1)
2. Life’s Greatest Fool (Version 1)
3. No Other (Version 1)
4. Lady Of The North (Version 1)
5. Some Misunderstanding (Version 1)
6. Silver Raven (Version 1)
7. Train Leaves Here This Morning (Version 1)
8. The True One (Version 1)
9. Strength Of Strings (Version 1)
10. Life’s Greatest Fool (Single Version)
11. Silver Raven (Single Edit)

Exclusive 7”
A. Life’s Greatest Fool (Single Version)
AA. Train Leaves Here This Morning (Version 1)

Documentary
The Byrd Who Flew Alone: The Making Of No Other By Paul Kendall
No Other (Alternate Audio Versions)
No Other (HD Audio Remaster)
No Other (5.1 Surround Mix)
No Other (1974 Vinyl Master)
No Other (2019 Stereo Remix

80 Page Hardbound Book
Extensive Liner Notes
Lyrics
Previously Unpublished Photographs
Essays By Andrew Perry, Jon Einarson, Johnny Rogan, Martin Aston & Sid Griffin.

‘In All Weather’ is a new collection of songs in which Josienne Clarke goes it alone; musically, as this is her first solo record and in her own life, laid bare and played out in the leave-it-all-behind-andstart- anew nature of the lyrics. The songs were written in on the Isle of Bute in 2018, where Josienne relocated for a year, overlooked by a snowy Ben Nevis.

Josienne accompanies herself on pared-back acoustic and electric guitar throughout. She’s joined on the record by experimental piano prodigy Elliott Galvin, innovative jazz drummer Dave Hamblett, celebrated Scottish harpist Mary Ann Kennedy and guitarist/bassist Sonny Johns, who co-produced the record with Josienne.

TRACK LISTING

(Learning To Sail) In All Weather
Seconds
The Drawing Of The Line
Leaving London
My Love Gave Me An Apple
If I Didn't Mind
Host
Slender, Sad & Sentimental
Season & Time
Walls And Hallways
Fair Weather Friends
Dark Cloud
Onliness

Lou Clarke and the All-Scars Band

Lou Clarke spent most of the 70's not of this Earth, a greatly formative time for him and those around him. The intervening period was spent retrospectively constructing a back catalogue of music to rival even the most seasoned of 'straight to charity shop' vinyl ghosts.

The All-Scars are a collection of well-trodden troubadours from a variety of Mancunian haunts who've generously come together to present these songs in something close to their original form as once might have been heard.

The 'Greatest Hits' album is a preventative measure precluding necessary high standards for a second work. All of the tracks have been taken from the future back catalogue including the upcoming demand avoidant '4th Album'.

Informed by New Orleans, built in Manchester, songs to drink dance or drown to.

STAFF COMMENTS

Barry says: Encompassing all the best gloomy moments of Nick Cave and the sozzled pub-rock of the Pogues, but drawing in perfectly measured elements of jazz, lounge and classic rock, Clarke et. al. perfectly soundtrack our austere political climate with wry, tipsy tongue-in-cheek commentary and damn good music to boot. Great stuff.

TRACK LISTING

1. Configure Your Life 02:59
2. Anyman 04:39
3. Blue Eyes 03:13
4. Down Again 04:05
5. My Beautiful Girl 03:17
6. Intoxicated Man 02:53
7. Run Deep 03:36
8. Co-Dependency Suicide Blues 03:25
9. Walking 02:55
10. I Got Nothing 02:43
11. Wrung Out 02:43

2018 Reissue – Remastered From Original Tapes, Carefully Reproduced Original Art.

James Clarke’s Mystery Movie was released in 1974 as “modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema film where music is used to create the mood and carry the action”. So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to finish. Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme “Car Patrol”, the fuzz riffing and ARP soloing of “The Heavies” and the slow-mo strut of “Mystery Moll”. “Study In Fear” and “Empty Streets” are horror soundtrack fodder of the finest sort. However, it’s the understated, plaintive pieces that we find the most rewarding. Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies. Music that evokes the ‘downlifting’ Ronnie Lane and Ron Wood instrumentals from their great Mahoney’s Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise “Waiting Game” from being sampled by melodic downbeat masters Express Rising. Check “Relaxed Theme”, “Quiet Girl”, “Routine Procedure” and “Quietness Sustained” for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work. As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

TRACK LISTING

Mystery Prelude
Car Patrol - Title Sequence
Breathless
Breathless - Short Version
Waiting Game
Mystery Moll
Mystery Movement
The Heavies
Dirty Scene
Study In Fear
Empty Streets
Night Watch
Foot Patrol
Quiet Girl
Relaxed Scene
Routine Procedure
Quietness Sustained

‘Where Neon Goes To Die’ explores a complex relationship full of highs and lows. From sultry pop to heart aching ballads, the album retells Clark’s travels through the city’s nocturnal fantasyland through hooky, R&B-infused synth pop - file alongside Prince and Frank Ocean - that (maybe ironically) could fill the floors at the same clubs he’s singing about. Of course, when Clark writes about his city he’s really writing about himself.

‘Where Neon Goes To Die’ retells Clark’s travels through the Miami’s nocturnal fantasyland. At its core, it is the story of a musician casting aside the distractions of his youth and discovering not only a new level of maturity but a new level to his talents.

After a string of mixtapes and EPs and his 2015 debut album ‘The Lonely Roller’, Clark is making music more confidently than he ever has before, sliding effortlessly between effervescent future disco on ‘Feel This Way’ to purple-tinged slow-burn soul on ‘Easy Fall’, a duet with Gavin Turek.

TRACK LISTING

Maria, Under The Moon
Feel This Way
Easy Fall
On And On
Found
Did I Hurt U
Evil Woman
Days Like This
War
What Can I Do

’Seedlings All' is Josienne Clarke & Ben Walker’s first album to be made up of all original songs, and is songwriter Clarke's most autobiographical work to date. As she explains: “For the first time I’m out there alone with a bunch of songs that expose my insecurities, fears of failure and inflated pride. They deal with my own specific thoughts and feelings about the reality of pursuing this kind of career, the cost to personal relationships, circumstance and lifestyle, and asking the question - "Is this still worth it?” They’re about trying to find an inner balance in an environment that doesn’t provide any balance or certainty. Where one day everything is brilliant and the next day it could all be over. Where one night ends in a standing ovation and the next starts by playing to an empty room."

TRACK LISTING

Chicago
Bells Ring
Seedlings All
Maybe I Won't
Tender Heart
All Is Myth
Ghost Light
Sad Day
Things Of No Use
Bathed In Light
Only Me Only

(Bonus CD)
When To Then
Milk And Honey
For All We Know

Now available on vinyl for the first time, Josienne Clarke and Ben Walker’s ‘Nothing Can Bring Back The Hour’ album from 2014.

A year in the making, ‘Nothing Can Bring Back The Hour’ builds on the blend of traditional and contemporary songwriting first explored in 2013’s ‘Fire And Fortune’.

Drawing on sumptuous chamber folk textures and rich instrumentation, this new record has a timeless yet current sound, examining and reflecting upon the theme of time past, present and future.

Clark's "Death Peak" drops on Warp, a concept the esteemed producer has been working towards since August 2016. Contrasting jagged and smooth textures, working on ancient rhythms beamed from the future and intertwining euphoric melodies and visceral rhythms of warehouse rave with new vocal and choral elements; Clark sets out a distopic and environmentally degraded world, where space station groans meet ghosts of cyborgs and radioactive new life forms. The record deftly weaves together the various threads of his extensive work exposing the tension in Clark’s musical vocabulary. Grandiose and chamber like in its sound, this could well soundtrack church rituals on new planet systems, and is as vast as it is impressive.

Artwork by Alma Haser, a continuation of her work for Clark that began with the cover for his eponymous 2014 album.

STAFF COMMENTS

Barry says: Clark has long been a love/hate relationship for me, I've been disappointed at points with what I now believe I just didn't understand, but THIS is another matter. Full of the same sort of spine-tingling seismic shifts that made 'Growls Garden' such a standout track, Death Peak is an absolute stormer. Future leftfield genius this, classic Clark.

“Within 30 seconds of Clark’s set starting, the room was silent. Her voice poured over the gentle dissonance suggested by each chord” - The Quietus

“An artist who matches an affecting flourish with a dissonant sonic touch, her work is both challenging and completely immediate.” - Clash Magazine

“Hannah Lou Clark and her band, equal parts anxsty and dreamy” - Brooklyn Vegan

‘The Heart And All Its Sin’ was mixed and co-produced by Tarek Musa from Spring King and is a collection of songs exploring the complexities of love and loss. Hannah Lou Clark has laid her soul bare in these songs in a way that others would never do.

Lead track ‘Don’t Sweat It’ bravely addresses the yearnings of the heart in times of turmoil; with lines like “champagne takes the edge off me” she can see that whilst giving into our vices can’t help the heart heal, it can be a welcome distraction. Full of crunching guitars and wickedly smart melodies, it sees Clark push her limits further once again. “I think people worry too much about small things, and we know it too,” Clark says, speaking about her new track. “The simple message is that life is too short, and there’s nothing wrong with letting your hair down.”

Josienne Clarke & Ben Walker release their debut album for Rough Trade. The album which is self-produced, follows their Rough Trade debut, the ‘Through The Clouds' EP, which was released earlier this year.

‘Overnight’ is their most ambitious record to date, focusing on Clarke’s extraordinary voice and lyrics, and Walker’s prodigious guitar-playing and arranging; the album features panoramic orchestration by an eclectic core of acclaimed musicians, including strings, horns, piano, double bass, and drums. The twelve songs – ten originals and two covers - recorded almost entirely live at Rockfield Studios in Wales - serve as a snapshot of the endless cycle of night into day and back again, morning light, into dusk, into black midnight, into greying dawn, and on, and on.

The album’s lilting first single, “The Waning Crescent,” is almost an answer in ballad form to the portrayal of the moon in traditional and popular music as a soothing, confessional, companion (i.e. “Blue Moon”). Coming at the darkest and stillest point in the album, the song – like the moon – brings a reassuring lightness.

Clarke explains, "I started to think about if I was the moon, what I might think and feel, and what the moon might sing back,” adding, “I’ve given it a slightly whiny, self-pitying quality because it’s whimsical and a bit funny.”


One of the poppier songs on the album, the sound of “The Waning Crescent” is meant to fit the song’s subject matter. “We’ve done vignettes before where we've taken on a musical genre because that’s what fits the concept of the song. On this one, we’ve used the ‘50s and ‘60s space-race era pop sound to deliberately compound the moon theme,” says Josienne.

Other ‘Overnight’ highlights include the stunning country/soul ballad “Something Familiar” and their marvelous take on Gillian Welch’s “Dark Turn Of Mind,” the eerie folk of “Dawn Of The Dark” and “The Light Of His Lamp,” and the traditional-leaning “Sweet The Sorrow” and “Weep You No More Sad Fountains,” the latter a traditional English ballad set to song.

Though Clarke & Walker’s previous work is very much steeped in the the folk tradition – the two in fact won the BBC Folk Award for Best Duo in 2015 – ‘Overnight’ draws just as much inspiration from more-straightforward 1970s AM radio rock like Fleetwood Mac or Neil Young as they do from folk-rockers like Fairport Convention or Joni Mitchell.

British duo Josienne Clarke and Ben Walker have risen to star status lately on the English acoustic scene, earning last year’s Best Duo award from the BBC Folk Awards and across-theboard praise for two self-released albums, most recently ‘Nothing Can Bring Back The Hour’, with its lush single ‘Silverline’.

Clarke and Walker release a new EP, ‘Through The Clouds,’ via Rough Trade, featuring a handful of the best tracks from their small catalogue, rearranged anew. ‘Through The Clouds’ is meant as an introduction to the duo; in addition to ‘Silverline’ it features a new, stripped-down version of ‘Done’ (ballads on opposite sides of love and loneliness), an alternate mix of the spooky Shirley Collins cover ‘Hares On The Mountain’ and the original album version of ‘The Tangled Tree’, a brilliant showcase of Clarke’s vocal range and expression.

While The Guardian anointed them “chamber folk” (they certainly cut their teeth in that thriving part of the UK music scene), Clarke is an unusually compelling singer, sharing more in common with Sandy Denny, Gillian Welch, or even Nina Nastasia and Laura Marling, than your usual staid folk artist. Walker is a prodigiously talented guitarist and arranger and the two of them are engaging and often funny in a live setting where, in addition to their own songs, they choose covers brilliantly, from Denny, to Jackson C Frank, to Nina Simone, to death-obsessed traditional ballads.

Clarke and Walker will be recording their Rough Trade debut album for an Autumn 2016 release, with an eye toward bringing bigger, more modern arrangements and production to their beautifully-wrought songs and Clarke’s tremendous voice.

“Clarke and Walker stand out due to their originality… Impressive.” - The Guardian

“A bold success” - The Telegraph

THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Record Store Day rave 12” from Warp mainstays Mark Pritchard, Bibio and Clark.

Mark Pritchard kicks off the 12 with throwback jungle anthem ‘A Badman Sound’; the classic Amen break gets laced with rave stabs and intermittent dub sirens.

‘Heath Town’ is the opposite of what you’d expect from Bibio. In particular, the second half takes stylistic cues from ‘A Badman Sound’ and features the popular, euphoric James Brown-produced ‘Yeah Woo’ sample.

Clark winds down with ‘Inf Inf Inf Inf’, a more ambient sound that brings in broken beats and is reminiscent of early Aphex Twin.

2016 is an exciting year for all three artists:

In May, Mark Pritchard is releasing his first album under his own name.

In April, Bibio releases his fifth album on Warp, A Mineral Love.

And after releasing his most successful album yet in late 2014, Clark returns with ‘The Last Panthers’ record, inspired by his score of the Sky Arts drama series of the same name.

For fans of: Aphex Twin, Autechre, Special Request, Om Unit

Vinyl 12" in 3mm spine sleeve with centre holes (in Warp house bag).

Limited to 500 copies.

TRACK LISTING

Mark Pritchard – A Badman Sound
Bibio – Heath Town
Clark – Inf Inf Inf Inf

Quatre Femmes Records present ‘It’s Your Love’ from Hannah Lou Clark.

This is Hannah’s second EP and the follow up to her critically acclaimed debut EP ‘Silent Type’.

Extensive touring around the release of ‘Silent Type’ offered a fresh perspective on certain things in Hannah’s life. ‘It’s Your Love’ was written over this touring period and sees Hannah further experimenting sonically.

Produced by Hannah and mixed by Tarek Musa of Spring King, this EP offers an artist in full command of her voice.

TRACK LISTING

It’s Your Love
Cowboy Joe
Euphoria

‘The Last Panthers’ features music from and inspired by Clark’s mesmerising score for the Sky Atlantic crime thriller of the same name.

The six part series, co-produced by Warp Films (‘Southcliffe’, ‘71’, ‘Four Lions’, ‘This Is England’) and Haut et Court (‘The Returned’), stars Samantha Morton, Tahar Rahim and John Hurt and was descibed by The Guardian as “bold, smart and seductive.”

Clark approached ‘The Last Panthers’ soundtrack with the same ethos as his artist releases; combining sounds of the natural world with clinical, machine enhanced production and an experimental, exploratory attitude. Here he breaks off from his mainline discography to deliver this stunning project, meticulously edited and expanded from the original score into a coherent listening experience.

This new release from Clark forms part of a burgeoning movement of contemporary artists working in the soundtrack and composition world, including Mica Levi, Mogwai, Jon Hopkins and Ólafur Arnalds.

Miami by way of Fayetteville and Little Rock, Steven A Clark’s raw, confessional singing and personal stories pair with pulsing synthesizers and rhythms that hang in the air like a glowing grid of roadside neon. It’s a means for the soft-spoken artist to process all the drama in his head. 

On songs such as ‘Not You’, he flips a brutally honest breakup tale and draws emotions and empathy from being on the ‘right’ side of the conversation. 

The title track uses a slinky, sensual beat to create a perfect backdrop to tell the story of a weekend-long tryst in Vegas. For a man of few words, his unadorned and uncomplicated lyrics hit home. 

“… a heroic underdog of the specific, delivering diarylike lyrics detailed enough to provide a loaded portrait of a young man in transition.” - SPIN

TRACK LISTING

Lonely Roller
Trouble Baby
Not You
Can’t Have
Bounty Time
Machine
Floral Print
Part Two
She’s In Love
Young, Wild, Free

Marcel Fengler can look back upon a very productive year as an artist. There was the “Frantic EP“ on Ostgut Ton, followed by DIN (a joint project with Efdemin) whose compositions formed one third of the “MASSE“ CD and ballet and then arguably his most creative and intense project to date: the release of his debut solo album “Fokus“. For the remix EP accompanying this release Dave Clarke, Aubrey, The Exaltics and The Traveller were invited to place their focus on some chosen tracks.

Dave Clarke opens the 12“ with his remix of “Sky Pushing“, the forceful but tender character of the original track is overturned into deep distortion and systematically lead towards gentle chaos, the steady drive of this rework leaves no room for pause as it propels the energies set free.

The break techno of The Exaltics, whipped up with nervous bass and smoky drums, serves as one of the groovier additions to this EP. The massive beats that follow the break lift the track to another level and when the mellow vocals of “Mayria“ set in, things fall into place in perfect combination.

On the other side Aubrey redefines “Trespass“. The absorbing arrangement combines unpredictable use of hi-hats and synths from the original with a dark and classic pumping beat and inspired flanger effects to diffuse the tension and create a balanced mix.

The final remix by The Traveller is also the greatest surprise, the track lures you in with a soft intro but soon develops into an old school techno stomper, the heavy kick and percussion is complemented by the reoccurring melody from “Jaz“ inviting you to immerse yourself in the sound.

After releasing Nils Frahm’s two-track solo synthesiser EP ‘Juno’ in a highly sought after 7” edition, Erased Tapes now re-release the original Juno tracks with guest reworks by Border Community's modular synth wizard Luke Abbott and Warp veteran Clark. Both known for their like-minded use of analogue synthesisers in their music, it makes them the perfect artists to rework the originals. Similar to Frahm’s online project ‘Screws Reworked’, where he invited fans to download his solo piano songs to reinterpret them with their own medium of choice, it’s far from being the typical remix EP.

‘Peter Broderick loved the sound of this synthesiser so much, he asked me to record some solo sketches with it. This is what I came up with. I didn't use any overdubs or punch-ins. See it as a synthesiser solo performance.’ – Nils Frahm

The cover photograph was taken by Peter Broderick and is a result of an unexpected double exposure between his image and the one taken by the camera’s previous owner. Dedicated to his dear friend, the Juno tracks carry the titles ‘For’ and ‘Peter’ and were recorded and mixed by Nils Frahm in his Durton Studio in Berlin.

Pivot are an awe-inspiring juggernaut of rhythmic, wordless melodies – not quite post-rock, not just electronica. They've supported Battles on tour, and perhaps it's these Warp label mates that comparisons can most be drawn as both outfits serve up an adrenalin-fuelled rhythmic math-rock sonic attack. This is their debut UK release, featuring entirely new material, plus two remixes from Rustie and Warp label mate Clark.

John Clarke - not to be confused with Johnny Clark - had been running with the Wackies operation for six years, ever since moving from Jamaica to New York. He'd cut memorable sevens with co-founder Munchie Jackson for the Tafari label, and with Lloyd Barnes for such Bullwackies imprints as Versatile and Wackies. "Visions Of John Clarke" was a little thrown together for its original release in 1979. Still, its sleeve carried a ringing endorsement from Bullwackies himself and the album attracted the interest of no less than Studio 1 boss Coxsone Dodd, whose bid for distribution-rights was thwarted when the Brooklyn label Makossa quickly put in for a full licence. Out soon afterwards, the new version - entitled "Rootsy Reggae" - duplicated five tracks, but with markedly different mixes, fresh edits, and sometimes new instrumentation.