This release, previously featured in the TG Berlin box set and available on vinyl for the first time, captures Throbbing Gristle's unforgettable New Year’s Eve performance, part of a specially curated series of live events held at the Volksbühne, Berlin in 2005 and 2006. The setlist included a preview of five tracks from their first album in 27 years, Part Two: The Endless Not—which was released several years later. Fans were also treated to TG’s first encore in 25/26 years, which included iconic songs like ‘Convincing People’, ‘Slug Bait’, and ‘Hamburger Lady—what an encore! Additionally, the performance featured the released track ‘Splitting Sky’ and more.

Formed in 1975, Throbbing Gristle - Chris Carter, Cosey Fanni Tutti, Genesis Breyer P-Orridge (1950-2020) and Peter 'Sleazy' Christopherson (1955-2010), fully delivered on punk’s failed promise to explore extreme culture as a way of sabotaging systems of control. Their impact on music, culture and the arts has been immeasurable, and still felt today across music, film, theatre, and fine art.

TRACK LISTING

1. Trumpet Herald (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
2. Convincing People (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
3. Splitting Sky (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
4. Slug Bait (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
5. Rabbit Snare (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
6. Almost A Kiss (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
7. Greasy Poo (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
8. The Endless Not (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
9. Vow Of Silence (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
10. PA Destroyer (Live At The Volksbühne, Berlin, New Year's Eve, 2005)
11. Hamburger Lady (Live At The Volksbühne, Berlin, New Year's Eve, 2005)

Eve Libertine rages back into the spotlight with her wild interpretation of Penny Rimbaud’s poem ‘I Am That Tempest’, which he describes as a “showpiece for Eve’s staggering vocal range”. Joined by a band of stellar musicians, Eve weaves herself around a forest of improvisational responses, making a mincemeat of conformist pretensions. “The meaning is in the doing of it,” offers Rimbaud as some sort of an explanation, “it’s an itness rather than an ifness. It has its own life”.

Libertine and Rimbaud have been pushing musical boundaries together ever since their now classic 70’s track, ‘Reality Asylum’, which introduced the avant-garde to the unlikely ears of Crass’ mainly punk audience. “I love working for and with Eve,” says Rimbaud, “her sense of inflection is second to none, and her ability to make sense of my sometimes-obscure lyrics somehow enables me to better understand the meanings of my own work. Muse?” he asks, “maybe,” he responds, with a wry smile.

When asked to add to the above, Libertine came back with, “Mad or what? Any think can be made sense of, it’s what we do in our daily struggle to make sense of the senseless. It allows us to wend our weary ways thinking that we belong here. But sometimes it’s good not to FIT but rather to FLY high amongst the clouds of senselessness where we can truly belong”.

Eve Libertine is best known for her role as co-lead vocalist in Crass. Libertine wrote and performed most of the songs on the group’s third album, ‘Penis Envy’, which concentrated exclusively on feminist issues and featured only female voices. 

TRACK LISTING

1. Morning Session
2. Interlude Feat. Penny Rimbaud
3. Afternoon Session

A special vinyl release of the Unloved tracks featured across all four seasons of Killing Eve. A single vinyl, featuring a die-cut sleeve on white vinyl with pink splatter.

Unloved's music perfectly set the mood for the groundbreaking BBC show Killing Eve. Over the show's four series, their tracks helped build the world which Villanelle and Eve moved through; their sound was distinctive enough as to almost become another character. Ode To The Lovers collects together all of the Unloved tracks featured on the soundtrack to Killing Eve series 1 - 4 that have never before been released on vinyl. This collection is mesmerizing and strange, full of timeless music that swoons and seduces. Whether you watched Killing Eve or not, this is a sound made for lovers, wherever they may be. 

TRACK LISTING

1. Strange Effect (Killing Eve)
2. Eyes (Killing Eve)
3. Anything To Be Cool (Killing Eve)
4. Careful, Baby (Killing Eve)
5. Two Minds (Killing Eve)
6. Unloved Heart (Killing Eve)
7. Dare Or Truth (Killing Eve)
8. La LaLa (Killing Eve)
9. Without Love (Killing Eve)
10. Mama (Killing Eve)
11. Carnival (Killing Eve)
12. Tales Of The Unexpected (Killing Eve)
13. It Won’t Be Long (Killing Eve) 

RIYL: Explosions in the Sky, This Will Destroy You, Do Make Say Think, Mogwai.

Defying expectations is standard operating procedure for El Ten Eleven. Seriously, who would expect two instrumentalists to create such a large and complex sound? But thanks to inventive arrangements and a masterful use of looping, Kristian Dunn (bass/guitar) and Tim Fogarty (drums) developed a pulsating sound full of atmospheric intensity. They’ve also crafted an incredibly durable career, and the duo credit the ongoing interest in their debut album as the foundation for that success. The music of El Ten Eleven has been embraced by fans of many genres - from math rock, to jazz, to lo-fi hip-hop. The duo's sound is sharply evocative in mood and feeling, yet simultaneously abstract and meditative.

The combination of these qualities has stimulated the imagination of the group's fans, and gives space for listeners to assign their own value and meaning to the sounds. "I'm aiming for emotional impact when I come up with songs," Dunn explained. "Does it move me? Does it make me feel something? Sometimes it doesn't. Sometimes it's technically interesting but it doesn't make me feel anything. But I don't want music that's interesting. I want music that's emotionally resonate." 

TRACK LISTING

1. New Year’s Eve
2. Meta Metta
3. The Time Knife
4. Isn’t Everything Enough?
5. Sixteen Circles
6. A Reflection Of A Reflection

Eve Adams offers solace within life's shadows. Un-numbing senses with anthems of surrender and tender-hearted tales that tingle with Californian folk-noir, her album Metal Bird takes flight with the turbulence and romance of Hollywood’s golden age, and meditates on the mysteries of love, death, insecurity and loneliness.

Like a match struck in a cobwebbed attic, Adams voice is a fiery detective, unafraid to explore the unseen; the liminal spaces between mourning and rapture, between the coldness of a corpse and the heat of cremation. Imagery of flight and the denial of gravity floats slyly through the ten songs on Metal Bird by the California-born musician and hints at the experience of being caught in purgatory, like a passenger on a plane ride from Hell to Heaven.

Combining airy folk with haunting soundscapes the album takes listeners on an auditory voyage from sonorous lullabies, to dreamy ambience, skeletal jazz, 1930s torch songs and 1940s film noir. Metal Bird has a distinct, genuine tone, with orchestral arrangements, ambient hallucinations and high fidelity vocals that are unafraid to be heard loud and clear.

For those who are hopelessly enamoured with a by-gone time, there is solace in these songs and sounds. Flickering back and forth between dread and hope, the unrelenting march towards a spiritual transformation and the realization that each of us are driven by our own dreams and as much as we want to hold it in our hands, often it is intangible. The sublime remains elusive, existing somewhere in the heart, and it sounds like Eve Adams knows this best.

Metal Bird gets a release on Basin Rock, the Todmorden based record label who gave lift off to Julie Byrne, Aoife Nessa Frances, Nadia Reid and Johanna Samuels. 

"Metal Bird feels blissfully unmoored from any sense of time and space, its astral Americana hymns hovering somewhere between the dirt and the stars, between a bygone golden age and our tense present, between raw intimacy and dreamlike splendour." Pitchfork.

STAFF COMMENTS

Barry says: What an absolutely enthralling selection this is, landing somewhere between gothic country music, 40's lounge and wistful folk, deftly flowing between influences without batting an eyelid. Wonderfully written, mournful pop songs that defy all expectation.

TRACK LISTING

Side A
1. Blues Look The Same
2. You're Not Wrong
3. Butterflies
4. A Walk In The Park
5. Metal Bird
Side B
6. The Dying Light
7. Woman On Your Mind
8. La Ronde
9. Prisoner
10. My Only Dream

Chantage are Eve Blouin and Vivien Goldman. This exclusive re-issue features the artwork from the original 7", the extended version of "It's Only Money" from the Chantage 12" and the dub version by Adrian Sherwood which previously was only released on On-U Sound under the project name Playgroup in 1983. Also features Bruce Smith (PopGroup/Slits), Carroll Thompson and Neneh Cherry amongst others.

TRACK LISTING

A. It's Only Money (Extended Version)
B. It's Only Money (On-U Sound Dub Version By Adrian Sherwood)

The debut album from British singer/songwriter Eve Owen, Don’t Let the Ink Dry, is a work of raw sensitivity and uncontained imagination, brought to life over the course of three transformative years. During that time, the 20-year-old artist spent her summer holidays writing and recording in New York with The National’s Aaron Dessner, immersing herself in a creative exploration that provided welcome refuge from her sometimes-troubled school life. As she discovered an entirely new sense of freedom and belonging, Owen devised a sonic language all her own: frenetic yet delicate, mercurial yet nuanced enough to capture the most ephemeral of feelings. Produced by Dessner at Long Pond Studio (a converted old farmhouse deep in the Hudson Valley), Don’t Let the Ink Dry finds Owen embracing her affinity for folk music while pursuing the endless possibilities in electronic experimentation.

“I’ve often felt a bit uncomfortable in myself, and I love how that came out in the music,” says Owen. “I don’t really care for songs that flow just right or have a perfect cadence—I’d rather there be some sort of unnerving element to them. I think Aaron and I are both attracted to weirdness in music, and we instinctively went after that without really even talking about it.” For his part, Dessner reflects on the first day of their collaboration: “Eve came up to visit the studio for a day a few years ago when she was 16. I thought we would record one song but we ended up working on several in just one day. By the next morning she had written a few more songs based on her experience the previous day. This prolific songwriting continued throughout our work together. Every morning there would be new songs, written sometimes overnight. I’ve been lucky to work with some incredibly talented artists and it was clear to me immediately that Eve was deeply gifted, expressing herself with such force and sincerity on essentially her first proper recording day at Long Pond. I was spellbound.”

TRACK LISTING

1/ Tudor
2/ Lover Not Today
3/ Mother
4/ After The Love
5/ For Redemption
6/ Bluebird
7/ She Says
8/ I Used To Dream In Color
9/ So Still For You
10/ Blue Moon
11/ 29 Daisy Sweetheart
12/ A Lone Swan

As post-episode surges towards song-seeking app Shazam testify, Holmes and music supervisor Catherine Grieves left no box unmarked with their BAFTA-winning music for Seasons 1 and 2 of BBC America’s Killing Eve. Adapted from Luke Jennings’ Codename Villanelle novellas by lead-writers Phoebe Waller-Bridge (S1) and Emerald Fennell (S2), the Emmy-winning spy series has established itself as a swaggering, slippery, playful and punchy thriller of cat/mouse obsession like no other. And it comes with killer soundtracks to match, modern classics of pick’n’mix curation cut from the cloth of cinematic style but tailored with a moody, mischievous vivacity of their own

As Grieves tells the tale, it became clear during early talks that strong female voices, multiple artists and a great composer would be crucial ingredients of the show’s music. A music supervisor whose work has ranged from The Inbetweeners Movie to Lynne Ramsay’s You Were Never Really Here via various TV hits (Wolf Hall, Collateral, The Casual Vacancy and beyond), Grieves already knew of the Belfast-born Holmes’ formidable CV. In between his work as a DJ, rock’n’soul remix artist and band-leader, Holmes’ screen output has ranged from music movies (Good Vibrations) and sundry retro-cool Steven Soderbergh pics (Out of Sight, the Ocean’s Eleven/Twelve/Thirteen trilogy and more) to various stylish TV dramas, among them London Spy.

TRACK LISTING

1. Unloved - It's Not You, It's Me
2. Fabienne Delsol - I'm Gonna Haunt You
3. Unloved - Damned
4. Poppy Family - Where Evil Grows
5. Unloved - Remember
6. Fireflies - She's My Witch (Edit)
7. Unloved - Tell Mama (Killing Eve)
8. Le Volume Courbe - Born To Lie
9. Unloved - I Could Tell You But I'd Have To Kill
10. Unloved - Her (Killing Eve)
11. Unloved - Lee
12. Jane Weaver - Modern Kosmology
13. Dalida - Vai Tu Sei Libero
14. The Delmonas - Dangerous Charms
15. Ramases - Screw You
16. Jacqueline Taieb - La Plus Belle Chanson
17. Willeke Alberti - Vlinder Van Een Zomer (Angel Of The Morning)
18. Bertrand Belin - Comment ça Se Danse
19. Cigarettes After Sex - Opera House

All About Eve — Original Music, composed by double Mercury Music Prize-winner PJ Harvey.

The 14-track album contains 10 original pieces of instrumental music, as well as two new songs written by Harvey and sung by Gillian Anderson and Lily James.

The physical release also includes demo versions of ‘The Sandman’ and The Moth’, performed by PJ Harvey.

On composing this score, Harvey says, “I have always loved stories, and so to compose music to support and enhance a story being told is a challenge I enjoy. I also love the freedom that working instrumentally can give me without the constraints of song form.”

“For All About Eve I chose to work with my long-time collaborator James Johnston as he has a soulfulness and sensitivity to his playing that inspires me. I also worked with Kenrick Rowe who has a versatility to his drumming I knew I could experiment with until I found what was right.”

All About Eve is the stage adaption directed by Ivo Van Hove.

STAFF COMMENTS

Barry says: It's become more and more clear that PJ Harvey can easily put her mind to anything she deems necessary, and with great effect. The soundtrack for this adaptation of All About Eve is even more evidence, with perfect cues and touching sentimaentality oozing through every note. A beautifully performed and perfectly written piece. In-situ or not.

TRACK LISTING

Becoming
Shimmer
The Sandman
Waltz
Descending
Lieben
Ascending
Cadenza
The Moth
Träume
Arpeggio Waltz
Change In C
The Sandman (Demo)
The Moth (Demo)

From the combined backgrounds of film score composition and field recordings comes ‘Asylum For Eve’, Thomas William Hill’s rich and expressive new album and the first written under his own name.

While not a concept album in the strict sense of the term, the album’s title refers to a hypothetical imagining of ‘Mitochondrial Eve’, the theorised matrilineal ancestor of all living humans, reincarnated in today’s world of restricted movement. Threads inspired by this juxtaposition of division and connectedness run through the album, which drifts from plaintive piano-led passages to brisk chamber music and back again, tied together by the textured layering of found sounds and instruments that distinguishes Thomas’s music.