The Early Years' new album, ‘Modern Moonlight’. It’s their first in a decade and just their third in 20 years, following their eponymous debut for Beggars Banquet in 2006 and ‘II’, which was released on Sonic Cathedral in 2016 and recently named as one of Uncut’s Greatest Albums of the 2010s.

It was worth the wait. It’s a stunning mix of Davids Bowie and Byrne, John Cage, Conny Plank, Brian Eno, Radiohead. “All the usual stuff,” says nominal frontman Dave Malkinson. “Loved ones and Italian red wine played a part, too, Oblique Strategies…”

There is nothing particularly oblique about the ten tracks here, though. ‘A New Way Of Living’ is a nod to not only Berlin-era Bowie, but also their own single ‘Like A Suicide’, the band’s first release for Sonic Cathedral back in 2008. The febrile funk of ‘Get Up Get Out’ is like The Stooges recoding the DNA of ‘Here Come The Warm Jets’. ‘The River’ – which snuck out as a single late last year – aims for an Eno / Moroder cross, but ends up sounding like James Holden. ‘Heaven Over There’ is huge and heartbreaking, a ballad for our times, up there with The Verve or even Elbow at their most anthemic and vulnerable. ‘Tired Eyes’, meanwhile, recalls ‘Fading Frontier’-era Deerhunter.

The start of the second half ups the tempo. ‘Shimmering Stone’ mixes LCD Soundsystem with what sounds like Gregorian chants. ‘The Gift’ sounds like a party in a studio, which it was, recorded at Monnow Valley in South Wales. ‘Three Quarters’ is a Beta Band meets A Certain Ratio-style groove based around a simple Steve Reich-esque loop with timbales. The title track is inspired by the more acoustic Verve tracks on ‘No Come Down’ and closer ‘Silver Lips (Champagne Eyes)’ sparkles and fizzes across its two halves, with vocals by Lorena Quintanilla from labelmates Lorelle Meets The Obsolete.

“I wanted the album to be called ‘III’, but the others vetoed that,” says guitarist Roger Mackin. “‘Modern Moonlight’ came about at 2am when we were writing the song.”

“Heroes don’t stand in sunlight anymore, they stand in the bluish glare of a phone at 2am wondering if anyone else is listening or even awake,” expands drummer Phil Raines. “Moonlight is not a thing, it’s a condition, light that has already touched something else. It’s borrowed. Reflected. Slightly late. It is the expectation of the present arriving after we’ve moved.

“So, this is not about our moon. It’s about how we’re all responding to the world we’ve found ourselves living in, hoping for utopia, but realising we’re all late to the party.”

In the case of ‘Modern Moonlight’, it’s better late than never.

TRACK LISTING

1. A New Way Of Living
2. Get Up Get Out
3. The River
4. Heaven Over There
5. Tired Eyes
6. Shimmering Stone
7. The Gift
8. Three Quarters
9. Modern Moonlight
10. Silver Lips (Champagne Eyes)
11. The River *HEX Edit* ^
^ CD-only Bonus Track

Brighton quartet ladylike sign to cult label Heist or Hit (Her’s, Westside Cowboy) and announce their debut EP 'It’s A Pleasure Of Mine, to Know You’re Fine'.

The EP delicately treads the tightrope between folk and post-rock - evidence of the particular kind of quiet the four-piece inhabit: Natural, controlled, and brimming with a subtle euphoria, it speaks to renewal, growth and repair. The quartet — Georgia Butler (vocals, guitar), Spencer Withey (vocals, guitar, synth), James Ely (drums), and Archie Sagers (six-string bass) serve their folk rare: raw and pastoral, but with a side of textural, atmospheric builds directly wired into the tensions of the modern world. It’s a formula that has gained them slots at Green Man; Left Of The Dial; The Great Escape; and Dot To Dot, plus support slots with Ugly, Mary in the Junkyard and Lime Garden.

After soft-launching the idea of starting a project together at End of the Road, the band’s initial practices took place in a recital room on a brutalist university campus. A setting that, on the surface, is wildly at odds with the rural authenticity of their sound. Pause and look, however, and the campus may have seeped its way into the architectural structures of their songs, with an emphasis on functionality, honesty, and the incorporation of rougher textures and exposed materials. The alchemy lies in the band’s ability to marry those spaces, and when raw elements meet modernity, they absolutely soar.

The band’s forthcoming debut EP was recorded with producer Ali Chant (Aldous Harding, Perfume Genius, PJ Harvey). It captures the quiet urgency that has always been ladylike’s hallmark. Across four tracks, they explore cycles renewal, and the beauty of persistence, finding poetry in English idioms and the banality of the mundane.

TRACK LISTING

Side A
1. Burning Heather
2. Rome (in Progress)
3. Mountains
4. Burning Heather (continued)

Side B
1. Fresh Linen
2. Sour Carol, I

'Early Days (2016-2019)' is a new collection of previously unreleased songs from Mauri Tapia a.k.a Los Retros. From a young age, Tapia has been a prolific songwriter, spending his teenage years writing and recording song after song. Influenced by soft rock and left-field South American pop, 'Early Days (2016-2019)' captures the sound of this formative era.

TRACK LISTING

1. Deep Sleep
2. Room Gloom
3. Someone To Spend Time With
4. Without You
5. Old Times
6. To My Friends
7. Wave The Blue
8. Roundabout
9. American Spirits
10. Diabla
11. To A Lover
12. Within This Love

South London sibling duo PUNCHBAG (Clara and Anders Bach) pair their new EP 'I Am Obsessed' with their debut EP 'I'm Not Your Punchbag' in one combined record, marking their first-ever physical release, arriving as a Dinked Early Doors Edition.

Opening on off-kilter piano stabs, the track sets up a tension that quickly gives way to something far darker beneath their restless left-field pop. Clara’s lyrics frame fixation as bodily and inescapable, from dirt under fingernails to crumbs in bedsheets and thoughts that won’t leave your chest.

"It's about being completely obsessed with something or someone, but not in a cute way, more in a 'your whole body is under attack' kinda way. It's sort of disordered, chaotic, overwhelming," Clara explains.

The new single follows July 2025 release ‘I Love This!’ (also set to feature on the EP) – a wide-eyed surge of feeling that reinforced PUNCHBAG’s instinct for pairing pop immediacy with emotional overload.

Speaking more on their upcoming second EP, the band said:

"If our first EP was a selfie, these new songs are like zooming in and thinking, 'fucking hell my pores look huge'. This EP is turning up the contrast on everyday life, rinsing the disgusting dish towel so far that all the gunk comes out. It’s pushing PUNCHBAG’s sonic world even further, into a grander landscape, and dramatising the everyday more than ever before."

With each release, Clara and Anders continue to push their instincts further, tightening their sound and leaning harder into the extremes that define it - all part of a wider mission to distil the most intense, concentrated version of who they are as artists.

That intensity spills directly into their live shows, where the duo’s sibling chemistry and unfiltered energy have earned a reputation for turning rooms into something closer to group therapy than a gig - a visceral, communal thrill and a celebration of feeling too much, all at once.

Clocking in at just under 15 minutes, PUNCHBAG's debut EP 'I'm Not Your Punchbag' (released May 2025) was a breathless introduction. Veering between chaos and clarity where sweetness clashed with distortion, every track felt like a full-body jolt. The EP saw the band receive early tastemaker press: NME (Radar Interview), Dork (HYPE Cover + ★★★★ review), CLASH (Next Wave), Wonderland (New Noise), DIY (★★★★ review), plus further tips from PAPER Mag, The Line of Best Fit, Stereogum, Brooklyn Vegan, Popjustice and many more.

TRACK LISTING

Side A
1. FUCK IT
2. I’M NOT YOUR PUNCHBAG
3. PRETTY YOUTH
4. YOU USED TO BE SO SEXY

Side B
1. WHAT’S IN MY BAG
2. PILE OF CLOTHES
3. PLAYING GOD
4. I LOVE THIS!
5. I AM OBSESSED

Released in 1993, 'Early Underground' is a compilation album of tracks that were previously released only on CD by Moby under pseudonyms such as Barracuda, Brainstorm, UHF and Voodoo Child. This limited edition is a double vinyl collection, and has never been released on vinyl before.

Moby was born Richard Melville Hall in Harlem, NYC in 1965. His father gave him his nickname “Moby” when he was 10 minutes old, as a result of his hereditary relationship to Herman Melville. Moby started playing classical music and studying music theory when he was 9 years old, and then came of age musically in the punk rock scene in and around NYC in the early 80’s. He released his first single, 'Go', in 1991 (listed as one of “Rolling Stone'' magazine's best records of all time), and has been making albums ever since. He has sold over 20,000,000 albums worldwide.

In addition to making his own records, Moby has also produced and remixed artists as varied and disparate as David Bowie, Public Enemy, Ozzy Osbourne, The Beastie Boys, and Daft Punk, to name a few. Moby also works with and supports a variety of non-profit organizations, including The Humane Society, Emily’s List, The ACLU, and The Institute for Music and Neurologic Function.

TRACK LISTING

1. Besame
2. Rock The House
3. Move The Colors
4. UHF 3
5. Party Time
6. Protect Write
7. Go (Original)
8. Permanent Green
9. Voodoo Child
10. Drug Fits The Face
11. Time Signature
12. Peace Head
13. Barracuda
14. Mobility
15. M-Four

Following on the heels of his acclaimed 2025 solo LP 'Strange Is The Way', ex-De Rosa frontman and Bellshill's shadier pop songsmith M. John Henry turns to his back catalogue with this beautiful collection of reworked and newly performed versions of classic songs and unreleased material. 2026 marks the 20th anniversary of 'Mend' - De Rosa's 2006 debut - which put Henry's songwriting on the map for its strong sentiment and deep connection to his post-industrial homeland.

A three decade career later (as both solo performer and collaborator with some of Scotland's finest - Barry Burns, Robert Dallas Gray, King Creosote, Gillian Fleetwood) and we find Henry seeking alternate paths through what were once jagged, indie-folk cuts and arriving in darkly pastoral territory. "The kind of parochial majesty you might encounter if Pixies reworked The Go-Betweens' 'Before Hollywood' for a documentary about the social history of Lanarkshire...", MOJO magazine wrote of 'Mend'. Swap in Bert Jansch and Mark Eitzel and you might be heading in Henry's direction on 'Early Songs, Of Late'. Featuring new versions of fan favourites 'Camera', 'Cathkin Braes', 'Evelyn' and 'The Engineer'.

TRACK LISTING

1. Hopes And Little Jokes
2. New Lanark
3. Camera
4. Prevent Me You
5. Evelyn
6. All Saints Day
7. Hattonrigg Pit Disaster
8. Cathkin Braes
9. Ripped Apart
10. The Engineer
11. Swell

While working in Berlin Wedding at andereBaustelle studio on their upcoming album – scheduled for release in May 2026 on Bureau B – Kreidler found also time to dig deep into the vaults of their Düsseldorf and Berlin archives. Thirty years ago Kreidler's eponymous mini-album was released on Cologne-based label Finlayson; and for RIVA, their first outing, on cassette tape it is even 31 years. Both released in limited physical formats and long unavailable. This edition documents the band‘s beginnings, with threads that can be followed throughout their whole history to their current work. Still, they are straight out of a certain scene, at a certain place, at a certain time.

TRACK LISTING

1. Beginn / Drücken
2. Café Dello Sport
3. Glashütte Gerresheim
4. Charles Wilp Fotografiert Muhammed Ali
5. Flames
6. Tierfilm
7. Das Wilde Heinefeld
8. Angst
9. Die Sexy Antwort Auf Beige
10. Anti-Car
11. Soft Niveau
12. Boccia
13. Sportfläche
14. Bikini
15. Im Betrieb (IV)

Drummer Dave Rowntree’s exclusive, intimate, never-seen-before photographs of Blur at the start of their career.

Dave Rowntree, drummer and founder member of Blur, brought his camera along to all of the band’s first adventures. He used it to capture insider moments: close-up and personal pictures of singer Damon Albarn, guitarist Graham Coxon, bassist Alex James and himself in the thrilling early stages of the band’s rise to the top. Here are photographs from Blur’s debut tours of America and Japan, in the studio in the UK, playing games in the tour bus, larking around backstage, messing about in hotel rooms, at video shoots, with fans and friends. A one-of-its kind document of what it’s really like to be in a young band during the vital first few years, when everything is new, romantic and fresh.

With hundreds of previously unseen photographs, a personal foreword and detailed quotes of memories attached to the images, “No One You Know” is a unique visual insight into the first few years of one of Britain’s most successful and well-loved bands, from one of the only four people who knows what it was really like.

Telepathic Fish: A Journey into South London’s Seminal Ambient Party

A first-of-its-kind, fully illustrated retrospective celebrating Telepathic Fish — the influential early ’90s South London chill-out party that helped shape the ambient underground. Founded by Chantal Passamonte (Mira Calix), DJ Food, and others, this scene-defining crew hosted the likes of Aphex Twin, Global Communication, and Andrea Parker, while collaborating with Megatripolis and The Big Chill.

This lovingly curated release features:

Rare and long-lost tracks from Caustic Window (Aphex Twin), Tranquility Bass, Spacetime Continuum, and more

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

DJ-friendly double black vinyl

A 20-page booklet packed with photos, artwork, and memorabilia from 1992–1995

Liner notes by founding members Mario Aguera and Kevin Foakes

Obi strip featuring Simon Reynolds’ iconic quote from Energy Flash

Lacquer cut by Beau Thomas at Ten Eight Seven Mastering.

STAFF COMMENTS

Matt says: Much documented with a killer campaign backing it (check the brilliant Guardian article by Joe Muggs). Rave culture wasn't all about big fish little fish and sweaty dancers. "Telepathic Fish" shines a spotlight on the horizontal, post-E vibe which actually ended up more subversive and rebellious than what Big Dance Music (or Business Techno - lol!) became. A gloriously precious selection.

TRACK LISTING

1. Barbarella - Barbarella (The Irresistible Force Remix)
2. Spacetime Continuum - Fluresence
3. Nightmares On Wax - Nights Interlude
4. Insides - Skinned Clean
5. Global Communication - Incidental Harmony
6. Caustic Window - Cordialatron
7. Keiichi Suzuki - Satellite Serenade (Trans Asian Express Mix)
8. Tranquility Bass - Cantamilla (Bomb Pop)
9. Golden Girls - Kinetic (Morley’s Apollo Remix)
10. No-Man - Days In The Trees - Reich 

In the summer of 1968, an 18-year-old Genesis P-Orridge (then Neil Andrew Megson) gathered with friends in a modest attic space to experiment with sound. The result was 'Early Worm', a collection of recordings that capture the nascent creativity of an artist who would later become a pivotal figure in avant-garde music. These sessions, pressed to a single acetate in 1969, showcase a fearless exploration of noise, improvisation, and tape experiments, reflecting influences from psychedelia, Fluxus, John Cage, and beatnik Bohemia. Early Wormstands serves as a testament to P-Orridge's early commitment to pushing musical boundaries. The album's raw and unfiltered soundscapes offer listeners a rare glimpse into the foundational moments that would eventually lead to the formation of COUM Transmissions, Throbbing Gristle, and Psychic TV. Remastered and preserved in a limited vinyl pressing, with liner notes written by Genesis Breyer P-Orridge recalling the zeitgeist of the late 60′s UK underground.

Previously thought to be missing, these never-before-available songs were created on extremely primitive equipment in the attic of 6 Links Drive, Solihull, Warwickshire, England, by Genesis Breyer P-Orridge and friends using Thee Early Worm as their collective group name. Only one copy had originally been pressed on an acetate. This disc and its corresponding analogue reel-to-reel master tape were discovered in the Porridge With Everything Archives by Ryan “Gelik” Martin during a recent reorganisation. This album is mastered directly from the original reel-to-reel tape and is made available to devotees of GenesisBreyer P-Orridge’s life-long musical body of work as a missing link, and curiosity, that reveals significant structural themes and sonic textures that, with hindsight, can be seen to have remained central to her creative processes ever since. Please be aware that this is inevitably a low-fire recording intended for collectors and researchers.

TRACK LISTING

1. Joint Effort
2. Firesong
3. Mourning To Thee Dusk
4. Clockwork Cloud
5. Rather Hard To Libel
6. A Very Short Middle
7. Balloon
8. Lament
9. Breakfast
10. Thee Early Worm

Ireland’s favourite Avant-punk quartet has re-issued 'The Early Years' EP, a collection of out of print 7” singles and covers originally released on Any Other City Records and The Quarter Inch Collective and then on Rough Trade in 2015. 'The Cha Cha Cha' has now been remastered alongside the rest of the tracks and is ready for the dancefloor once again.

Fan fave (and live setlist staple) featured on the collection is an eight-minute cover of post-dubstep mastermind Blawan’s absurdist banger and demented earworm 'Why They Hide Their Bodies Under My Garage' that, simply put, is unlike anything you’ve ever heard before or since

TRACK LISTING

1. Lawman
2. De Bom Bom
3. I Love You
4. Why They Hide Their Bodies Under My Garage
5. The Cha Cha Cha

Presented by Acid Jazz on Roots Records, a first-time reissue of classic dancehall recorded for Jah Thomas ‘Midnight Rock’ label, previously only issued as a promotional ‘white label’.

Midnight Rock was home to many of the great voices of dancehall, with producer Jah Thomas at the helm, adding vocals to the high-quality rhythms recorded at Channel One studios with the legendary, de facto resident band Roots Radics. Thomas made some of the earliest recordings for both Early B and future super star Super Cat, and as Super Cat became the hottest name on the scene, Thomas lined up a showcase album featuring a side from each artist. A small number of white labels were pressed up, but the release never got further.

Side A gathered up four of Early B’s most well loved cuts including 'Visit Of King Selasie', 'Sunday Dish', 'Pedestrian' and 'Cane Man A Fe Bath'. It also included a track called 'Set Up Yourself Right', which was never released elsewhere, but Thomas himself remembers playing well from the various sound systems he gave test cuts to.

Side B featured the 5 cuts that Thomas had made with Super Cat, showing him fully formed even at this formative stage in his career. 'Dance Inna New York' has since had a second life since being sampled by Nas on 'Nas The Don', but every track from 'Way Dem A Fight Fa' through 'Ever Ready', to
'Walk A Ton' and on to 'Me Glad She Gone' are a great combination between producer and vocalist.

Presented on a striking and effective sleeve layout, evoking the records status as a lost white-label classic, with stamped ‘Midnight Rock’ logos across the sleeve and labels. 

Finally, the chance to own this elusive piece of reggae/dancehall history.

TRACK LISTING

1. Visit Of King Selassie
2. Sunday Dish
3. Pedestrian
4. Set Yourself Right
5. Can A Fe Bath
6. Way Dem A Fight Fa
7. Ever Ready
8. Walk A Ton
9. Dance Inna New York
10. Me Glad She Gone

'Early Takes: Volume 1' is a compilation album of outtakes and demo recordings by George Harrison, released posthumously in May 2012. The recordings appeared in Martin Scorsese's 2011 documentary film George Harrison: Living in the Material World and were originally issued as part of the deluxe version of the DVD release. Producer Giles Martin compiled the album, working with engineer Paul Hicks. The majority of the tracks date from the sessions for Harrison's 1970 triple album 'All Things Must Pass'.

TRACK LISTING

1. My Sweet Lord (Demo)
2. Run Of The Mill (Demo)
3. I’d Have You Any Time (Early Take)
4. Mama You’ve Been On My Mind (Demo)
5. Let It Be Me (Demo)
6. Woman Don’t You Cry For Me (Early Take)
7. Awaiting On You All (Early Take)
8. Behind That Locked Door (Demo)
9. All Things Must Pass (Demo)
10. The Light That Has Lighted (Demo)

‘Spring Board: The Early Unrecorded Songs’ is a Martin Phillipps passion project. A dedicated reimagining of his earlier unreleased songs that became his artistic farewell, a lasting legacy, and a reminder of his huge, underappreciated talent. The album has been finalised for release with the love and support of his band, family and friends.  

As the subject of an undulating life and times movie – The Chills: The Triumph And Tragedy Of Martin Phillipps – Chills’ singer, songwriter and main motivator, Martin Phillipps spent the last decade releasing studio and live albums while careering into his sixtieth year with typical gusto.

Amid such momentum, Martin was stilling digging through old tapes, searching for the foundations that resulted in global rapture in 1987, an overnight success that took a mere seven years to ignite. These early songs and musings were revisited, revised and finally put to record. As such, ‘Spring Board’ is the final chapter of The Chills, immeasurably significant output.  

‘Spring Board: The Early Unrecorded Songs’ is alarming, personal, brittle and at times hopelessly upbeat. This is a man casting his mind back on an esoteric career that led to nothing short of cult status; someone rediscovering his roots, his innermost thoughts, hopes and fears. 

The Chills are Martin Phillipps, Oli Wilson, Erica Scally, Callum Hampton and Todd Knudson. ‘Spring Board’ features contributions from Fur Patrol’s Julia Deans, Elroy Finn and Split Enz, Crowded House alumni Neil Finn, Tiny Ruins’ Hollie Fullbrook, Manics producer Greg Haver, Troy Kingi, Shona Laing, Tami Neilson, Dianne Swann (Everything That Flies) and Purple Pilgrims’ Clementine Valentine.

TRACK LISTING

1. Dolphins
2. Learn To Try Again
3. If This World Was Made For Me
4. Juicy Creaming Soda
5. I'll Protect You
6. And When You're There
7. Declaration
8. Stay Longer
9. Slime
10. Steel Skies
11. Jellyhead
12. Such Self Pity
13. Meet My Eyes
14. Bad Eggs
15. Lion Tamer
16. The Other
17. Since You Left Me
18. Watching Old Home Movies
19. I Saw Your Silhouette
20. I Don't Want To Live Forever

Using the original 1965 mono master, new lacquers have been cut all-analogue by Kevin Reeves at Nashville’s East Iris Studios. By constantly referring to the original first pressing, the album is faithful to the original release while also enabling more musical information to be heard than was possible before. Featuring faithfully replicated artwork and a new four-panel insert with essay by American Beatles historian, Bruce Spizer. 180gram audiophile pressing.

TRACK LISTING

1. Love Me Do
2. Twist And Shout
3. Anna
4. Chains
5. Boys
6. Ask Me Why
7. Please Please Me
8. PS I Love You
9 .Baby It’s You
10. A Taste Of Honey
11. Do You Want To Know A Secret

Singer songwriter Juliet Lawson’s album, ‘Boo’, was released on the Sovereign label in the UK in 1972. The album was the confident debut of a young British artist and featured twelve of Lawson’s own compositions.

In the same wave of early 1970s English singer songwriters such as Nick Drake, Vashti Bunyan and Christine McVie and despite being described at the time as ‘Britain’s answer to Joni Mitchell’, ‘Boo’ was to prove her only major label release, with limited commercial success.

Over the next 50 years, the album’s reputation has slowly grown and is today an expensive and collectible item. ‘Boo’ is presented here in its entirety.

TRACK LISTING

Dear Fool
Igloo
Nothing New
I Won’t Get My Feet Wet
Again
Who Is India?
Let Me Not Put You Down
Only A Week Away
Playing Is No Song
You’re So Right,
September
The Weeds In The Yard
Rolling Back
Frog In The Jam
Rincón De Luna *
Voices *
* = CD / 7”

The definitive collection of Denny’s early home demos authorized by her estate, with Sandy's daughter Georgia Lucas’ own charming drawings of her mother making their first appearance on an official Denny release, plus previously unpublished images of Sandy’s 1960s passport and driver’s license. And extensive sleeve-notes by re-issue producer Pat Thomas. 

Included are two different rare demos of her classic ‘Who Knows Where the Time Goes’ from 1967 (before she recorded it with Strawbs) and another from 1968.

‘She had this amazing talent, this incredible voice - she played Who Knows Where the Time Goes, and I nearly fell off my chair.' - Linda Thompson

Plus, a host of songs penned by Sandy including ‘Boxful Of Treasures’ which was later rewritten as the song ‘Fotheringay’ (from Fairport Convention’s What We Did On Our Holidays album). ‘Fotheringay’ also appears here in demo form.

“She needs to be re-evaluated. She wrote a kind of song that's very rarely written now - emotional, musically interesting, sung really well - serious songwriting. She was head and shoulders above the rest. And she remains so." - Ashley Hutchings (Fairport Convention founder).

Also featuring heartfelt covers of songs by Jackson C Frank, Fred Neil, Anne Briggs, Dylan, and many traditional folk songs.

TRACK LISTING

CD - Disc 1
Blues Run The Game
Milk & Honey
Soho
It Ain't Me Babe
East Virginia
Geordie
In Memory (The Tender Years)
I Love My True Love
Let No Man Steal Your Thyme
Ethusel
Setting Of The Sun
Boxful Of Treasures
Who Knows Where The Time Goes (1967)

CD - Disc 2
Carnival
They Don't Seem To Know You
Gerrard Street
Motherless Children
She Moves Through The Fair
The Time Has Come
A Little Bit Of Rain
Go Your Own Way My Love
Seven Virgins
Blue Tattoo
Cradle Song
Quiet Land Of Erin
Fotheringay
Who Knows Where The Time Goes (1968)

One of the key 45s in the output of Prince Jazzbo's Ujama label during the digital era of the late 80s - originally reissued via NYC's Deadly Dragon some 15 or so years back - gets a much needed new cut & press via Death Is Not The End's 333 series.

The late Earlando Neil aka Early B first started performing on soundsystems in the late 1970s, often appearing with his young apprentice Wild Apache, later known as Super Cat. It was alongside Cat that he is credited as a key driver behind the popularisation of the King Majesty and Killamanjaro stables in the early 1980s, following which he had a string of hit records for the likes of Harry J's Sunset imprint, Ossie Thomas' Black Solidarity and Jah Thomas' Midnight Rock label amongst many others.

Following a run of stellar LPs in the mid 1980s Early B's output began to wane as the sound of digital production began to take precedence, but not without firing off one the most killer shots ever recorded on a computerized rhythm for Jazzbo's Ujama in 1987. Reportedly the first time around for the hallowed Replay version, Imitator's subject matter takes aim at the new kids on the dancehall block ripping off the veterans, while he simultaneously pays hard-earned dues to the dancehall's foundation deejays such as Jazzbo himself, U-Roy, Big Youth, Dennis Alcapone, King Stitch, Trinity & Dillinger.

TRACK LISTING

1. Imitator
2. Imitator Version

"There is something so historic about the earliest recordings of Neil Young with Crazy Horse that even the most devoted fans of Young and that pivotal band cannot contain their excitement when new releases are scheduled – continuing with the release of ‘Early Daze’ on June 28th.

Representing the first time that the music the band performs has been collected on one album like this set, ‘Early Daze’ includes some of the most iconic originals by Neil Young, and several with contributions by band guitarist Danny Whitten. It is Young’s first band after the breakup of Buffalo Springfield, and set one of the high marks of rock ‘n’ roll at the end of the 1960s when all these songs were written.

This new collection of Neil Young with Crazy Horses’ earliest recordings includes several original versions that have not been released before, along with the 7-inch mono mix of ‘Cinnamon Girl’ that was released in 1970 that includes a guitar outro not on the original LP version."

STAFF COMMENTS

Barry says: He's done a bit of music hasn't he, our Neil? Well, this one sees Neil and the Crazy Horse band's early days after the fusion of Young and L.A. Band the Rockets. Many tunes ensued, this is the first few INCLUDING a new version of 'Helpless'.

TRACK LISTING

Dance Dance Dance (included On Neil Young - Archives Vol. I.)
Come On Baby Let’s Go Downtown (unreleased Version)
Winterlong (unreleased Version)
Everybody’s Alone (different Mix Included On Archives Vol. I)
Wonderin’ (unreleased Version)
Cinnamon Girl (original 7” Mono Mix. Released April 20, 1970. Includes Guitar Outro Not On Lp Version.)
Look At All The Things (unreleased Version)
Helpless (unreleased Version)
Birds (unreleased Stereo Mix). Mono Mix Was Released As B-side To “only Love Can Break Your Heart”)
Down By The River (unreleased Version With Alternate Vocals)

Jack Francis’s second studio album, ‘Early Retirement’, navigates modern society and fallen dreams. Jack is an old soul in a new world. He seamlessly blurs the lines between folk, soul, rock and country, and is set apart by his distinctive vocal and memorable melodies.

Fans of Flyte, Nathaniel Rateliff and Courtney Marie Andrews will fall in love with him.

“A mix of raw soul, honest country heart and undeniable British resolve” - Holler Country

“This whole album should be declared an area of outstanding natural beauty” - Louder Than War

TRACK LISTING

Promised Land
Tired Of Trying
Mercy
A Bit Of Your Time
Lifeline
21st Century Man
Failure
Forever Alone
Under The Bright Lights
Merry-Go-Round
Curtain Call

“Gothics” - a time before the word goth had even taken shape - believed in the do-it-yourself punk ethos that anyone could pick up an instrument. Gray clouds were starting to form and in the unlikely city of Hamburg, a brazen and haunting gang of five women formed Xmal Deutschland. As any true punk would, Xmal Deutschland’s members Caro May, Rita Simon, Manuela Rickers, Fiona Sangster and Anja Huwe, started the band despite any previous musical experience.

The “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate in tension. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.

Punk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past. With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus” single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “BlutIst Liebe,” keep strict militaristic dance beats as they teem in agitation.

That same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaellbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers. The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk.

TRACK LISTING

1. Schwarze Welt
2. Die Wolken
3. Großstadtindianer
4. Kälbermarsch (from The Compilation “Lieber Zuviel AlsZuwenig”)
5. Incubus Succubus
6. Zu Jung Zu Alt
7. BlutIst Liebe
8. Allein (from The Compilation “Nosferatu Festival”) 

Your favourite DJ’s favourite DJ presents his 10-track album; "This record feels like the starting point of a new era, which I’m sure a lot of people can relate to what I mean; the tracks I recorded, the ones I’m singing over and the guests i invited have been my way to deal with the pandemic, the motherless child that I am and the father that I am. I call this record a deep pre-club record, one that will give you the energy to go out there and party but with a feeling of letting go of everything."

TRACK LISTING

A1 Diane Charlemagne (feat. Iman Houssein)
A2 Love Supreme (Part 1 And 2) [feat. Aint About Me]
A3 The Elegance Of A Dancing Body
A4 The Birth Of A New You (feat Pierre Spataro)
A5 Electric (feat. Aint About Me)
B1 I Sing To Find Peace Of Mind (feat. Simbad)
B2 Live In Darkness And Wait For Brighter Days
B3 I Feel The Pain But Can't Describe It (feat. Aint About Me)
B4 One Day You Smile, One Day You Cry (feat. Pierre Spataro)
B5 The Soundtrack To A Beautiful Sunset On Your Way Home

Early brought together a series of formative recordings from the late 70s and early 80s, for an America-only vinyl release in 2005. The collection, accompanied by sleeve notes from Green Gartside, included the band's debut single Skank Bloc Bologna, along with seminal tracks including The "Sweetest Girl", 28/8/78 and Lions After Slumber, and offered a stunning chance to enjoy the long-overlooked musical foundations of Scritti Politti again.

Emerging from the scene around Leeds Art School, with fellow travellers The Mekons and The Gang Of Four, and recorded while the band were residing in a Camden squat organised along Marxist principles, these post-punk rallying cries which prefigured Green and co's pop-leaning rebirth several years later, were the songs that grab the attention of John Peel, Rough Trade founder Geoff Travis and a generation of music fans who helped bring the indie music scene – and the labels that accompanied it – into existence. A musical community in which Scritti Politti played an influential and formative role.

TRACK LISTING

Skank Bloc Bologna
Is And Ought The Western World
28/8/78
Messthetics
Hegemony
Scritlocks Door
Opec - Immac
Bibbly-o-tek
Doubt Beat
Confidence
P.A.s
The "Sweetest Girl"
Lions After Slumber

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.

The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases! The album also comes as a deluxe double CD pack with 30-page booklet and slipcase.

Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.

These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes. As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection celebrates these first old-school rap records, bringing together rare, classic and obscure tracks released in the early days of rap.

TRACK LISTING

Vinyl Tracklisting:
Side A:
1. The Carver Area High School Seniors - Get Live '83 (7.43)
2. Mike T - Do It Any Way You Wanna (6.53)
Side B:
1. Chapter III - Real Rocking Groove (Rap & Breaks) (6.34)
2. Sinister Two - Rock It, Don't Stop It (7.59)
Side C:
1. Sangria - To The Beat Y'all (5.18)
2. Funky Four Plus One More - Rappin' And Rocking The House (6.54)
3. The Just Four - Girls Of The World (Genius Rap & Breaks) (7.07)
Side D:
1. Eye Beta Rock - Super Rock Body Shock (8.42)
2. Funky Constellation - Street Talk (Madam Rapper) (9.49)
Side E:
1. Kool Kyle The Starchild - Do You Like That Funky Beat (Ahh Beat, Beat) (8.38)
2. The Just Four - Jam To Remember (6.56)
Side F:
1. Grandmaster Flash And The Furious Five - Super Rappin' No. 2 (7.18)
2. Silver Star - Eei Eei O (7.16)

7" Single (comes With LP Format SJRLP530-7 Only)
A. Magic's Trick - Magic's Rap (4.19) MONO VERSION
AA. Magic's Trick - Magic's Rap (4.19) STEREO VERSION

CD Tracklisting:
CD1
1. The Carver Area High School Seniors - Get Live '83 (The Senior Rap) (7.43)
2. Mike T - Do It Any Way You Wanna (6.53) Click At 0.43
3. Chapter III - Real Rocking Groove (Rap & Breaks) (6.34)
4. Sinister Two - Rock It, Don't Stop It (7.59)
5. Sangria - To The Beat Y'all (5.18)
6. Funky Four Plus One More - Rappin' And Rocking The House (6.54)
7. The Just Four - Girls Of The World (Genius Rap & Breaks) (7.07)
CD2
1. Eye Beta Rock - Super Rock Body Shock (8.42)
2. Funky Constellation - Street Talk (Madam Rapper) (9.49)
3. Kool Kyle The Starchild - Do You Like That Funky Beat (Ahh Beat, Beat) (8.38)
4. The Just Four - Jam To Remember (6.56)
5. Grandmaster Flash And The Furious Five - Super Rappin' No. 2 (7.18)
6. Silver Star - Eei Eei O (7.16)
7. Magic's Trick - Magic's Rap (4.19)

Stereolab announce the fifth in their ‘Switched On’ series of compilation albums, ‘Pulse Of The Early Brain [Switched On Volume 5]’ with the track ‘Robot Riot’.

‘Robot Riot was originally written for a sculpture made by Charles Long - an artist that Stereolab had previously collaborated with on 1995s ‘Music For The Amorphous Body Study Center’ project.

Track info:
Simple Headphone Mind’ b/w ‘Trippin’ With The Birds’ was the second collaboration between Nurse With Wound and Stereolab.
A 12” disk released on yellow vinyl [1000 copies] and black vinyl [4996 copies] The sleeve was made from a 'Mylar style’, aluminium coloured, material that was glued and sealed – each purchaser had to open the sleeve to discover which colour vinyl they had bought.
The CDs were also released in a sealed sleeve.
Originally released 28th April 1997 via Duophonic Super 45s. Catalogue numbers DS33-11 / DS45CD-11.

The ‘Low Fi’ EP - ‘Low Fi’, ‘[Varoom!]’, ‘Laisser-Faire’ and ‘Elektro [he held the world in his iron grip]’ was originally released as a limited edition clear vinyl 10” [approx 500 copies], black vinyl 10” and CD.
Released 28th September 1992 by Too Pure. Catalogue numbers Pure 14 / Pure CD14.

‘Robot Riot’ and ‘Unity Purity Occasional’ were both written for sculptures made by Charles Long - an artist that we had previously collaborated with on the ‘Music For The Amorphous Body Study Center’ project. ‘Unity Purity Occasional’ was used in 2000 for Charles' sculpture of the same name -
"Unity Purity Occasional is a sculpture with six hand-blown, tear-shaped glass cups filled with antibacterial hand gel that the visitor can pump out and disinfect their hands with. The song is channeled through three tubes that simultaneously blow the visitors’ hands dry with warm jets of air." [Text by Niki Kralli Anell].
‘Robot Riot’ is previously unreleased.

‘Spool of Collusion’ and ‘Forensic Itch’ were originally released on August 18th 2008 as a black vinyl 7” that was given away with the initial pressing [5000 copies] of the ‘Chemical Chords’ LP. Released via Duophonic UHF Disks / 4AD. Catalogue number AD2820.
‘Spool of Collusion’ was also added, as a bonus track, to the Japanese CD release of ‘Chemical Chords’.

‘Symbolic Logic Of Now!’ was one side of a split 7” with Soi-Disant. 100 copies on blue vinyl and 2000 copies on black vinyl.
Originally released in 1998 by Luke Warm Music. Catalogue number LWM001.

‘Ronco Symphony’ [Demo] – a demo version of the track from 1993’s 'The Groop Played "Space Age Batchelor Pad Music"’ album. Previously unreleased.

A cover of the track ‘ABC’ by The Multitude from The Godz album ‘The Third Testament’. The track was originally recorded for a Godz tribute album called ‘Godz Is Not A Put On’ and released in an edition of 500 copies by Lissy’s Records in 1996.
The track was later released as one side of a yellow glitter 7” that was part of an exclusive Japanese box set edition of ‘Aluminum Tunes [Switched On Volume 3]’.
Yellow glitter 7” – approximately 3000 copies. Catalogue number D-UHF-D21.

‘Magne-Music’ and ‘The Nth Degrees’ were added as bonus tracks to the UK limited edition CD of ‘Chemical Chords’ released 18th August 2008 via Duophonic UHF Disks / 4AD. Catalogue number CADD2815CD.
Both tracks also appear on the Japanese edition of ‘Chemical Chords’.

‘Blaue Milch’ was recorded for a Peter Thomas Sound Orchestra compilation album – each artist on the album was sent a Peter Thomas audio track and was asked to build it into a new track.
Originally released in 1998 by the Bungalow record label. Catalogue number Bung 048.2.

The original recording of ‘Plastic Mile’. The re-recording was released as a 7” b/w ‘I Was A Sunny Rainphase’ and subsequently compiled onto Stereolab’s ‘Fab Four Suture’ album.
Previously unreleased.

‘Yes Sir! I Can Moogie’ was originally released in 1995 as part of a single sided 3 track 7” flexi-disk via Wurlitzer Jukebox. Catalogue number WJ03 - 1000 copies were pressed.

‘Refractions In The Plastic Pulse’, a track from the ‘Dots And Loops’ album remixed by Autechre.
A 12” disk released on 20th April 1998 via Duophonic UHF Disks. Catalogue number D-UHF-D19. 500 copies pressed on translucent yellow vinyl and 2972 copies on black vinyl.

‘XXXOOO’ was originally released in 1992 as part of a single sided 3 track 7” flexi-disk via the Encore! label. The flexi-disk was given away with edition #6 of the 'Tea Time' fanzine. Catalogue number Encore 001.

A live version of the ‘Emperor Tomato Ketchup’ album track ‘Cybele's Reverie’. Recorded 26th September 2004 when Stereolab supported Air at The Hollywood Bowl, CA. USA.
Previously unreleased.

TRACK LISTING

Vinyl Tracklisting:
A1. Stereolab / Nurse With Wound - Simple Headphone Mind
B1. Stereolab / Nurse With Wound - Trippin' With The Birds
C1. Low Fi
C2. [Varoom!]
C3. Laisser-Faire
D1 - Elektro [he Held The World In His Iron Grip]
D2 - Robot Riot
D3 - Spool Of Collusion
D4 - Symbolic Logic Of Now!
D5 - Forensic Itch
D6 - Ronco Symphony [Demo]
E1. ABC
E2. Magne-Music
E3. Blaue Milch
E4. Yes Sir! I Can Moogie
E5. Plastic Mile [Original Version]
F1. Refractions In The Plastic Pulse [Feebate Mix] - Autechre Remix
F2. Unity Purity Occasional
F3. The Nth Degrees
F4. XXXOOO
F5. Cybele’s Reverie [Live At The Hollywood Bowl]

CD Tracklisting:
Disc 1
01. Stereolab / Nurse With Wound - Simple Headphone Mind
02. Stereolab / Nurse With Wound - Trippin' With The Birds
03. Low Fi
04. [Varoom!]
05. Laisser-Faire
06. Elektro [he Held The World In His Iron Grip]
Disc 2
01. Robot Riot
02. Spool Of Collusion
03. Symbolic Logic Of Now!
04. Forensic Itch
05. Ronco Symphony [Demo]
06. ABC
07. Magne-Music
08. Blaue Milch
09. Yes Sir! I Can Moogie
10. Plastic Mile [Original Version]
11. Refractions In The Plastic Pulse [Feebate Mix] - Autechre Remix
12. Unity Purity Occasional
13. The Nth Degrees
14. XXXOOO
15. Cybele’s Reverie [Live At The Hollywood Bowl]

Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music. Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge. “You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson

As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few.

The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself. “‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.”

TRACK LISTING

A1. Aint About Me – Watching Tarot Card XVI Come To Life
A2. Dreamcastmoe & Shungu – Don’t Let Me Down
A.3 Iman Houssein – Their Eyes
A4. Qur’an Shaheed – Thrive
B1. Makaya McCraven – Crash Course
B2. CōS – Ayy Thank Full
B3. Trian Kayhatu – OK Dan
B4. Regal86 – Parado En La Esquina
C1. Abrahamblue – Joanna
C2. DJ Spinn – Synthshot
C3. Igor Jadranin – NUB
C4. Shlundee – Acid 2 Acid
D1. LB Aka Labat – Ca Chauffe Tonton
D2. Elisa Bee – A Sun That Never Goes Down
D3. Pippin – Ro

Alabama's native son, Early James, will release his sophomore album, Strange Time To Be Alive, on July 29th, 2022. The lyrical wordsmith conjures the ghosts of great southern gothic writers from Eudora Welty to William Faulkner, while channeling the haunted spirits of Tom Waits and Townes Van Zandt. The album evokes a timeless amalgam of forsaken blues, wistful folk, and Tin Pan Alley crooning, anchored by the singer’s unmistakable voice that sways from gravel-filled shouts to pained, forlorn whispers – and songs that tread in the waters of darkly themed broken hearts, with the wry humor of the sad clown.

On the road again since August 2021, Early James will continue touring consistently through 2022. Confirmed upcoming tour dates are with The Black Keys and The Ghost of Paul Revere. Previously, Early James has played Newport Folk and toured with The Lone Bellow, The Marcus King Band, Zachary Williams, and Shovels & Rope.

Gideon Nxumalo was a key figure during the formative years of South African jazz in the 1950s, helping shape the emerging South African jazz sound as a pianist and composer and contributing to the scene as a radio presenter, music teacher and arranger. His recorded output as bandleader/composer is comprised of three iconic albums from "Jazz Fantasia" (1962) to "Gideon Plays" (1968) to Early-Mart (1970).

"Early-Mart" was Gideon Nxumalo's tribute to his friend and musical compatriot, drummer Early Mabuza (Castle Lager Big Band, Mankunku Quartet), who died in 1969. Nxumalo assembled what journalist and observer Leslie Sehume reports was a 14-piece band for the album, which was recorded during a legendary overnight session in February 1970 and released just months before Nxumalo's own death on 24 December 1970.

TRACK LISTING

Early-Mart
Frustration
Slow Blues
When The Saints Go Marching In

On behalf of re:discovery records, it is with great excitement that we announce the Adham Shaikh compilation titled 'Early Works 92-94'.

Adham Shaikh is a treasured ambient, dub and keyboardist artist out of Vancouver Canada who's early to mid-90's tracks found their way to seminal labels like Instinct, Dossier, Interchill and his own label Modulation Elektronik.

This collection represents a choice selection of key early works that begins with 'Ascend', whose spacey dub atmosphere is one of the 1990's hidden ambient dub gems. 'Vapor' completes the A-side with its otherwordly trip into organic and spatial dub ambience. The B-side features the 16+ minute magnificent ethereal odyssey 'Windgate 11:11', that has been a fan favourite for over 25 years now. The 22-minute peak track named 'Oberon (Greymatter)’ that spreads across the C side was taken from his debut EP 'Realignment' off his Modulation Elektronik label in 1993. Perhaps the most proto-techno track on here, it is prime example of the freeform expression of the time in ambient dub. The last track featured here is one that shares the same title; Adham Shaikh's most revered and most beloved album 'Journey to the Sun'. Special stuff indeed – a true holy grail of electronic dub and ambient electronica made available once more. 

TRACK LISTING

A1. Ascend
A2. Vapor
B1. 11:11 Windgate
C1. Oberon
D1. Journey To The Sun

'Early Joni - 1963' is Joni’s earliest-known previously unreleased recording where a 19-year-old Mitchell performs at CFQC AM, a radio station in her hometown of Saskatoon, Saskatchewan.

Like several of Mitchell’s past albums, the cover for EARLY JONI features a self-portrait and marks her first new art in many years.

Looking back, Mitchell reflects on her early label of “folk singer”: “The early stuff, I shouldn’t be such a snob against it. A lot of these songs, I just lost them. They fell away. They only exist in these recordings. For so long I rebelled against the term, ‘I was never a folk-singer.’ I would get pissed off if they put that label on me. I didn’t think it was a good description of what I was. And then I listened and…it was beautiful. It made me forgive my beginnings. And I had this realization…I was a folk singer!”

TRACK LISTING

1. “House Of The Rising Sun”
2. “John Hardy”
3. “Dark As A Dungeon”
4. “Tell Old Bill”
5. “Nancy Whiskey”
6. “Anathea”
7. “Copper Kettle”
8. “Fare Thee Well (Dink’s Song)”
9. “Molly Malone”

This collection of EPs features very early, rare Happy Mondays tracks originally released on limited vinyl in the late 1980s by Factory Records. Included is the original version of ‘24 Hour Party People’ and feature track ‘The Egg’ - with atmospheric eerie slide guitar and driving bass this is a stand out gem from the band’s back catalogue and transports you in time to late 1980s Manchester.

All tracks remastered from original master tapes.

‘Forty Five’ pressed on translucent green vinyl in sleeve with 3mm spine.

‘Freaky Dancin’ / The Egg’ appears on translucent orange vinyl in sleeve with 3mm spine.

’Tart Tart’ is on translucent blue vinyl in 3mm spine sleeve.

‘24 Hour Party People’ on translucent yellow vinyl in sleeve with 3mm spine.

All 4 EPs are gathered in a 300gsm carton slipcase.

STAFF COMMENTS

Andy says: Happy Mondays lit up the late 80s with their barely contained, shambolic but groovey take on punk-funk and god knows what else! They were, in short, totally original. In frontman Shaun Ryder they had a complete one-off who label boss Tony Wilson famously compared to W.B.Yeats! These early twelves (85-88) are presented here as four different coloured vinyl, remastered from the original analogue tapes and housed in a 300 gram carton slipcase.

TRACK LISTING

Forty Five :
A. Delightful
B1. This Feeling
B2. Oasis
 
Freaky Dancin’ / The Egg :
A. Freaky Dancin’ (Live)
B1. The Egg (Mix)
B2. Freaky Dancin’
 
Tart Tart :
A. Tart Tart
B. Little Matchstick Owen’s Rap
 
24 Hour Party People :
A. 24 Hour Party People
B1. Yahoo
B2. Wah Wah (Think Tank)

In support of their forthcoming Bob Moog documentary 'Electronic Voyager', Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, "Electronic Voyages: Early Moog recordings 1964-1969" contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, "Electronic Voyages..." aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an audio letter ("The Abominatron") from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, "Electronic Voyages" veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

The musicians and composers behind these "Electronic Voyages" may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy. A triumph!

TRACK LISTING

A1. Robert Arthur Moog - The Abominatron (1964)
A2. Herbert Deutsch - Jazz Images, A Worksong And Blues (1967)
A3. Joel Chadabe - Blues Mix (1966)
B1. Lothar And The Hand People - Milkweed Love (1968)
B2. Intersystems - Changing Colours (1968)
B3. Ruth White - The Clock (1969)
B4. Max Brand - Triptych (1969)
B5. Paul Earls - Monday Music (1968) 

Early Live Life is a compilation of some of UT's best live performances from 1979–1985, spanning their origins in New York City to their migration to London in late 1981. The UT reissue campaign began on November 17, 2017 with the release of the UT EP and the Confidential 12", on Vinyl and CD. Upcoming reissues in 2019 include their studio albums Conviction, In Gut’s House and Griller. Remastered at Wolf Studios by Dominique Brethes, vinyl cut by Noel Summerville. The live tracks jump out of the vinyl with some verve, as visceral now as they were Live back in the 80s. This is searing no-wave power in the live setting, originally released in 1987 by BLAST FIRST records.

More slammers from the E-Beamz team. new signing Soela lays loose four digital house power-rockets, pumpin' with heavy compression and jumpin' off the wax with hard kicks, dreamy melodies and sharp perc. There's a trancey and proggy feel to a couple of the tracks, with nods to rave and and techno on others. With keen eye for rhythmic hypnosis, these tracks draw you into their groove slowly but deliberately, making its perfect environment dark clubs post 2AM.

TRACK LISTING

1. Yellow Flower (5:13)
2. Early Bird (feat Module One) (6:29)

1. Notes From The Airport (5:01)
2. Haze (5:27)

"Distant Early Warning" is the debut solo album by Australian drummer, percussionist and composer Laurence Pike. For the best part of two decades Pike has operated at the cutting edge of the electronic and jazz music worlds, releasing albums to critical acclaim and touring the world with his bands PVT (formerly Pivot), Triosk and Szun Waves, and featuring on numerous albums, tours and soundtracks as a collaborator. On "Distant Early Warning" he carves himself a moment of reflection. The calm in the eye of the storm. An ominous portent as the rocks appear on the horizon.


Originally conceived as a technological and spiritual jazz suite for drums, "Distant Early Warning" is a series of solo performances for kit and sampler recorded live in a single day. 'For a long time I’ve been feeling there’s a central part of my musical voice that didn’t have an outlet,' Pike says. 'So this album is definitely a product of inner necessity.' 

TRACK LISTING

CD: LP:
1. A1. Life Hacks
2. A2. Distant Early Warning
3. A3. Cloud And Wires
4. B1. Hard Feelings
5. B2. Cyber Bully
6. B3. Corporate Memory

TRACK LISTING

2CD Track List:

CD 1:
Arnold Layne (Single) 2.56
See Emily Play (Single) 2.55
Matilda Mother (2010 Remix) 3.58
Jugband Blues† (2010 Remix) 3.01
Paintbox (Single B Side) 3.49
Flaming† (BBC Session, 25 Sept 1967) 2.36
In The Beechwoods† (2010 Mix) 4.42
Point Me At The Sky (Single) 3.40
Careful With That Axe, Eugene (Single B Side Version) 5.46
Embryo (Harvest Records Sampler ‘Picnic’) 4.35
Ummagumma Radio Ad† (Capitol US) 0.22
Grantchester Meadows† (BBC Session, 12 May 1969) 3.55
Cymbaline† (BBC Session, 12 May 1969) 3.43
Interstellar Overdrive† (Live, Paradiso, Amsterdam, Aug 1969) 4.19
Green Is The Colour† (BBC Session, 12 May 1969) 3.21
Careful With That Axe, Eugene† (BBC Session, 12 May 1969) 3.26

Total: 57 Mins 27 Secs Approx..


CD 2:
On The Highway† (Zabriskie Point Remix) 1.17
Auto Scene Version 2† (Zabriskie Point Remix) 1.13
The Riot Scene† (Zabriskie Point Remix, Us & Them – Piano/bass Only) 1.40
Looking At Map† (Zabriskie Point Remix) 1.56
Take Off† (Zabriskie Point Remix) 1.19
Embryo (alternative Version)† (BBC Session, 16 July 1970) 10.45
Atom Heart Mother† (Live Montreux, 21 Nov 1970) (Band Only) 18.33
Nothing Part 14† (Echoes Work In Progress) 7.06
Childhood’s End† (2016 Remix) 4.33
Free Four† (2016 Remix) 4.16
Stay† (2016 Remix) 4.06

Total: 58 Mins 44 Secs Approx..

† Unreleased Track/version

“These were carefree times. We were young enough to put our bodies to the test every night on the seven-by-seven-mile patch of the Bay. The endless wars seemed less at home. Songs were hanging off the branches heavy, plump and threatening to rot on the vine if they weren’t polished and put to tape.

The band was on their third live drummer but the lineup in The Fresh & Onlys’ recording tower was a consistent group of pop soldiers writing, working and whiling away the hours. A beeramid of cheap cans, endless dope smokery and a pretty strong vibe of dudes who would play together into oblivion. 388 rolling, tape spilling over itself, drum kit covered in mufflers, a chest of shitty percussion toys, lots of ideas and multiple secret weapons at their disposal.

“Shayde Sartin: the beast from out east, the thud of a heavy slow bomb… the best bass player in the Bay. Unaccredited infinite times on records that were made better by his finely crafted skills. I can pick him out on records instantly.

“Wymond ‘The Count’: you can almost smell his hair on his hooks. If there was a stage monitor in your living room his fence-climber boot would be on it. Wymond always has the riff that made the jets of the song take off. Listen and you’ll see what I mean.

“Tim Cohen: the man behind the beard. Some would say the leader. In the game as long as Bette Midler. Cohen writes great songs in his sleep, I think. Once referred to by a buddy as ‘like three weirdos in one.’

“Think of these as basement tapes, a companion to the first Fresh & Onlys Castle Face release (which itself deserves another listen). I remember watching some of these tunes get banged out live in a sweat pit in Oakland. The sound guy so gacked out that there was no sound guy, basically.” - John Dwyer, February 16th, 2015.

TRACK LISTING

1. Tongue In Cheek
2. Don't Look Down
3. Seven Directions
4. Summer Wheels
5. Double Sided Woman
6. Sunglasses
7. I'm A Puppet
8. Deviants Within
9. Bomb Wombs
10. Oo I Got Got
11. Stranger In My House
12. Pile Of Bones

Brooklyn-based producer, composer, pianist, DJ and live musician Taylor McFerrin drops his first full length LP, 'Early Riser', on Flying Lotus's Brainfeeder record label. Taylor's musical style is equally influenced by the legends of 60s / 70s soul, the kings of the modern beat generation, golden era hip hop, free form jazz and electronic music. By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds and draws the listener into a constantly shifting audio soundscape.

From the opening build of “Postpartum” onwards, you know you’re in for something pretty special with “Early Riser”. It’s a smouldering, woozy and intensely beautiful record. Tracks like “Degrees of Light” and “Stepps” establish a sun-up mood in their opening few bars and then develop it, the organic live feel perfectly balanced by the the snap of their programming. If McFerrin’s own voice on a track like “Florasia” adds a genuine neo-soul emotion, his guests are sensational. From Nai Palm of Melbourne's Hiatus Kaiyote on “The Antidote”, through Emily King on “Decisions” (“one of the best singers alive in my opinion” - McFerrin) and on to labelmate RYAT’s collaboration on “A Place In My Heart”, each adds a different mood and lift to the music they’re involved with. Taylor’s father, the legendary Bobby McFerrin, teams up with Brazilian master Cesar Mariano on “Invisible / Visible” for one of the jazziest moments on the record. Robert Glasper, Thundercat and Marcus Gilmore also provide their substantial jazz chops to “Already There”. But the key to the whole record is the balance which McFerrin keeps throughout - between his guest's individuality and his own vision, between the styles of music he loves, between a feeling of intense, sunlit joy and a deep aching sadness, which, it could be argued, is a definition of soul.

Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a music of exceptional honesty and emotional directness, deep sophistication and effortless style.

'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

TRACK LISTING

CD:
01 Fontana Mix With Aria 1958 / 13'36
02 Imaginary Landscape N°.5 1952 / 3'00
03 WBAI 1960 / 7'00
04 Cartridge Music 1960 / 10'00
05 0'00'' 1962 / 2'36
06 Variations I 1960 / 10'00 Tracklisting LP

VINYL:
SIDE A
01 Fontana Mix With Aria 1958 / 13'36
02 Imaginary Landscape N°.5 1952 / 3'00
03 WBAI 1960 / 7'00

SIDE B
01 Cartridge Music 1960 / 10'00
02 0'00'' 1962 / 2'36
03 Variations I 1960 / 10'00

Ravishingly beautiful, achingly precious songs and instrumentals, ranging from two performances by the Royal Court Orchestra in 1906 - with futuristic, overlapping trumpets and exquisite clarinet improvisation - through to a hauntingly soulful Hāfez setting by Moluk Zarrābi of Kāshān, from 1933.

There are eight selections from more than three hundred recordings made in 1909 above the Gramophone Company offices in City Road, London EC1, by the Persian Concert Party. Unrest at home had compelled the group to travel in order to record, paying its way with shows in Baku, Constantinople, Vienna and Paris. Its music is a striking, experimental combination of European and Iranian elements, impressionistic and exotic, with chimes, castanets and rattles. There is an arrangement of traditional Persian music for pipe-organ; and rueful, imploring, besotted love-songs. ‘I am crazy with envy of the dress asleep in your arms and the oils rubbed into your skin.’

A setting of Rāheb’s poetry by Moluk Zarrābi is drawn from 136 titles recorded at 1925 sessions in Tehran, when Iranian women were for the first time concertedly accepted as serious professional musicians, without the connotation of prostitution. Such was the social stigma borne by musicians, especially female, several of our singers hid their identities behind partial or assumed names. ‘Parvāneh’, for example, ‘Butterfly’ - represented by her interpretations of Sa‘di and Hāfez, with self-accompaniment on setar, a three-stringed lute (‘seh’, three; ‘tar’, string), Iranian ancestor of the Indian sitar: ‘I am the slave of love…’ And Helen, with some boozy Hāfez wisdom: ‘Keep your cards close to your chest. Kiss nothing except the lips of your beloved and the rim of a cup of wine. Let no one judge you.’

Moluk Zarrābi - together with Qamar-ol-Moluk Vaziri - featured on more than half the 1925 recordings. On her return to the studio the following year, she was accompanied on tar by Mortezā Ney-Dāvud, amongst the country’s most acclaimed musicians and composers of all time, from the Jewish community of Tehran. (It sounds like another stupendously gifted Iranian Jewish musician - Yahyā Zarpamjeh - accompanying Akhtar.) Alongside one of these duets, two of Ney-Dāvud’s solo recordings from the same sessions are instrumental highlights of this epic set, besides a series of staggering improvisations by Abd-ol-Hoseyn Shahnāzi, sublime ney and kamancheh playing by Mehdi Navā’i and the Armenian Hayk, and an anonymous tar solo from the South Caucasus, captured in Tiflis in 1912, red-raw and rocking.

The two CDs are sumptuously presented in a hard-back gatefold sleeve, with a 26-page booklet containing full notes and marvellous photos, on fine-art papers, stitched not stapled. The four 180g LPs are presented in two gatefold sleeves inside a heavy card slipcase, with a 12”-square, 20-page, saddle-stitched booklet on art paper. The music was restored from 78s at Abbey Road studio in London.

TRACK LISTING

Ebrāhim, Royal Orchestra - Bidād (Homāyun)
Rezā-Qoli, Akbar - Gavri (Shur)
Seyyed Hoseyn Tāherzādeh, Habibollāh Moshir
Homāyun - Bayāt Esfahān (Homāyun)
Seyyed Hoseyn Tāherzādeh, Akbar - Darāmad (Homāyun)
Not Known - Tar Solo
Moluk Zarrābi - Darāmad, Dād (Māhur)
Parvāneh - Mansuri (Chahārgāh)
Parvāneh - Zābol, Mokhālef (Segāh)
Abd-ol-Hoseyn Shahnāzi - Mokhālef (Segāh)
Akhtar - Bayāt Esfahān, Bayāt Rāje‘ (Homāyun)
Javād Badi‘zādeh - Morgh‐e Bi‐Āshiān Afshāri (Shur)
Irān‐od‐Dowleh Helen - Bidād (Homāyun)
Moluk - Dashti (Shur)
Montakhab-oz-Zākerin - Qafqāz I (Segāh)
Montakhab-oz-Zākerin - Qafqāz II (Segāh)
Abd-ol-Hoseyn Shahnāzi - Darāmad (Homāyun)
Hayk - Shushtar (Homāyun)
Qoli, Royal Orchestra - Abu-‘Atā (Shur)
Seyyed Hoseyn Tāherzādeh, Akbar - Qafqāz (Segāh)
Seyyed Hoseyn Tāherzādeh, Hoseyn - Darāmad, Bayāt Rāje‘ (Navā)
Seyyed Hoseyn Tāherzādeh, Akbar - Afshāri (Shur) Asadollāh, Rezā-Qoli - Shahnāz (Shur)
Rezā-Qoli, Bāqer, Akbar, Moshir-Homāyun - Nā Dideh Rokhat / Bayāt Esfahān (Homāyun)
Abd-ol-Hoseyn Shahnāzi - Māvarā’-an-Nahr (Rāst‐Panjgāh)
Irān-od-Dowleh Helen - Darāmad, Dād, Khāvarān (Māhur) Irān-od-Dowleh Helen - Delkash, ‘Erāq (Māhur)
Adib Khānsāri - ‘Erāq (Māhur)
Irān-od-Dowleh Helen - Golriz (Shur)
Ruhangiz - Darāmad, Zābol (Segāh)
Akhtar - Hejāz (Shur)
Mortezā Ney-Dāvud - Bayāt Esfahān, Bayāt Rāje‘ (Homāyun)
Mortezā Ney-Dāvud - ‘Oshshāq, Bayāt Esfahān (Homāyun)
Moluk Zarrābi - Darāmad, Zābol (Chahārgāh)
Abd-ol-Hoseyn Shahnāzi - Bidād (Homāyun)

Thos Henley is currently amidst a solo music adventure across Europe. Having exhausted the London scene, where he was heavily involved during his teens, he has spent the last two years exploring the continent, in particular France and Paris, where he has aligned with the Boutique Sonores label.

“I left my village in England around two years ago, the reasons were plentiful; I had fallen out of love with a woman and the country which I stood on. Inspired by travel writers such as Laurie Lee and Patrick Leigh Fermor, I left for France in a red van and after swimming in St. Tropez with my passport in my pocket I decided to stay in Paris.”

Regularly featured on blogs such as La Blogothèque and Le Transistor in France and sharing the stage with artists such as the French band Syd Matters and LA-based folk - 2 - band Dylan Trees, Thos has been able to develop a fan-base wherever he resides and continues to win over fans on his travels.

This release brings together tracks recorded in England shortly before his departure, as well as newer tracks recorded with new acquaintances abroad. The music carries influences from antique British and contemporary American folk, with lush vocal harmonies and organ. The UK physical release comes in a beautiful extendeddigipack including photos and lyrics.

TRACK LISTING

1. Darling You
2. Another Brother
3. Gone With Devon (Reprise)
4. Balancing Books
5. Can You Canoe?
6. So English
7. Henrietta
8. The Oldest Tree In Netley
9. Keeper Of My Breath
10. Sweet Lime

The Early Day Miners new album, "The Treatment", speaks to the powers of reinvention in more than one way. After years of building gorgeous and sprawling guitar rock epics, Early Day Miners have trimmed their sound into shorter, tighter songs with a decidedly pop edge to them. They have also slimmed their line up down from as many as eight members to the lean four-piece outfit of Dan Burton (guitar, vocals, keys), John Dawson (guitar), Marty Sprowles (drums) and Johnny 'Yuma' Richardson (bass). Even in the album's lyrics, the yearning allure of reinvention is ever present.

"Gadzooks!" is the first album by new 6-piece experimental group The Broken Blackbird Ensemble. It features James and David from Big Eyes, but there the comparison ends. TBBE feature players previously and currently immersed in noise / sound experimentation, klezmer, folk, classical and acid-rock, but this, their first album, contains nothing that could be specifically classified under any of these categories. The album was recorded and improvised in one day (in September 2004), with some tracks from the vaguest principle, others conceived from scratch. Theirs is the sound of creaking wood, gothic ragas, horrored drones, a choir of pipes and oh-so hushed melody. Is free-folk the right term? Who knows, but there is definitely some music common ground between the New Weird America artists and TBBE.

James Green is a member of the Manchester / Leeds / Sheffield ensemble Big Eyes who've previously released stuff on Pickled Egg. "Tempers" is James' first solo outing and comprises of 14 delicate instrumental guitar pieces. All are first or second take and are either solo guitar or two tracks maximum. The CD is limited to 250 copies, and comes beautifully packaged in a lino-print sleeve. A must for fans of John Fahey, Bert Jansch, Jack Rose and The Dirty Three.

Early Bird Records is a division of the Second Battle prog specialist reissue label bringing new prog bands to the fore. Flying Circus are a new band inspired by '70s prog bands like Van Der Graaf, Rush and Gentle Giant and bloody brilliant they are too. Imaginative and varied instrumental passages and dynamic vocals with a few nice psychedelic touches.