Kristin Hersh’s new album is a cinematic road trip; a series of personal vignettes from a fiercely independent auteur, sitting plush with layers of all-consuming strings and mellotron. It’s a watershed moment in a career overflowing with creative firsts and inspirational thinking; an elegant piece of personal reportage, a home movie caught in time.

Previously, the juxtaposition of light and dark has been essential to the drama of Throwing Muses and 50FOOTWAVE, but this solo set is something of a departure; more inward looking, quieter but outspoken, underpinned by background noise for ambience and awkwardness.

“Passion sounds less angry, more grateful, I think,” Kristin muses, “sweeter, sadder. And somehow, no less alive… over car engines and rain in New England and whistling ducks and wind chimes in New Orleans, it all sounds wistful to me.”

‘Clear Pond Road’ is a life-affirming statement, a further part of the jigsaw, a very personal memoir, from street signs to snapshots; a late blossoming and coming-of-age from a true icon of independence. The record is both intimate yet expansive, written largely within the confines of Hersh’s home, making the proceedings ever more personal.

“Few artists understand the intensity of living one’s art like Hersh” The Guardian

“A fearless rock innovator” New York Times.

TRACK LISTING

Side A
A1 Bewitched Reruns
A2 Ms Haha
A3 Dandelion
A4 Constance Street
A5 Thank You, Corner Blight
Side B
B1 St. Valentines Day Massacre
B2 Reflections On The Motive Power Of Fire
B3 Eyeshine
B4 Palmetto
B5 Tunnels

Rising artist THALA finds strength in her vulnerability on new EP In Theory Depression. After forging a path in hazy, lo-fi indie, this forthcoming release is home to her sharpest, boldest songwriting yet, rendering these deeply personal explorations of self in vivid, ‘90s influenced indie-rock, and looming, psych-inspired walls-of-sound.

Recalling the tangled indie-rock of Holly Humberstone, Soccer Mommy, and Phoebe Bridgers, and underpinned by spiky, surging guitars, the songs unearth tenderness, even as they rage.

In Theory Depression marks the artist’s most introspective writing yet, but as much as the lyrics excavate from hidden depths, they’re often paired with widescreen, cinematic-sounding melodies. It brings to mind both the dazzling soundscapes of Mazzy Star, the witty bite of Liz Phair, and the subtle punk influences of Juliana Hatfield, who also spins the genre’s more relentless strains into snarling and bittersweet alternative pop.

THALA has just wrapped up a joint UK tour, alongside showcases at Austin’s SXSW and with Brighton’s Great Escape festival also on the horizon. Having already won the backing of BBC Radio 1’s Jack Saunders, Wonderland Magazine and Clash, THALA’s ascent is only set to continue.

TRACK LISTING

A1 You Had 2
A2 Curtain Call
A3 Easy Out
B1 Are You Thinking Of Me
B2 Sink
B3 In Theory Depression

‘Dream From The Deep Well’ is the new album from celebrated Irish singer songwriter Brigid Mae Power. Recognised as a purveyor of dreamier pop with folky leanings, this new album is a departure; a unique marriage of traditional stylings and very modern melodies; a breath-taking soundtrack which underpins her gorgeous vocal.

Filled with personal tales of offspring and grandparents, the lovelorn and the lost, it’s the essence of re-imagined folk music, from the traditional intro and outro that act as bookends. It’s folk music, but not as we know it. In these ever-confusing and often annoying times, Brigid brings us modern folk for modern folk, with her evocative vocal, doubling back on itself with strings, steel guitar, horns and mellotron adding to its baroque loveliness. It’s waving back at her rootsy past, daubing new colours on a much-loved canvas. ‘Dream From The Deep Well’ is a new visionary beginning from a gifted songwriter.

Elsewhere, there’s the lovelorn longing of her version of Tim Buckley’s ‘I Must Have Been Blind’, alongside a moving tribute to the late Ashling Murphy, a 23-year-old Irish primary school teacher and traditional Irish musician who was attacked and killed while jogging along the Grand Canal just outside Tullamore, County Offaly. It's a harrowing story, delivered with overwhelming compassion. In the best tradition of old school folk music, it opens up a pressing issue to a wider audience.

It's an album that’s politically primed and socially aware; a broadside for us all, this is Brigid Mae Power’s most complete album yet.

“Her haunting voice, an instrument that raises the everyday to a near-mystical realm.” The Guardian.

“The Irish singer-songwriter flits between past and present; between traditional and modern forms; between the heaven in her voice and the earthbound epiphanies of her words.” Pitchfork.

TRACK LISTING

Side A:
A1 I Know Who Is Sick
A2 Counting Down
A3 Maybe It's Just Lightning
A4 I Must Have Been Blind
A5 The Waterford Song
A6 Ashling
Side B:
B1 I'll Wait Outside For You
B2 Dream From The Deep Well
B3 I Don't Know Your Story
B4 Some Life You've Known
B5 Down By The Glenside

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single ‘Haffmilch Holiday’ the duo amassed a rapturous response, with The Guardian calling it “a space-age-dancefloor swoon that brings to mind Kate Bush’s Waking the Witch” and the New York Times highlighting the single as “substantive and thoroughly hypnotic”. On their first LP they do not disappoint, calling on Kate NV’s experimental pop leanings and Angel Deradoorian’s taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment.

Electronic pop at it’s finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. ‘Destiny’ is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads’ ‘The Great Curve’, from Remain in Light. There again, it could be a sinister take on Will Powers’ ‘Kissing with Confidence’. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate.

Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental ‘Rodeo’, where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is ‘Ode to Boy’; a perfect pop track. The walking into the room of “more than just an ordinary boy” (doubtless “drunk with fire”) allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love.

TRACK LISTING

Side A
A1 Haffmilch Holiday
A2 What Where
A3 Ode To Boy
A4 Destiny
A5 Potato Tomato
Side B
B1 Cosmic Dancer
B2 Rodeo
B3 Interludé
B4 Dopamine
B5 Voice Message

A pivotal record for contemporary times; bright, free, adamant, optimistic. Brain Worms is RVG’s fullest, most pristine album yet.

All throughout Brain Worms, it’s apparent that this is a band in very fine form. Album opener ‘Common Ground’ sets the tone for what’s to come; a shiny, thrilling, punch of an album, with all the beloved RVG hallmarks. Vager’s voice is unfiltered and commanding as ever when delivering her clever, not-quite-ironic lyrics. Here, though, those lyrics feel so much less resigned to yearning, and so much more defiant and joyous.

‘Tambourine’ is the only Covid song Vager wrote when “trying not to write Covid songs”, and it’s a painfully honest portrait of grieving mid-isolation. ‘Brain Worms’ tells the all-too-familiar story of a person falling down the internet rabbit hole and finding comfort in conspiracies. ‘Nothing Really Changes’ is a keys-heavy new wave-ish thing, while closer ‘Tropic of Cancer’ sparkles with Vager’s self-assured new manifesto: I know what I’m like, and I know how I get. If you think I’m strange, you ain’t seen nothin’ yet.

Bloxham, Nolte, and Wallace are flawlessly adept in bringing Vager’s songwriting to life. Recorded in London at Snap Studios with James Trevascus (Nick Cave & Warren Ellis, PJ Harvey), all ten tracks surge with lush sounds and clear intentions and the magic of an acoustic guitar once owned by Kate Bush, given to her by Tears for Fears (who, legend has it, wrote ‘Everybody Wants to Rule the World’ on it).

Between the four bandmates lead singer and guitarist Vager, guitarist Reuben Bloxham, drummer Marc Nolte and bassist Isabele Wallace this is the most confident they’ve ever felt in RVG. They’ve moved past their influences, pushed themselves, and tried new things. And they have made a record they can, by all accounts, call their best.

“Brain Worms feels like the antithesis to what a post-pandemic record could easily be. For a band who were already writing music about being reclusive “we were depressed and not going outside on our first two albums” the enforced isolation and time to think gave Vager space to write about anything she wanted. And, it turned out, she was ready to write about acceptance.

“If we could only make one more album, it would be this one,” says Vager.

"Easily one of the most vital bands on the Aussie scene today" Rolling Stone.

“A calling card for outsiders... dynamic and vital post-punk" The Guardian.

STAFF COMMENTS

Barry says: Hypnotic goth-influenced vocals and soaring melodic guitar lines weave around each-other in a sonic maelstrom reminiscent of Echo & The Bunnymen sharing a stage with Interpol. It's bold and brash, brilliantly played and undeniably huge.

TRACK LISTING

Side A
A1 Common Ground
A2 Midnight Sun
A3 It's Not Easy
A4 Tambourine
A5 Brain Worms
Side B
B1 You're The Reason
B2 Squid
B3 Giant Snake
B4 Nothing Really Changes
B5 Tropic Of Cancer

Originally released in 1996, Come’s third album ‘Near Life Experience’ was the sound of a band heading into new territory, refining their dense mix of hypnotic noise-rock, blues and rock’n’roll song-writing. Lovingly remastered, this new version features three incredible bonus tracks ‘Prize’, ‘Strike’, ‘Hurricane II’ stemming from the same era, additional liner notes and photographs.

After Come's seminal 1994 release ‘Don't Ask Don't Tell’, bassist Sean O'Brien and drummer Arthur Johnson left the band to pursue other careers. Remaining members Chris Brokaw and Thalia Zedek recorded Near Life Experience with two different rhythm sections: one half of the album was recorded with drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise and Gastr Del Sol, the other half recorded with Kevin Coultas and Tara Jane O'Neil of Rodan and The Sonora Pine. Other contributors to the album included Edward Yazijian from Kustomized and Jeff Goddard from Karate, both rock bands hailing from Boston, MA.

The title of the album resulted from "a slip of the tongue, as Zedek states, she "was telling someone [she had] had a 'near life experience,' but meant to say near death experience. Chris [Brokaw] was cracking up at the imagery of that. Thus, the phrase was chosen as the album's title.
"Near-Life Experience is heavier, and at the same time prettier, than Come has ever sounded." CMJ New Music Monthly.

“Come is a re-energized, even more powerful band than they used to be, and Near Life Experience is their most concise and affecting release yet.” All Music.

Zedek and Brokaw might have compensated the loss of band members by recruiting new blood but the reward was huge, ‘Near Life Experience’ is Come’s most cinematic, diverse and accessible album.

TRACK LISTING

Side One
A1 Hurricane
A2 Weak As The Moon
A3 Secret Number
A4 Bitten
A5 Shoot Me First
Side Two
B1 Walk On's
B2 Half Life
B3 Sloe-Eyed
B4 Prize
B5 Strike
B6 Hurricane II

Expanded 30th anniversary re-issue of The Lemonheads’ classic 1993 album. The breakthrough record that took American alt rock global and catapulted Evan Dando into the hearts of a generation. With a wealth of unreleased demos, alternative versions and rarities - including covers of Victoria Williams, Buddy Holly and The Flying Burrito Brothers plus The Lemonhead’s take on the Cole Porter standard ‘Miss Otis Regrets’.

In the 90’s Evan’s Lemonheads produced hit after a hit, a string of super cool singles: ‘Big Gay Heart’, ‘Into Your Arms’, ‘It’s About Time’, and ‘The Great Big NO’. Pure genius filling the radio waves and taking the stage... Some 30 years on; Evan is still knocking that song writing thing out of the park and ‘Come On Feel The Lemonheads’ sounds as fresh and perky as it ever did. Amid the hits on the original record are stencils and outlines for yet more magical music and now this deluxe edition adds a second disc of demos and acoustic versions, plus a host of one-offs from sessions and compilations that add further colour to the myth and how it was created.

There’s the in-demand combo lovingly covering Victoria Williams’ ‘Frying Pan’ from her ‘Sweet Relief’ album, which is joined by an eclectic set of flipsides and out-takes, like their version of original garage punk nugget ‘Little Black Egg’ by The Nightcrawlers, Evan’s homage to Gram Parsons on the winsome ‘Streets Of Baltimore’ and Buddy Holly’s melancholy ‘Learning The Game’. Evan knows a good song when he hears it, as ‘Come On Feel The Lemonheads’ certainly proved.

TRACK LISTING

Disc One
Side A
A1 The Great Big No
A2 Into Your Arms
A3 It's About Time
A4 Down About It
A5 Paid To Smile
A6 Big Gay Heart
A7 Style
A8 Rest Assured
Side B
B1 Dawn Can't Decide
B2 I'll Do It Anyway
B3 Rick James Style
B4 Being Around
B5 Favorite T
B6 You Can Take It With You
B7 The Jello Fund ( + Lenny - Hidden Track)
Disc Two
Side C – Alternative & Acoustic
C1 Big Gay Heart (Demo)
C2 Being Around (Alternative)
C3 Into Your Arms (Acoustic)
C4 Down About It (Acoustic)
C5 Deep Bottom Cove
C6 Acoustic Rick James Style
C7 It's About Time (Acoustic)
Side D – Covers & Curiosities
D1 Miss Otis Regrets
D2 Learning The Game
D3 Little Black Egg
D4 Streets Of Baltimore (Acoustic)
D5 Frying Pan
D6 He's On The Beach
D7 Favorite T (Live In Session)

‘Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies.

Featuring the ethereal eerie dream pop of former artist commune residents Cooper Holmes and Madeline Polites, with drummer John Spiegel and Elephant 6 descendant Kiran Fernandes (keyboards, clarinets, flutes). Additional contributions come from drummer Jon Vogt who can be heard on ‘Mercy Of The Crane Folk’ and ‘Birth Of Queen Croaker’.

It’s a haunting and immersive trip into the inner psyche of these nomadic soothsayers; a psychedelic dance party from a half-lit underground world; breathlessly eerie and all consuming; a salubrious sojourn that sounds like nothing else. Filled with a kind of peculiar optimistic uncertainty that any quest to make sense of a drowsy recollection of simpler and far better times would have; ‘Mercy Of The Crane Folk’ is soft and serene summoning up a fanciful folkloric place where, undoubtedly, the mysterious crane flock prosper.

TRACK LISTING

Side One
A1 Chain Breaker
A2 Mercy Of The Crane Folk
A3 To The Fête
A4 Medieval Jig
A5 Siren's Tunnel
Side Two
B1 Current In The Room
B2 Ancient Mouth
B3 Cypress Receiver
B4 Birth Of Queen Croaker
B5 Red Curtain

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Josephine Fosterís stunning collaboration with Jason Ajemian. Back on vinyl for the first time in over 16 years, this special edition features liner notes from former Chicago reader journalist Peter Margasak and new artwork. A ìremarkable... terrifyingly beautiful nightmareî (Pitchfork ????) of new folk, circa 2004. A minimal serenade for austere times; an off-kilter romance of voice and instrument compared to the brevity of early Bjork, featuring Fosterís fragile, hushed vocal, straight from old weird America, brought to life by way of Ajemianís bowed bass and effects, with a nod to the traditional English folk of yore in its construction. ìArrestingly bare.î Tiny Mix Tapes

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Available for the first time on vinyl, with updated artwork from band leader Nick Saloman. From the fuzziest West Coast psyche to lilting acoustic work by way of Beatlesy power pop and some gorgeous organ flurries, ëHit Squadí contains some of the Frondís most realised songs. From the faux-60s spy-film styles of the title track, the all-out rock of ëDragonsí and ëDoing Nothingí, the classic psych-rock of ëThrough The Hedgeí, to the epic psychedelic melancholy of ëFast Falls The Eventideí. ëHit Squadí has Saloman playing to his strengths, but not resting on his laurels.î AllMusic. A magnificent uplifting collection of tales about every manís trials and tribulations mixed with escapist visions and beautiful pop songs; the evocative ëHigh Pointí is worth the entry fee alone.

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Lovingly re issued on double vinyl for the first time since 1998. Come's final chapter sees Thalia Zedek and Chris Brokaw at their peak, refining their incredible blend of dissonant blues and cathartic noise-rock heightened by the intricate guitar dual-play and the added melody that permeates the songwriting. Includes full album download and new liner notes.

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Available for the first time on vinyl since 1976, pressed on silver wax and featuring a limited edition foil embossed sleeve with extensive liner notes. Crosscut Saw sees the reformed Groundhogs with second guitarist Dave Wellbelove, sparring with the legendary Tony McPhee."Musically I'd gone back to the basics," McPhee told Sounds, the addition of a doodle of synth and a second guitarist notwithstanding. As a result; "Riffs galore permeate." (AllMusic). A suitably explosive prog-pleasing follow up to 1992's 'Who Will Save The World' and 'Hogwash' rekindling the fire of the blues in a new, heavy progressive setting, all set for a new guitar-powered age.

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The seminal album from Half Japanese back on Limited edition Orange vinyl and featuring updated artwork and liner notes from Jad Fair and producer Kramer. This is the Zen of Half Japanese, of prolific songwriter Jad Fair; wide-eyed crooner, humorous raconteur and spontaneous storyteller. A genre-bending romp through the mind of the man, originally released in 1989 in a purple patch for the group, preceded by "Music To Strip By" and "Charmed Life". "Half Japanese were a song machine," attested Pitchfork, while AllMusic saw this album as a collection of "humorous lo-fi rock'n'roll hit singles."

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Double vinyl release of Jazz Butcher favourites, oddities, unheard alternate versions + a live radio session from LA's KCRW - many of which have never been on vinyl. Features extensive liner notes and exclusive artwork. The compilation gathers a raft of indie chart hits, plus a host of truly eclectic Butcher tunes from his early Glass recordings through his time at Creation. ìThe Jazz Butcher is one of the most brilliant incisive pop writers that Britain has produced since the glory days of Ray Davies and Pete Townshendî Alan McGee, Creation. This collection compiles an essential alternative world view, tracing pop culture through the kaleidoscope of the ë80s and beyond, filled with a unique brand of wit and wisdom.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 24TH).

Never released material from the band's 2001 and 2004 BBC Peel Sessions, a unique insight into the bandís development. Bardo Pond let it all go in their ideal live setting, morphing and expanding their beautiful drone-rock compositions. Artwork designed and created by Michael Gibbons of the band, this also includes a full album download.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 24TH).

Expanded double LP edition of the early ë90s Giant Sand gem, including a second previously unreleased disc featuring live recordings from Sub Pop's Vermonstrous Festival, 1992. With new liner notes and commentary from Howe Gelb. An everyday tale of answering machines, petroglyphs and a Takamine guitar; true stories from Joshua Tree: ìAnother fascinating set of desert-fried rock ëní roll, serving up one winner after another.î (AllMusic). A masterpiece of psychedelic desert-rock, a spiritual cousin to the Meat Puppets' ëUp On The Suní and Kyuss's ëSky Valleyí.

Death and Vanilla return with ‘Flicker’, presenting their unique pop music that defies categorisation. Housed in a beautifully austere post-ironic de-constructed sleeve; ‘Flicker’ is a modern reflection on these difficult times. World crises notwithstanding, they return reborn, re-arranged and revitalised after assimilating dub reggae, the motorik spirals of Can, the modal meander of Philip Glass and The Cure’s dreamier pop sounds; plus the twice removed symphonic ambience of Spiritualized and Talking Heads under heavy manners from Brian Eno. By osmosis their period of transition since 2019’s much darker ‘Are You A Dreamer?’ has hatched new eclectic electronica anthems riddled with melody lines, and layered for lush love.

Forming in Malmö, Sweden, Death And Vanilla gravitated towards vintage musical equipment; from vibraphone, organ and mellotron, to tremolo guitar and Moog synthesisers. Soaking up soundtracks from the 60s and 70s, listening to library music, kosmiche, French Ye-ye pop and 60s psych, Marleen Nilsson, Anders Hansson and Magnus Bodin were fashioned by the city’s austere industrial past and flat pack present, and all in the shadow of the Orsesund Bridge that links their dreamworld to mainland Europe and a darker reality.

Death And Vanilla at once sound like everything is possible; but nothing else at all. There is a flicker of hope for everyone.

“Deploying vintage instruments in their quest for melancholic utopia.” - Electronic Sound

“Baroque pop through a dreampop filter.” - The Guardian.

STAFF COMMENTS

Barry says: It's hard to define exactly what it is Death and Vanilla do. It's deeply psychedelic but rooted in classic songwriting, taking familiar progressions and twisting them into perfectly produced fever dreams. 'Flicker' has a ton of melody, is warm and brooding but remains resolutely listenable, and endlessly fascinating.

TRACK LISTING

Side A
A1. Out For Magic
A2. Baby Snakes
A3. Find Another Illusion
A4. Perpetuum Mobile
Side B
B1. Looking Glass
B2. Mercury's Rising
B3. Fearless
B4. Transparent Things
B5. Perpetuum Reprise

Limited edition red vinyl reissue with DL card of the agit pop four-piece’s second album, Baby U Know. A heady collision of Raincoats-esque indie and ESG-paced rhythms fed through a kaleidoscopic pagan folk filter. The follow up to their critically acclaimed 2018 debut Yes I Jan, this release is a wordy slice of state-of-the-art social commentary wrapped in a perfectly-balanced soundscape that veers from funky minimalism to baroque dream pop.

With a hint of Ari Up styled vocals backed by a harmonious chorus of concern touching on everything from incantations, essential causes and systematic shopping, all underpinned by a raking violin and bewitching electronic hum.

TRACK LISTING

Side A
A1 Progressive Causes
A2 Sex Cult
A3 All Forgotten
A4 My Incantations, Herbs & Art Have Abandoned Me
A5 Vision Of Change
Side B
B1 Shopping In A New City
B2 You Have Bewitched Me
B3 Baby You Know
B4 Too Good To Be True
B5 Profile Picture – OTO Version

“Obviously, Bardo Pond are the greatest band in the world” VICE

Super rare recordings from 2002 and pressed on vinyl for the very first time. The third in the band’s series of limited-edition releases showcasing jam sessions and other miscellany. Like Fugazi on acid, a rage for the Velvets, a mantra with real purity of tone.

Somewhere between the ‘Dilate’ album in 2001 (“a combination of Kyuss and Spacemen 3” NME) and ‘On the Ellipse’ in 2003 ("Nowhere is feedback more melancholic, more emotive, than that fashioned by Bardo Pond” Brainwashed), Bardo Pond transcended into a mantra-like, multi-layered, cross-dimensional, wah wah powered nirvana.

In some circles, they say, spaceships wafted them away and they only returned some-time later, mind-altered and bedraggled, ears ringing. But that is the stuff of supposition.

As we already know, there is no ‘off’ switch on Bardo Pond, they are never knowingly unplugged. Indeed, the modal evolution of their sound continues unabated.

TRACK LISTING

Side A
A1 Sifaka
A2 Ecstasy Dub
Side B
B1 Lomand
Side C
C1 Tanked
C2 Trimurti
Side D
D1 Blue Turban 

Faten Kanaan's fifth LP Afterpoem is a mysterious, smudgy, bittersweet, and uniquely playful album. Deeply melodic, it continues her poignant exploration of counterpoint as a narrative tool.

From the repetitive structures of modern minimalism and early music/baroque influences - to more languid textural ebbs & tides, there's a warmth in her use of electronic instruments that gives the album a curiously timeless feel. Composing intuitively, her music has often been described as 'strange', mostly because it creates its own world - one that isn't easily categorised.

The album's title refers to the haze of a poem's intended meaning being abstractly fleeting and barely graspable. Glistening threads of understanding still touch us - the poetry becoming intimately personal, and no further literal explanation is needed.

"I find pleasure in music as a language that nudges and hints. There's a potential that lives in things left unsaid... meanings drifting in and out of focus... hovering like spirits. It's a romantic and earnest album... of yearning for lost places and people, while still looking out at the world with tenderness and humour".

STAFF COMMENTS

Matt says: Instantly transporting you to a ancient, medievalesque world - Kanaan's palette of manipulated strings, harpsicord, organ and such like conjures up vivid images of places and times you've never experienced. Its intensely absorbing music for solitary listening. Shut the curtains, light a candle and get totally engrossed. Just no animal sacrifice please - leave that to the ancients.

TRACK LISTING

Side A
A1 Fin Août, Début Septembre
A2 Trenchcoat
A3 Ard Diar
A4 Ebla
A5 Florin Court
A6 Snowing
A7 Domari's Lamp
Side B
B1 Votive
B2 La Smorfia
B3 Castling
B4 Falconers
B5 Cascando
B6 Storm Signal

Neutral Milk Hotel‘s explosive 1996 debut, On Avery Island, receives the deluxe reissue treatment with a yellow and red vinyl 2xLP press, complete with revised artwork and cut at 45RPM.

Jeff Mangum’s songs are cryptic and crazed, his ideas fast and furious, and together they force the home-recording concept out of the basement and into a brave new world, a fuzzy masterpiece of experimental lo-fi recording.

Full of rapid-fire wordplay with true and heartfelt experimentation, both ambitious and eclectic, it’s not hard to see why this has been such an influential album.

Part of the fabled Elephant 6 collective, Neutral Milk Hotel won over many a music critic with this cult classic. The band are recognized as one of the most influential alternative acts to come out of the mid-90s and sowed the seeds for everything from anti-folk to the likes of Arcade Fire, Caribou and even Franz Ferdinand

TRACK LISTING

Side A (45RPM)
A1 Song Against Sex
A2 You've Passed
A3 Someone Is Waiting
Side B (45RPM)
B1 A Baby For Pree
B2 Marching Theme
B3 Where You'll Find Me Now
Side C (45RPM)
C1 Avery Island/April 1st
C2 Gardenhead/ Leave Me Alone
C3 Three Peaches
Side D (33RPM)
D1 Naomi
D2 April 8th
D3 Pree-Sisters Swallowing A Donkey's Eye

‘Barefoot On Diamond Road’ is the third album from Dutch singer/songwriter Amber Arcades. A record of engaging maturity, filled with slow motion builds and epic lifts that elevate it to dizzying heights.

Immersed in an all-consuming wall of sound, ‘Barefoot On Diamond Road’ is like My Bloody Valentine gone acoustic, it shouldn’t work but it does; it’s a juxtaposition of textures, from skittery, uneasy dancefloor beats to symphonic kosmische, a baroque pop tapestry side-stitched with cellos and harps with a plaintive steel guitar echoing in the distance.

Conceived remotely with original sparring partner Ben Greenberg (Danny Elfman, Depeche, Ryley Walker) in New York and Annelotte in Amsterdam. It’s a coming of age set in a new town with a new positivity underpinning her, as ever, beautifully crafted and highly personal observations on life, love and how it all should or could work.

“This record really reveals parts of me and my relationship with being a musician and making music. It’s like a reckoning, more in the moment, realizing how important it is to do things for the right reasons and how that can change your process into one that embraces what exists, including yourself.”

Amber Arcades’ new album ‘Barefoot On Diamond Road’ marks a new phase for a highly respected musician.

STAFF COMMENTS

Barry says: Amber Arcades' third album sees Annelotte de Graaf eschewing to some degree the woozy acoustic balladry of the brilliant 'European Heartbreak' for a much more electronic influenced sound, with fractured pads and grand percussion working their way underneath De Graaf's hypnotic vocals. It's a new direction, but couldn't be any more appropriate a development for a musician of her calibre.

TRACK LISTING

Side A
A1 Diamond Road
A2 Odd To Even
A3 Contain
A4 Water Stains
A5 Life Is Coming Home
Side B
B1 Through
B2 True Love
B3 Just Like Me
B4 I'm Not There
B5 You Could Never Let Me Down

Sixth full-length album from the gurus of Atlanta’s “flower punk” movement, from the heady daze of 2011 – finally back on vinyl and part of a series of Fire re-issues celebrating 20 years of the legendary garage rock gurus from Atlanta, Georgia. Arabia Mountain was recorded between Brooklyn and Atlanta in 2010, and with the collaborative assistance of celebrated producer Mark Ronson, Lockett Pundt of Deerhunter, and a human skull with a microphone jammed into it. “I was already a fan of the Black Lips coming into it and I definitely didn’t want to f**k up anything,” Ronson told Rolling Stone…and f**k up he did not. The production tests the limits of modern amplification, harkening to the full, meaty sound of The Stooges’ Fun House or Lola Versus Powerman by the Kinks. Unapologetic southern-fried twang, crunching through the gears with flowers blossoming everywhere. 

TRACK LISTING

Side A
A1 Family Tree
A2 Modern Art
A3 Spidey's Curse
A4 Mad Dog
A5 Mr. Driver
A6 Bicentennial Man
A7 Go Out And Get It
A8 Raw Meat
Side B
B1 Bone Marrow
B2 The Lie
B3 Time
B4 Dumpster Dive
B5 New Direction
B6 Noc-A-Homa
B7 Don't Mess Up My Baby
B8 You Keep On Running 

The seventh studio album from the mighty Black Lips is finally back on vinyl, part of a series of Fire re-issues celebrating 20 years of the legendary garage rock gurus from Atlanta, Georgia. Featuring fan favourites such as ‘Boys in the Wood’ and ‘Funny’, this is an essential slice of Black Lips history. The band convened at Dunham Studios in New York to record initial tracks with Dap Kings music director Tommy Brenneck (Cee Lo, Charles Bradley), then decamped to Nashville to record several songs with Patrick Carney of The Black Keys producing, finally rounding out the album with a couple of songs co-produced with lifetime Lips recording collaborator, Ed Rawls. 

TRACK LISTING

Side A
A1 Drive-By-Buddy
A2 Smiling
A3 Make You Mine
A4 Funny
A5 Dorner Party
A6 Justice After All
Side B
B1 Boys In The Wood
B2 Waiting
B3 Do The Vibrate
B4 I Don't Wanna Go Home
B5 Dandelion Dust
B6 Dog Years

Part of a series of Fire re-issues celebrating 20 years of the legendary garage rock gurus from Atlanta, Georgia. This 2017 record features a musically evolved Black Lips, who still stay true to their original blistering take on fuzzy, dirty rock n' roll. God’s Art or Satan’s Graffiti features guest contributions from Yoko Ono was produced by Sean Lennon throughout 2016. During the recording, the band isolated themselves from the outside world, infusing the album with a focused liveliness similar to the spirit that brought them together in the first place. On Satan's graffiti or God's art? founding members Cole Alexander and Jared Swilley teamed with former guitarist Jack Hines (who played in the group from 2002-2004) and additions Oakley Munson on drums and Zumi Rosow on saxophone. A sonically captivating document that is as creatively unhinged as it is precisely executed, one of the rawest and most expansive albums in the band's storied history.

TRACK LISTING

Side A
A1 Overture: Sunday Morning
A2 Occidental Front
A3 Can't Hold On
A4 The Last Cul De Sac
Side B
B1 Interlude: Got Me All Alone
B2 Crystal Night
B3 Squatting In Heaven
B4 Interlude: Bongo's Baby
B5 Rebel Intuition
Side C
C1 Wayne
C2 Interlude: E’lektric Spider Webz
C3 We Know
C4 In My Mind There's A Dream
Side D
D1 Lucid Nightmare
D2 Come Ride With Me
D3 It Won't Be Long
D4 Loser's Lament
D5 Finale: Sunday Morning

The classic third album from the Black Lips, originally released in 2005 and now back on vinyl and part of a series of Fire re-issues celebrating 20 years of the legendary garage rock gurus from Atlanta, Georgia. 16 tracks of grimy and chaotic punk, scuzzy and raw, and catchy as hell.

“Their strongest effort to date.” All Music
"The band at their trashy best; more melodic but every bit as psychotic. If The Royal Trux had listened to the Troggs instead of the Rolling Stones, they might have recorded this album. This baby is a masterpiece. Unapologetic southern-fried twang, crunching through the gears in a blitz of grimy bravado. Their music twitches with an engaging, wired vigour." ★★★★ Uncut. 

TRACK LISTING

Side A
A1 Sea Of Blasphemy
A2 Can't Dance
A3 Boomerang
A4 Hippie, Hippie, Hoorah
A5 Not A Problem
A6 Gung Ho
A7 Everybody's Doin' It
A8 Feeling Gay
Side B
B1 Take Me Home (Back To Boone)
B2 Gentle Violence
B3 She's Gone
B4 Fairy Stories
B5 Dirty Hands
B6 Workin'
B7 Punk Slime
B8 Empassant

The follow up to the widely successful ‘Good Bad Not Evil’, the 2009 album is a perfect amalgam of their high-end live shows and subculture songwriting, meshed tightly to the Lips’ distinctive howl. Finally back on vinyl and part of a series of Fire re-issues celebrating 20 years of the legendary garage rock gurus from Atlanta, Georgia. Rolling Stone, Spin, Filter, Magnet, Stop Smiling, The Fader, Anthem, Paste, and The NY Times-approved garage rock veterans’ trashy psyche pop gem. Unapologetic southern-fried twang, crunching through the gears in a haze of psychedelia. 

TRACK LISTING

Side A
A1 Take My Heart
A2 Drugs
A3 Starting Over
A4 Let It Grow
A5 Trapped In A Basement
A6 Short Fuse
A7 I'll Be With You
Side B
B1 Big Black Baby Jesus Of Today
B2 Again & Again
B3 Old Man
B4 The Drop I Hold
B5 Body Combat
B6 Elijah
B7 I Saw God 

The debut album from post-folk travellers Immaterial Possession, a quartet, half of whom came from an artist commune and half who were card-carrying Elephant6 alumni. ‘Immaterial Possession’ is a rich tapestry of a record, a gorgeous, melodious return to a time when influences co-habited freely and whatever was close at hand made the music of the day.

All set to Syd Barrett-era Floyd and Nico with haunting lines, it’s perfectly tinged with gamelan harmonies, evocative Spanish guitars and xylophone. Exuding mystical symbolism; they wear luscious threads, they’re part of something/anything; perhaps a neo-modern-folk commune of artists in search of a canvas to stretch out over their juxtaposed influences.

Immaterial Possession was conceived by Atlanta natives, Cooper Holmes and Madeline Polites, who met while living together at an Atlanta artist commune that was integrated into the DIY music, theatre, and arts scene. Some years later the duo moved to the neighbouring musical town of Athens, GA. They were soon joined by seasoned drummer, John Spiegel, and eventually fulfilled with multi-instrumentalist Kiran Fernandes (keyboards, clarinets, flutes) - descendant of the Elephant 6 Collective scene.

It’s eastern, it’s eerie dream pop, it’s spacious and ethereal… A perfectly wild trip, and where it ends is immaterial.

TRACK LISTING

A1 Midnight Wander
A2 See Through Stars
A3 Tropical Still Life
A4 In The Loom
A5 Phase One
B1 Bosphorus Brine
B2 Circle Of Bells
B3 Rising Moons
B4 Accidental Summoning
B5 Phase Two
B6 Nightcap

Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did.

Debut from genre-defying producer, Yosa Peit. Laurie Anderson meets Bjork; Prince overlapped with Arthur Russell and the hum of Blue Velvet, with jarred and splintered ambient production reminiscent of Aphex Twin. ‘Phyton’ gets a special expanded edition via Fire Records, featuring unreleased tracks; ‘Tyrann’, a live version of the haunting album track ‘Serpentine’ and end of the night lament, ‘Rise’.

‘Phyton’ is a conundrum with its own humour and beauty amid the electronica soundtracking; it’s a record that’s defied genre categories when first released on Tax Free Records two years ago. Yosa’s ascension from singer to producer is now complete.

“In my head I was making a movie,” Yosa told No Wave magazine, “I dreamed up a Coen Brothers’ movie scene for a few tracks.” The result is a haunting, provocative sound; a soundscape where songs merge and splinter, a trip that’s never predictable.

"The production is super fresh" Holly Herndon.

“Warped lo-fi meets glitchy electronica and pop” The Vinyl Factory.

TRACK LISTING

A1 Precious Lies
A2 Serpentine
A3 Anthy
A4 Curls
A5 Leaf I
B1 Serious People Chuckle
B2 Elephant
B3 Leaf II
B4 Lin
B5 New Stars
B6 Palm Tree Antenna
B7 Tyrann

Download Extras:
1. Serpentine (Live Bonus)
2. Rise (Bonus)

Jane Weavers experimental ensemble in collaboration with Peter Philipson and Raz Ullah, Fenella returns with a hallucinogenic excursion into ambient textures and hypnagogic drones on new album ‘The Metallic Index’. Taking further steps into their combined compositional universe with this follow-up to 2019’s acclaimed Fehérlófia album.

Loosely based on a genuine story accounting the short-lived abilities of a young psychic nurse in 1920’s London, Fenella’s niche muse justifies this celebratory return to vinyl but not once does it fall into the supposed tropes of staid hauntological-plunderphonics which repeatedly come to muddy our thirsty streams. Fenella make spirited melodic progressive pop music that pulsates with the same magnetism that fans of Jane Weaver's own The Silver Globe and Modern Kosmology have come to expect and hold closely.

Handcrafted using a generous archive of some of the best vintage equipment in the country (partly recorded at Soundgas studios in Darkest Derbyshire) the sound structures you hear at the heart of this album form the basis for Fenella's best work yet, while the individual spectral vocalisations and ethereal electronics that circle the room capture this trio's return, as peripheral visions, in full-phantasmic bloom.

"A sonic exaltation and refinement of craft, going further into the realms of atmospheric abstract cosmology blissfully morphed with the mythopoetic" The Quietus.

TRACK LISTING

Side A
A1 Pulsion (Nurse On Train)
A2 Instituts Métapsychique
A3 "A Young Girl Of Medium Height"
A4 Hexagonal Table
A5 Telekinetoscopes
Side B
B1 Shadow Apparatus
B2 The Metallic Index
B3 Lilacs Illuminate In Indigo
B4 After The Visions
B5 Stellar In Spectra
B6 Are They With You? (The Final Chord)

Josephine Foster's peculiar 2000 home recorded debut There Are Eyes Above is an essential introduction to her music that’s unfolded now for over two decades. Released for the first time on vinyl, this limited edition 10-inch pressing comes packaged with brand new artwork and is adorned by one of Josephine’s illustrations.

Lo-fi and unaffected by tradition or commercialism these initial recordings are sepia-tinted, folk-art music with powered by uke minimalism; it’s outsider music that still doesn't fit in.

Just 30-minutes caught in time before her 2001 follow up Little Life - this humble first incarnation includes here for posterity super personal lullabies and a glimpse into her songwriting evolution. It’s music from an era that only exists in your mind, with a bow to Tin Pan Alley for good measure.

This super rare collection, originally only released on CDR and sold at shows, remains an essential part of the curious oeuvre of this unique songwriter and singer.

“A dissonant soprano and lyrics about benevolence and old-time faith, Foster expertly weaves ancient and modern” The Guardian.

TRACK LISTING

Side A
One Hundred Songs I Sing
Emily Told Me
Teeter Totter
Little Life
I Am A Guest In Here
Side B
Robber Song
Hey Matthew
There Are Eyes Above
Godcake
Yippee I'm Leaving
Two Not One

“Gelb's semi-surreal observations lace things together perfectly.” UNCUT

Filled with loud and lucky abandon; heady steady and direct singalongs for the heart in constant turmoil. Giant Sand’s esoteric journey to ‘Heartbreak Pass’ is an exotic journey through hails of Youngian guitars, off-the-cuff jazz piano rounds and beautiful alt-country yearning. While containing only new songs for this album, this feels like a greatest hits and as such is a perfect entry point for Giant Sand neophytes. Fire Records give ‘Heartbreak Pass’ a long overdue repress on white vinyl, with new liner notes and updated artwork.

There’s a roll of the tongue, a couplet and some convolution underpinning Giant Sand’s 2015 opus ‘Heartbreak Pass’. So the story goes, so legend has it, a mere 30 years into their career, almost ten years ago, Giant Sand were regrouped and, for a fleeting second, someone made sense of it all (the words, the genre swapping sound, the roll call of friends and accomplices, the majesty of polar opposites attracting).

On ‘Heartbreak Pass’ the result from this lengthy travelogue is a memoir filled with trinkets exchanged along the way. Sure, the Arizona desert is there, gritty and unforgiving but Howe's one-man-band is joined by a throng of well-wishers, this time around including Steve Shelley (Sonic Youth), Grant-Lee Phillips and Ilse DeLange (Common Linnets), The Voices Of Praise Choir, oft-time collaborator John Parish, Grandaddy’s Jason Lytle, Maggie Bjorklund on pedal steel, Italian singer/songwriter Vinicio Capossela and many more. It’s an album that travels far and shows its road weariness in places but it’s a celebration in all its ragged glory.

In his original sleevenotes Howe pondered the fact that “The album is roughly broken into three volumes - loud and lucky abandon; heady steady and direct (Gelb's vision of Americana); and the heart in constant turmoil and something about a transponder.” He summarised: “I can't recommend it, nor do I regret it. It's been one life split into two.”

TRACK LISTING

A1 Heaventually
A2 Texting Feist
A3 Hurtin' Habit
A4 Transponder
A5 Song So Wrong
A6 Every Now And Then
A7 Man On A String
B1 Home Sweat Home
B2 Eye Opening
B3 Pen To Paper
B4 House In Order
B5 Gypsy Candle
B6 Done

Released on gold vinyl, ‘The Coincidentalist’ and ‘Dust Bowl’ are two discs of Howe Gelb filled with randomness and happenstance, a typical treasure trove spanning all genres from alt country to Cohen-esque grandeur. They traverse, unflinchingly, his chameleon-like repertoire. This deluxe re-issue includes ‘Dust Bowl’ on vinyl for the very first time, with the records housed in a gatefold sleeve featuring updated artwork and liner notes.

‘The Coincidentalist’, originally released in 2013, features a raft of friends and collaborators including Bonnie Prince Billy, Andrew Bird, M. Ward, Steve Shelley, and Jason Lytle of Grandaddy with John Parrish on mixing duties. Ever the focal point of Giant Sand and Gelb releases, the Arizona Desert serves as a key inspiration for the record, animating the baron landscape with stories of those that have navigated them. Praise for the release was not short, with AllMusic proclaiming that it’s “one of Gelb's most realized efforts; despite its relaxed, airy presentation, it's musically and lyrically provocative, as poetic, strange, and mysterious as the desert itself."

The accompanying collection ‘Dust Bowl’ is a personal sketchbook of songs, a more stripped back set than it’s counterpart. Featuring everything from the country blues of ‘Porch Banjo’ and ‘John Deere’, to off-kilter piano ballads like ‘The Old Overrated’ and ‘Reality Or Not’ and the deconstructed desert pop on ‘Forever And A Day’ and the fragile ‘Man On A String’. ‘Dust Bowl’ is an insider’s view of Howe’s songwriting craft, a unique insight into the man himself.

“‘Dust Bowl’ was primarily for fans that have followed me for a while. ‘The Coincidentalist’ is for the friends of the fans.” Howe told Under The Radar. While Nightlife magazine reported that; “Without warning, the Giant Sand frontman and polymorphous countryman dropped this compilation of house recordings via Bandcamp… At a time when so much harmless, soulless folk resonates, Howe Gelb is a mandatory point of reference for any fan of the genre.”

TRACK LISTING

A1 Vortexas (feat Bonnie ‘Prince’ Billy)
A2 Left Of Center
A3 Running Behind
A4 The 3 Deaths Of Lucky (feat. KT Tunstall)
A5 Unforgivable
A6 Instigated Chimes
B1 The Coincidentalist (feat. Andrew Bird)
B2 Triangulate
B3 Picacho Peak
B4 An Extended Plane Of Existence
B5 Looking That Way
C1 Dust Bowl
C2 Porch Banjo
C3 Lost Love
C4 Man On A String
C5 Reality Or Not
C6 John Deere
C7 Windblown Waltz
D1 Redelivery Blues
D2 Forever And A Day
D3 Plane Of Existence
D4 A Coffee Song
D5 The Old Overrated
D6 Mystery Spot
D7 Blink Of An Eye

The Black Lips return with their 10th studio effort ‘Apocalypse Love’, scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup de’ tats, stolen valor and certified destruction, all set against a black setting sun. Since the turn of the decade the band have transformed from austere country pioneers, into a set of Lynchian surrealists, hellbent on recalibrating the history of rock ‘n’ roll. Singer and saxophonist Zumi Rosow muses, “It’s a weird dance record, one that reflects the moment that the world’s in right now…”

‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. Stand-out number ‘Among The Dunes’ is an amorphous platform-heeled anthem, a signature sax-fuelled stomper filled with trippy swagger. While opener ‘No Rave’ proffers a hypnotic locked groove, with Cole Alexander’s trademark snarl delivered over a sulphurous wall of distorted hedonism, a dystopian anthem for an apocalyptic manifesto. Meanwhile, the twisted exotica of ‘Whips Of Holly’ with its silver screen façade is like the soundtrack to a classic Theda Bara vamp-fest. As the band venture into their third decade, ‘Apocalypse Love’ is proof that The Black Lips show no sign of slowing down…

STAFF COMMENTS

Liam says: 10th album from Atlanta outfit Black Lips, 'Apocalypse Love' is a self-proclaimed "weird dance record" - and I'm inclined to agree. It's scuzzy, twisted and has a strange but also sincere innocence to it - like a school disco in the Red Room from Twin Peaks.

TRACK LISTING

A1. No Rave
A2. Love Has Won
A3. Stolen Valor
A4. Lost Angel
A5. Whips Of Holly
A6. Apocalypse Love
A7. Operation Angela.
B1. Crying On A Plane
B2. Sharing My Cream
B3. Among The Dunes
B4. Tongue Tied
B5. Antiaris Toxicaria
B6. The Concubine 

LA-based musician Marina Allen’s spectacular debut proper, and follow up to last years acclaimed 18 minute mini-opus, ‘Candlepower’.

‘Centrifics’ is a joyful collection of observations and questions about the self, the world, and how they interact. Awe-inspiring reflections accompany mesmerizing melodies while Allen’s extraordinary range and depth of singing showcases a wide array of influences from Karen Carpenter to Karen Dalton, from Joanna Newsom to Fiona Apple, from Cate Le Bon to Waxahatchee, via Meredith Monk and the New York avant-garde.

Produced, engineered and mixed by Chris Cohen. Co-engineered by Jonny Kosmo.

TRACK LISTING

Side A
A1 Celadon
A2 Getting Better
A3 Or Else
A4 Smoke Bush
A5 Superreality
Side B
B1 New Song Rising
B2 Halfway Home
B3 My Stranger
B4 Foul Weather Jacket Drawing
B5 Gardiner's Island

Heady with hooks and unforgettable melodies, gliding on deeply danceable grooves, always with Air Waves’ innate compassion, concision and uncanny pop sense shining throughout. A masterpiece that’s beautifully simple, instantly accessible and entirely addictive. Featuring Cass Mccombs, Skyler Skjelset (Fleet Foxes, Beach House), Luke Temple, Brian Betancourt (Hospitality, Sam Evian), Rina Mushonga, Frankie Cosmos, Lispector, David Christian, Ethan Sass, and Ben Florencio.

‘The Dance’ has waited three years to see the light of day and it comes to us now, blinking, smiling in the widening light of 2022 feeling more needed and necessary but also more joyous than ever before. It’s both a snapshot of these songs as they were recorded but crucially, in the intervening time those songs have had additional arrangements crafted by Nicole, created remotely and virtually, with a few like-minded collaborators. The result is simultaneously Air Waves freshest, most spontaneous yet finessed album yet.

Nicole Schneit released their first independent album in 2009 under the Air Waves moniker, a name inspired by a Guided By Voices song - subsequent albums like 2010’s ‘Dungeon Dots’ (which featured a guest vocal from fellow Brooklynite Sharon Van Etten), 2015’s ‘Parting Glances’ and 2017’s stunning ‘Warrior’ crystallised Schneit’s vision of loose-but-focused, convivial but startling pop. ‘The Dance’ continues that trajectory but finds Schneit opening up their music to a more fluid sense of space and movement, while keeping their lyrical eye between the personal and the political, from the specific to the universal with a haiku-like directness and suggestion.

You won’t find a better soundtrack for the solidarity, strength, romance and movement we all need right now than ‘The Dance’ - Air Waves’ best album yet.

TRACK LISTING

A1. The Roof (feat. Luke Temple & Rina Mushonga)
A2. The Dance
A3. Star Earring (feat. Lispector)
A4. Alien (feat. Cass McCombs)
B1. Black Metal Demon (feat. Frankie Cosmos & Merce Lemon)
B2. Treehouse
B3. Wait
B4. The Light
B5. Peer Peer

Pulp’s debut and one of their most honest recordings - capturing a band at the beginning of their startling career. ‘It’ is a gentle, mainly acoustic album that hints at the musical directions Pulp would later pursue. The album touches on the majestic, theatrical ballads of Scott Walker, as well as the stark, folky song poems of Leonard Cohen. Certainly an album by a young band trying to pinpoint their direction, and absorbing many an influence from all around, ‘It’ has aged beautifully into a charming collection.

Fire are to reissue Pulp’s 1983 debut album ‘It’ as part of the Fire reissue series with bonus material. Re-mastered and repackaged. New liner notes by Everett True. Featuring 4 Bonus tracks including single version of ‘My Lighthouse’ and alternative mix of ‘Blue Girls’, the previously unreleased ‘Sink Or Swim’ and ‘Please Don’t Worry’ from Pulp’s John Peel session in 1981.

TRACK LISTING

1. My Lighthouse
2. Wishful Thinking
3. Joking Aside
4. Boats And Trains
5. Blue Girls
6. Love Love
7. In Many Ways
8. Looking For Life
9. My Lighthouse (Single Version)
10. Please Don't Worry
11. Blue Girls (Alternative Mix)
12. Sink Or Swim

Fire are to reissue Pulp's 1987 album 'Freaks' as part of the Fire reissue series with a special 2 disc release, with the second bonus disc packed with singles and B-sides from the Freaks era. Pulp had changed significantly since their debut 'It'. By this time every member bar Jarvis had moved on but the addition of Russell Senior proved to be a pivotal turning point for the band. No longer did Pulp sound pastoral, easy-natured; now they were darkly romantic, brooding, noisy and a little bit Gothic, in the way young folk who brush their hair a certain way are always a little bit Gothic.

Pulp were out-of-tune with the times: but the times didn't satisfy Pulp. The album is quite marvellous. Most of these songs stand the distance of time: it was here, possibly even more than 1992's Separations, that Pulp started coming into their own as a band with a fully-realised aesthetic. The first disc is the original album, unaltered and in its entirety. The second is a bonus disc comprising of tracks from the two big non-album singles from the same era, 'Little Girl (With Blue Eyes)' and 'Dogs are Everywhere'. Two further b-sides 'Tunnel' and 'Manon' complete the second disc for the definitive 'Freaks' period release. Pulp's 'It' and 'Separations' will be reissued at the same time for the complete Pulp on Fire collection.

TRACK LISTING

DISC 1 :

1. Fairground
2. I Want You
3. Being Followed Home
4. Master Of The Universe
5. Life Must Be So Wonderful
6. There's No Emotion
7. Anorexic Beauty
8. The Never Ending Story
9. Don't You Know
10. They Suffocate At Night.

Bonus Disc 2 :

11. Little Girl (With Blue Eyes) (BONUS)
12. Simultaneous (BONUS)
13. Blue Glow (BONUS)
14. The Will To Power (BONUS)
15. Dogs Are Everywhere (BONUS)
16. The Mark Of The Devil (BONUS)
17. 97 Lovers (BONUS)
18. Aborigine (BONUS)
19. Goodnight (BONUS)
20. Tunnel (BONUS)
21. Manon (BONUS)

Pulp’s 1992 album ‘Separations’ is part of the Fire reissue series with unreleased bonus material. Their third and last album on Fire, Pulp had already transformed from their debut ‘It’ through the dark electronic phase of Freaks and were garnering significant momentum. Now critically acclaimed and with a live reputation matched by only a few, most of the songs on Separations sound fully-realised in that undeniably Pulp manner that was soon to be experienced everywhere. And, for the first time, there was an inescapable disco pulse.

This is the transition album where Pulp, caught between a doomed romantic outsider past and an acid-bright future, made an album that brilliantly reflects both. Remastered and repackaged. Liner notes by Everett True. Featuring 4 bonus tracks ‘Death Goes To The Disco’ and ‘Is This House’, as well as an extended version of the single ‘Countdown’ and the previously unreleased ‘Death Comes To Town’. Separations spawned two of Pulps most successful singles to date in ‘Countdown and ‘My Legendary Girlfriend’ with the latter being placed on many top singles of 1991 lists by major music publications. Pulp’s ‘It’ and ‘Freaks’ will be reissued at the same time for the complete Pulp on Fire collection. 

TRACK LISTING

1. Love Is Blind
2. Don't You Want Me Anymore?
3. She's Dead
4. Separations
5. Down By The River
6. Countdown
7. My Legendary Girlfriend
8. Death II
9. This House Is Condemned
10. Death Goes To The Disco (BONUS)

11. Is This House? (BONUS)
12. Countdown (BONUS Extended Version)
13. Death Comes To Town (BONUS)

The final instalment to the trio of masterpieces from the legendary British rock group, The Groundhogs’ gets a reissue on black vinyl for the first time since 1991. Treading more progressive realms ‘Who Will Save The World’ sees Tony McPhee moving away from the blues territory of their earlier releases and towards a heavier more psychedelic sound. Achieving Top 10 album success back in 1972, ‘Who Will Save The World’ is the last record that features the classic line up of Tony McPhee, Pete Cruickshank and Ken Pustelnik.

A definitive collector’s item as part of the ongoing Fire Records catalogue campaign. This special reissue features the iconic artwork with sleeve notes and an interview with the original Marvel artist Neal Adams. Also includes a bonus download of an unreleased live recording from their final live show in Pocono, USA.

TRACK LISTING

Side A

1 Earth Is Not Room Enough
2 Wages Of Peace
3 Body In Mind
4 Music Is The Food Of Thought.

Side B

1 Bog Roll Blues
2 Death Of The Sun
3 Amazing Grace
4 The Grey Maze.

Bonus Track Available As DL Only “Music Is The Food Of Thought” (Live At The Pocono Festival, Pennsylvania, 1972) 

Originally released on vinyl in 1981. Long lost and simply breath taking live Ubu classic culled from 1981 recordings in Cleveland, London and Brussels featuring the band’s original line up. An essential pressing for all fans of the the celebrated post-punk innovators.

TRACK LISTING

Side A.
A1 Non-Alignment Pact
A2 Street Waves
A3 Real World
A4 My Dark Ages
A5 The Modern Dance
A6 Humor Me.
Side B.
B1 Heart Of Darkness
B2 Laughing
B3 Can't Believe It
B4 Over My Head
B5 Sentimental Journey
B6 30 Seconds Over Tokyo 

Packaged in tri-fold sleeve that replicates the original 1971 release and featuring an extra disc of live BBC recordings from the same era. 50-year anniversary vinyl release of the original power trio’s second incarnation, now expanded with BBC In Concert versions of the album’s key tracks. An epic milestone and key prog rock definer, fusing their blues rock roots and their finely honed electric sound of the early ‘70s. This limited release replicated the original 1971 packaging, with a tri-fold sleeve, an absolute essential for fans of this seminal act

TRACK LISTING

1 I Love Miss Ogyny
2 You Had A Lesson
3 The Ringmaster
4 3744 James Road
5 Sad Is The Hunter
6 S'one Song
7 Earth Shanty
8 Mr. Hooker Sir John
9 Sad Is The Hunter (BBC In Concert, 7th December 1972)
10 I Love Miss Ogyny (BBC In Concert, 7th December 1972)
11 You Had A Lesson (BBC In Concert, 7th December 1972)
12 Earth Shanty (BBC In Concert, 7th December 1972)
13 3744 James Road (BBC In Concert, 7th December 1972)

‘Cinnamon Sea’ is the perfect introduction to one of the most mysterious, ever-morphing underground bands from New Zealand. The Garbage and the Flowers make their long awaited return with another psychedelic masterpiece from the band that gave us 1997's cult dreampop gem 'Eyes Rind As If Beggars'. A hybrid fusion of the Velvets, Elephant 6 and any God-fearing stoned strummers you can think of, with a nod to Charlie Manson’s bedside balladry to boot.

On their return, the band hone their songcraft with tracks like ‘Eye Know Who You Are’, a tantalising piece of Mazzy Star on steroids, a spiralling sonic rumble, that reaches a miasmic high on every hummed chorus. It opens the Pandora’s box of this release, a sleight of ear collection of five songs from this cosmology-observing Australia-based outfit. Tracks like ‘Red Star’ exist in a land where sound levels are destroyed by savage birds. ‘On The Radio’ trips into an untuned lagoon. There’s a quasi-religious zeal to proceedings, a nod to Sterling Morrison’s Velvet strum elsewhere, everything that would have been key to the Elephant 6 conglomerate not so long ago, maybe, if you can even imagine, My Bloody Valentine unplugged.

‘Cinnamon Sea’ was recorded in an abandoned courthouse in Freyerstown, a ghostly village in Victoria’s Goldfields in Southeast Australia, where you’re more likely to meet giant grey kangaroos bounding on its dusty main street than tottering prospectors these days. It unravels with claustrophobic glee as we traverse the structured climes of exemplary songwriting seasoned with the salt of improvisation. This from a band who previously released an album famously dubbed ‘Stoned Rehearsal’. It closes with the track ‘Jacob B’, a melancholy tale that’s a hybrid of Manson’s troubled tunes and the psychedelic folk songs of Quicksilver’s Dino Valente.

File under: outsider music for insiders.

TRACK LISTING

Side A
Eye Know Who You Are
Cinnamon Sea
Red Star
Side B
On The Radio
Jacob B

A reawakening for the Swedish visionaries, Sincere solidifies their impressive trajectory in a fuzzed out haze of dark and arresting shoegaze pop. An expansive trip through noisier, bittersweet pop realms that recalls My Bloody Valentine, Slowdive and Deerhunter.

Underpinning everything there’s a continuing sense of drama throughout; richly textured crescendos, chiming guitars and delicate melodies are guided by Caroline Landahl’s tender yet sharpened vocals. Sincere is joyously effervescent, but with a dark underbelly where fury manifests in a swirl of entrancing and propulsive percussion.

A gorgeous and dazzling piece of aching romanticism, destined to feature on a thousand mixtapes.

Recorded last year in Malmö, Hater welcomed two new band members and those early day sparks saw them quickly turning demos into fully-formed new songs that appear on the record. Sincere was produced by long-time collaborator Joakim Lindberg and was mixed and mastered by John Cornfield, whose credits include Ride, The Stone Roses and Robert Plant.

TRACK LISTING

Side A
A1 Something
A2 I'm Yours Baby
A3 Bad Luck
A4 Proven Wrong
Side B
B1 Brave Blood
B2 Far From A Mind
B3 Summer Turns To Heartburn
B4 Renew, Reject
B5 Hopes High

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

1000 pressed. A much sought-after Kristin Hersh side project. Black Vinyl LP. Back on vinyl for this bracing, ever twitching opus made of seven fluid pieces that fold into one continuous mantra. An essential release from the Throwing Musesí offshoot helmed by Kristin Hersh and Bernard Georges, with Chalk Farmís Rob Ahlers on drums.

"Menacing, stalking, spirals of lean, hungry riffs." Drowned In Sound 9/10. 

TRACK LISTING

1 Medicine Rush
2 Honeysuckle
3 Power+Light
4 Skeleton Key
5 Broke
6 Wax, 7 Sun Dog Coma

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

1000 pressed. Rare EP from this much sought-after Kristin Hersh side project. Black Vinyl LP. Back on vinyl for this Kristin Hersh fronted project, a super rare 2016 EP of enchanting and exhilarating sounds that shift from dreamy and emotional melancholy to jagged and almost Neu!-like rhythms that evolve behind her pointed prose and astute one-liners. A rush to the head thatís caustic yet comforting. 

TRACK LISTING

1 Bath White
2 God's Not A Dick
3 Human
4 Ratted Out
5 St.Christopher
6 Sun Salute

‘Black Pearl’ is the brand new album from 50 Foot Wave: Kristin Hersh’s ‘other’ band - active since 2003, with fellow Throwing Muses’ member Bernard Georges on bass and drummer Rob Ahlers. A sonic trip from the heavy, echoey riff of ‘Staring Into The Sun’ with all of its grunge melancholy and dronecore menace to the perfectly baroque ‘Hog Child’ with its spidery guitar that dissolves into motorik bass and drums.

Hailed in various quarters as “an outlet for the material deemed too weird or wild for Throwing Muses”, their “menacing, stalking, spirals of lean, hungry riffs, set alight” as “feedback rips into the fragile melody.”

50 Foot Wave continue to traverse the rigid tension of their own sound. They remain detuned and discordant at will.

STAFF COMMENTS

Barry says: It's been quite the week for heavy new music, with Kristin Hersch's band putting out this absolutely stunning mix of grooving post-rock and angular hardcore on the ever reliable Fire records. Roaringly heavy but imbued with myriad moments of paddling, Isis-like downtuned post-metal business. Really, very good indeed.

TRACK LISTING

Side A
A1 Staring Into The Sun
A2 Hog Child
A3 Fly Down South
A4 Black Pearl
Side B
B1 Broken Sugar
B2 Blush
B3 Double Barrel

Rewriting the history of music, Pere Ubu continue to confound convention and shift personnel. The next box set in Fire Records’ reissue series, ‘Nuke The Whales’ houses 4 LPs originally released between 2006 and 2014 –
'Why I LUV Women’, 'Carnival Of Souls’, ‘Lady Of Shanghai’ and Long Live Pere Ubu!’

‘Nuke The Whales,’ is a nod of respect to a couple in Cleveland who would daub such messages over the big news stations’ advertising boards. “Very few bands display such dedication to constant self-reinvention as Pere Ubu” The Quietus.

All four albums have been remixed and remastered by original Pere Ubu member David Thomas. ‘Why I LUV Women’, originally released on Glitterhouse in 2006, gains its first vinyl release. "Spews 11 tunes of arcane lyrics and dense music” shrieked The Cleveland Gazaette.

It’s joined by ‘Long Live Pere Ubu’ a soundtrack to a musical adaptation of the play. “Skronking, squalling rhythms and melodic snippets undulating round a pulsating soundscape." Record Collector

And ‘Lady From Shanghai’, their Fire debut for Fire in 2013. Originally released on the 35th anniversary of the group's debut, ‘The Modern Dance’, a latter day re-evaluation of the unprompted dance genre.

And its follow up ‘Carnival Of Souls’, a haunting “underscore’ to a tale of alienation, it “combines metallic percussion, spare guitars and David Thomas' muttered vocals into something rustic and rickety, yet threatening at a moment's notice.” AllMusic.

TRACK LISTING

Disc 1 - Why I LUV Women
A1 Two Girls (One Bar)
A2 Babylonian Warehouses
A3 Blue Velvet
A4 Caroleen
A5 Flames Over Nebraska
B1 Love Song
B2 Stolen Cadillac
B3 Mona
B4 Synth Farm
B5 Texas Overture

Disc 2 - Lady From Shanghai
C1 Thanks
C2 Free White
C3 Feuksly Ma'am, The Hearing
C4 Mandy
C5 Musicians Are Scum
C6 Another One
D1 And Then Nothing Happened
D2 Road Trip Of Bipasha Ahmed
D3 Lampshade Man
D4 414 Seconds
D5 The Carpenter Sun

Disc 3 - Carnival Of Souls
E1 Golden Surf II
E2 Drag The River
E3 Irene
E4 Road To Utah
E5 Throb Array
F1 Visions Of The Moon
F2 Dr Faustus
F3 Bus Station
F4 Carnival
F5 Moonstruck

Disc 4 - Long Live Pere Ubu!
G1 Ubu Overture
G2 Song Of The Grocery Police
G3 Banquet Of The Butchers
G4 Tear Your Eyes Out
G5 March Of Greed
G6 Big Sombrero
G7 Bring Me The Head
G8 Alienating The Audience
H1 Road To Reason
H2 Slowly I Turn
H3 Watching The Pigeons
H4 The Story So Far
H5 Snowy Livonia, Pt 1
H6 Elsinore & Beyond

Island Family is the fifth album from Isle-of-Eigg dwelling electro-acoustic psych-pop wonder Pictish Trail, AKA Johnny Lynch. A strange, unpredictable, sardonic and yet deeply personal record inspired by all from Fever Ray to The Flaming Lips, Liars, Mercury Rev and Beck, Island Family is Pictish Trail’s contrarian view of arcadia; a search for the euphoric in the bucolic, bound up in sometimes conflicting ideas and feelings around nature and environment, sincerity and artifice, escapism and belonging. It’s an album about how no man can remain an island, however hard he might try.

Released by Fire Records, with support from Johnny’s own label Lost Map, and produced by long-term collaborator Rob Jones (The Voluntary Butler Scheme, The Gene Dudley Group), ‘Island Family’ opens with its title track, a song of death, ghosts and the ties that bind, fusing abrasive electronic beats with a tongue-in-cheek fireside folk refrain and the haunted ice cream van melody of a digitally reincarnated traditional Scottish jig. A purgative surrender to nature’s whim driven by a clattering machine drumbeat rolled in a puddle of filthy dirty fuzz, ‘Natural Successor’ is five-and-a-half-minutes of cathartic churning bass.

‘In The Land of The Dead’ is an eight-bit glitch-core reflection on island party excesses spasming into existential dread and regret, suitably accompanied by a funereal mariachi band. It’s followed by the epic ‘It Came Back’, the understated verses and arms-aloft falsetto chorus of which are accompanied by a tense, foreboding bass-driven electro hip hop instrumental with (spoiler) a brain-shattering industrial-metal meltdown. ’Melody Something’ is the album’s purest moment, a cautiously uplifting solar-powered-ballad about losing track of time in the cycle of the seasons, and the gap between memory and reality. Shapeshifting closer ‘Remote Control’ is a channel hopping cabin-fever-dream flipping from warped boyband ballad to deep-fried fuzz pop.

STAFF COMMENTS

Barry says: The latest outing in the Pictish Trail odyssey takes the blippy, 8-bit sounds of 202's 'Thumb World' and winds them around a core of wicker-folk psychedlia and oddball glitched electronics for stalwart label, Fire Records. It's both wonderfully odd and stunningly melodic in parts, but beautifully balanced with just the right amount of syncopated oddity and swimming lysergic folk.

TRACK LISTING

Side A
A1 Island Family
A2 Natural Successor
A3 The River It Runs Inside Of Me
A4 In The Land Of The Dead
A5 It Came Back
Side B
B1 Thistle
B2 Melody Something
B3 Nuclear Sunflower Swamp
B4 Green Mountain
B5 Remote Control

Comedian Stewart Lee and director Michael Cumming (Brass Eye, Toast Of London) investigate a missing piece of punk history. Robert Lloyd, best known for fronting cult Birmingham bands The Prefects and The Nightingales, has survived under the radar for over four decades. But how, if at all, does Robert want to be remembered? The anti-rockumentary ‘King Rocker’ weaves the story of Birmingham’s undervalued underdog autodidact into that of the city’s forgotten public sculpture of King Kong, eschewing the celebrity interview and archive-raid approach for a free-associating bricolage of Indian food, bewildered chefs, vegetable gardening, prescription medicines, pop stardom and pop art. All of the highlights from the film are here, along with rarities which won’t appear on any of the deluxe reissues of the Nightingales’ catalogue, among them 7″ versions of “Use Your Loaf”, the Bob Luman hit “Let’s Think About Living” and “Black Country”, a glam remix of crowd favourite “Thick And Thin” and a version of Christy & Emily’s “Ghost” which rivals the Nightingales’ take on TLC’s “Unpretty” for sheer beauty. The only act with roots in the punk era that have gone on to make records more captivating, cutting and entertaining today than at any point in their past; 2022 will be a busy year for the Nightingales, with months of live dates planned, a limited edition remix 12″, deluxe reissues of both ‘Hysterics’ and ‘In The Good Old Country Way’, and a hardcover book collecting Robert’s lyrics.

STAFF COMMENTS

Barry says: A selection of brilliant Nightingales rarities and pieces from the film of the same name, written about Robert Lloyd of The Nightingales and The Prefects. A wonderful audio document in it's own right, and a perfect companion to a very funny film.

TRACK LISTING

A1 Use Your Loaf (7” Version)
A2 Surplus And Scarcity (Live)
A3 What A Carry On
A4 Let's Think About Living (7” Version)
A5 Black Country (7” Version)
A6 Ghost
B1 Born Again In Birmingham
B2 Overreactor
B3 Thick And Thin (Glam Version)
B4 Chaff
B5 The Desperate Quartet
B6 Gales Doc

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that are released for the first time on vinyl. 

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

TRACK LISTING

It's A Shame About Ray
1 Rockin' Stroll
2 Confetti
3 It's A Shame About Ray
4 Rudderless
5 My Drug Buddy
6 The Turnpike Down
7 Bit Part
8 Alison's Starting To Happen
9 Hannah & Gabi
10 Kitchen
11 Ceiling Fan In My Spoon
12 Frank Mills

Essential Extras
1 Mrs Robinson
2 Shakey Ground
3 My Drug Buddy (KCRW Session, 1992)
4 Knowing Me, Knowing You (Acoustic)
5 Confetti (Acoustic)
6 Alison's Starting To Happen (Acoustic)
7 Divan

Demo Recordings
1 It's A Shame About Ray (Demo)
2 Rockin' Stroll (Demo)
3 My Drug Buddy (Demo)
4 Hannah & Gabi (Demo)
5 Kitchen (Demo)
6 Bit Part (Demo)
7 Rudderless (Demo)
8 Ceiling Fan In My Spoon (Demo)
9 Confetti (Demo)

René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series, and is released on Delia Derbyshire Day 2021.

It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film.

A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album.

‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments.

“No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory

“Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian.

TRACK LISTING

Side A
A1 Opening Credits
A2 The Chase
A3 Saved/Captured
A4 The Bracelet
A5 Council Of Draags Pt.I
A6 Terr & Tiwa
A7 The Knowledge Pt.I
Side B
B1 The Fight
B2 The Knowledge Pt. II
B3 The Initiation
B4 Escape
B5 The Big Tree
B6 The Ritual
B7 The Duel
Side C
C1 Theft/Zarek
C2 The Bird
C3 The Free Oms
C4 The Purge
C5 The Journey To Ygam
Side D
D1 The City Of Free Oms
D2 Robot Attack
D3 The Fantastic Planet
D4 The Final Battle
D5 Terr C6 Council Of Draags Pt.II
D6 End Credits

Through the hazy daze of a smoky folk opus, Modern Studies craft rich soundtracks, stuttering Super-8 sketches from a washed-out world of melancholy, hand-tinted and tantalising. Lullaby couplets blossom into gorgeous chamber pop melodies, the drama unfolding behind Emily Scott’s plaintive vocal; part Julie London, part Sandy Denny, a little bit Kate Bush, with a hushed sigh of Joni.

Sweeping strings carry them into unchartered terrain on their new album ‘We Are Here’, flying high above their psych-folk roots, it’s an epic journey that’s exquisitely delivered, transcending categories, nodding to Brubeck, Low, Talk Talk, Jim O’Rourke and Pentangle, making music that is ready to cross over in these modern times with songs of substance.

TRACK LISTING

Side A
A1 Sink Into
A2 Light A Fire
A3 Comfort Me
A4 Two Swimmers
A5 Wild Ocean
Side B
B1 Open Face
B2 Won't Be Long
B3 Mothlight
B4 Do You Wanna
B5 Winter Springs

A beautifully observed baroque masterpiece, part dream pop, part futuristic psych-folk with ambient synths and Josephine Foster’s plaintive guitar. Godmother is a slowly unfolding song cycle that marries a myriad of previous musical escapades with electronic experiments.

Exploring new horizons on this record, it sees Foster at her most expressive and hypnotic. Now back home in the mountains of Colorado, Josephine’s 20-year journey to this new nirvana becomes enthralled further with a symphony of synths that sound like they are played in some neighbouring netherworld, through cotton gauze. It’s music that’s devotional, spiritual, a fitting soundtrack for any journey within or without, a means to experience places and vibrations beyond the boundary of time and space.

Discussing the record, Josephine explains “You may notice me travelling a bit further sonically from our precious earth, aspiring to rise into broader astral perspective, to contemplate the light and origins of it all, as I do believe there is a grand source that is the sum of it all, us all. Performing all the parts on this recording, you may sense me focussing gestures of my singing into the instrumentation, which is a very great relief indeed, as the voice has such grand dreams to be set free.”

TRACK LISTING

1. Hum Menina
2. Sparks Fly
3. Guardian Angel
4. Old Teardrop
5. Flask Of Wine
6. Gold Entwine
7. Dali Rama
8. Nun Of The Above
9. The Sum Of Us All

Following Lucy Gooch’s acclaimed ‘Rain’s Break’, her first release on Fire Records earlier this year, the artist’s acclaimed debut EP ‘Rushing’ is revisited with new artwork and a brand new track, ‘Orthione’.

“Lucy’s sound marries the etheral qualities of ambient music with buoyant, effortless pop” Crack

‘Rushing’ in its original shorter five-track incarnation was heralded as a touchstone beneath the cascading torrent of modern times and an oasis for turbulent times. An intimate collection of songs built around Lucy’s emotive vocals and unique ambient dream pop, the newly added stand-out track ‘Orthione’ trips into the esoteric world of Laurie Anderson and Philip Glass; here her voice is the grounding force that travels to a space that heals and grows.

TRACK LISTING

Side A
1. My Lights Kiss Your Thoughts Every Moment
2. Rushing
3. Stalagmites & Helicitites

Side B
4. Sun
5. There Is A Space In Between
6. Orthione

The Dream Syndicate’s 1986 album is back on CD for the first time in 24 years. Hidden inside of ‘Out of the Grey’ are some of Steve Wynn’s strongest songs - “Slide Away” is delightful pop, “Now I Ride Alone” is moody and intense “like the hardboiled typewriting of novelists Jim Thompson, Ross MacDonald, and James Cain” that Wynn dug back in July ‘85. The epic “Boston” imagines the era in which Van Morrison was holed-up in that city circa 1967-68 writing the songs that comprised Astral Weeks while “50 in a 25 Zone” is a vehicle for a band-driven, slow burn groove.

Deliciously remastered with new liner notes from the band’s historian Pat Thomas, the package compiles 51 songs spread across 3 CDs, including a previously unreleased live album (from July 1985) and many unreleased demos and out-takes. The deluxe reissue also features interviews with Steve Wynn, Mark Walton, Paul Cutler, and Dennis Duck - plus plenty of rare photos.

Discs 2 and 3 reveal a wealth of unreleased material – including a never-before-heard July 1985 live album which has the ‘balls to the wall’ energy hard not captured in the studio. The songs were so fresh on that July night - they had not been recorded in the studio yet. On Disc 3, you’ll hear alternate versions of several Out of the Grey songs recorded as ‘demos’ before the album versions. These studio versions also have the raw energy of the live show, plus the band plays rare cover versions by Pink Floyd, Cream, Santana, Green on Red, Alice Cooper, Temptations, and Dolly Parton.

51 songs including 34 never-before heard Dream Syndicate recordings – released under the title of: What Can I Say? no regrets... Out of the Grey + live, demos & outtakes… in other words, you need this!

TRACK LISTING

Disc 1 – Out Of The Grey
1 Out Of The Grey
2 Forest For The Trees
3 50 In A 25 Zone
4 Boston
5 Blood Money
6 Slide Away
7 Dying Embers
8 Now I Ride Alone
9 Drinking Problem
10 Dancing Blind
11 You Can't Forget
12 Let It Rain
13 Cinnamon Girl
14 Ballad Of Dwight Frye
15 Shake Your Hips
16 I Won't Forget
17 The Lonely Bull

Disc 2 - Live At Scorgies NY, 1985
1 Out Of The Grey (Live At Scorgies NY, 1985)
2 50 In A 25 Zone (Live At Scorgies NY, 1985)
3 That's What You Always Say (Live At Scorgies NY, 1985)
4 Slide Away (Live At Scorgies NY, 1985)
5 Dancing Blind (Live At Scorgies NY, 1985)
6 Blood Money (Live At Scorgies NY, 1985)
7 Dying Embers (Live At Scorgies NY, 1985)
8 It Hits You Again (Live At Scorgies NY, 1985)
9 Now I Ride Alone (Live At Scorgies NY, 1985)
10 John Coltrane Stereo Blues (Live At Scorgies NY, 1985)
11 Still Holding Onto You (Live At Scorgies NY, 1985)
12 When You Smile (Live At Scorgies NY, 1985)
13 Days Of Wine And Roses (Live At Scorgies NY, 1985)

Disc 3 - Odds & Sods
1 Here On Earth As Well (Demo, 1985)
2 Dancing Blind (Demo, 1985)
3 Blood Money (Demo, 1985)
4 Dying Embers (Demo, 1985)
5 Slide Away (Demo, 1985)
6 It Hits You Again (Demo, 1985)
7 Now I Ride Alone (Demo, 1985)
8 Eighteen
9 Another Brick In The Wall
10 Brain Damage
11 Out Of The Grey Waltz
12 The Munster's Theme Song
13 Sixteen Ways
14 Papa Was A Rolling Stone
15 Low Rider
16 Papa Jam
17 I Ain't Got Nobody
18 Jeannie's Afraid Of The Dark
19 Badge
20 Dancing Blind (Live At The Stone SF, 1984)
21 Blood Money (Live At The Stone SF, 1984)

An essential rock artefact tracing The Groundhogs from their pre - ‘Thank Christ For The Bomb’ blues roots to the final live show for the classic line up of Tony McPhee (guitar and vocals), Pete Cruikshank (bass) and Ken Pustelnik (drums). Never before heard recordings from the Warner Brothers’ vaults including a vintage 1969 set from their show at the Richmond Athletic Ground (AKA The Crawdaddy Club) and their final explosive set at the Pocono Raceway track. Includes the live debut of what would become the anthemic ‘Cherry Red’ and McPhee’s seismic destruction of ‘Amazing Grace’. A career-spanning gem from the ultimate heavy rock power trio book-ending 976 days and 250-plus live shows. “In their stage act they concentrate on being as heavy and as hard-hitting as possible.” The Scene magazine. “Performing on stage we feel that the emphasis is on excitement so we play the numbers that involve the greatest amount of movement and dynamics,” Tony McPhee told Star Pop.

TRACK LISTING

A1 Cherry Red (Richmond Athletic Ground, London - 1969)
A2 Mistreated (Richmond Athletic Ground, London - 1969)
A3 Natchez Burning (Richmond Athletic Ground, London - 1969)
B1 BDD (Richmond Athletic Ground, London - 1969)
B2 Times (Richmond Athletic Ground, London - 1969) 
C1 Still A Fool (Richmond Athletic Ground, London - 1969) Side 
D1 Group Intro (Richmond Athletic Ground, London - 1969)
D2 No More Doggin' (Richmond Athletic Ground, London - 1969) 
E1 Eccentric Man (Pocono Raceway, Pennsylvania - 8th July 1972)
E2 Music Is The Food Of Thought (Pocono Raceway, Pennsylvania - 1972)
E3 Cherry Red, Split Part 2 (Pocono Raceway, Pennsylvania - 1972) 
F1 Still A Fool, Amazing Grace (Pocono Raceway, Pennsylvania - 1972)

‘Until We Fossilize’ is the debut album from Marta Del Grandi, an eclectic singer songwriter from Italy. This is an award-winning jazz vocalist set in new territory, crossing borders of genre and style from West Coast ‘60s to ambient exotica, from plaintive Lynchian etherealism to dramatic Morricone scores. Marta gathers influences from near and far to create a unique genre-splicing style who’s now travelling her own unique and unchartered path.

Newly signed to Fire Records, this debut is an unravelling of time and distance; a breath taking journey from mainland Europe to the Far East and back again, delivered as an eerie, soundtrack by a captivating vocalist. A self-produced gem; filled with lush strings and electronic ambience and an eclectic vocal that transcends boundaries.

Lead single ‘Amethyst’ takes inspiration by the myth of Amethyst, filled with Greek mythology, touching the wildest manifestation of imagination, it’s the story of a woman who frees herself from the expectations imposed on her by patriarchy. Composed with Indian drummer Tarun Balani, Marta sounds like Sandy Denny backed by Eno on Gamelan with a nod to Sun Ra.

‘Until We Fossilize’ is a lyrically aware set of dramas littered with life-affirming couplets over gorgeous, dramatic turns.

“It’s modern and ancestral at the same time.”

STAFF COMMENTS

Patrick says: Del Grandi flirts with exotica, ambient, Mediterranean and West Coast moods on this LP, providing an accidental Balearic hit.

TRACK LISTING

Side A
A1 Taller Than His Shadow
A2 Shy Heart
A3 Amethyst
A4 Swim To Me

Side B
B1 Somebody New
B2 Lullaby Firefly
B3 Birdsong
B4 Totally Fine

1000 copies pressed. Fist time on vinyl. Double debut from Howe Gelb’s one-off project that features members or Arcade Fire, Grandaddy, Scout Niblett and M Ward among others. Featuring extensive notes and interviews with the collaborators, exploring how the whole thing was put together.

TRACK LISTING

Side A.

1 Velvet And Pearl
2 Where The Wind Turns The Skin To Leather
3 AAAA (1)
4 Low Spark Of High Heeled Boys.

Side B.

5 Man On A String
6 Bottom Of The Barrel
7 AAAA (2)
8 Can Do Girl.

Side C.

9 Blue Blue Marble Girl
10 Baby It's Cold Outside
11 Re-Entry
12 Loretta And The Insect World
13 AAAA (3)
14 Talula And The Last Straw.

Side D.

15 Vows
16 AAAA (4)
17 Recital
18 The Leaving You. 

A purgative surrender to nature’s whim driven by a clattering machine drumbeat and rolled in a puddle of filthy dirty fuzz, ‘Natural Successor’ is the riotous new single from isle of Eigg based Scottish psychedelic electronic-pop ogre Johnny Lynch AKA Pictish Trail.

Set for release on limited-edition 12” vinyl by Fire Records, with support from Johnny’s own label Lost Map Records, it’s the first taste of a set of brand-new Pictish recordings produced by longterm collaborater Rob Jones (The Voluntary Butler Scheme, The Gene Dudley Group).

The 12” single features exclusive remixes by Django Django and Makeness

STAFF COMMENTS

Matt says: Always nice to hear from the driving force that is Johnny Lynch. "Natural Successor" is soaring psychedlic rock with stadium potential. Django Django jump on board with a baggy, ALFOS-friendly tweak too. Then Makeness twist things up with a frenzied jungle refix.

TRACK LISTING

A1. Natural Successor
A2. Natural Successor (Instrumental)
B1. Natural Successor (Django Django’s Fazed And Confused Mix)
B2. Natural Successor (Makeness Remix)

In 1994 Come responded to the difficult-second-album stereotype with the hypnotic, intense and emotional masterpiece ‘Don’t Ask Don’t Tell’. Featuring the original line-up of Thalia Zedek, Chris Brokaw, Sean O’ Brien and Arthur Johnson, the Boston band broadened their sound by slowing down the tempos and creating a dense urban stream of consciousness that mixes noise, city blues and… catharsis. The album hits you immediately as one of the greatest dissident records ever made.

Lovingly remastered, this expanded edition includes 'Wrong Sides', an additional albums worth of b-sides and unreleased tracks, including the band's very first single 'Car' and their last recorded song, 'Cimarron', featuring this core line-up. These gems showcase the rawness and incredible growth of a band completely in command of their songwriting and at the same time paying homage to some of their punk roots with beautiful renditions of Swell Maps 'Loin Of The Surf' and X's 'Adult Books'. Also Includes new artwork with unearthed photos and fresh liner notes by the band.

Dissident from traditional rock this is a band playing music that thematically and structurally seems to pull from old Europa, from Eastern folk and modernist classical music as much as US and UK rock. Dissident from traditional ideas about singing and songwriting Thalia’s (ex of Live Skull) presence on songs like ‘Yr Reign’ and the astonishing closer ‘Arrive’ isn’t the pushy self-aggrandizement of a lead singer but the internal voice of the eternal migrant, someone who knows about survival, hiding, how living between multiple worlds can become its own refuge of distance, its own sanctuary of unbelonging Don’t Ask Don’t Tell emerged from a period of cohesion, a break from the tight and hectic touring schedule Come had been plunged into after the acclaim accorded 11:11, and you can hear that increased focus in every moment the layers of guitars and feedback are even more precise, the structuring of songs takes on a new openness and ambition, and the whole narrative arc of the record from ‘Finish Line’ to ‘Arrive’ is more exquisitely realised and sequenced.

TRACK LISTING

Don't Ask Don't Tell - Disc 1
A1 Finish Line
A2 Mercury Falls
A3 Yr Reign
A4 Poison
A5 Let's Get Lost
B1 String
B2 German Song
B3 In/Out
B4 Wrong Side
B5 Arrive

Wrong Sides - Disc 2
A1 Car
A2 Last Mistake
A3 Submerge
A4 Loin Of The Surf
A5 SVK
B1 German Song (Demo)
B2 Adult Books
B3 Who Jumped In My Grave
B4 Angelhead
B5 Cimarron

‘Burning Your Light’ is a new six-track EP of covers from the remarkable Brigid Mae Power, it follows ‘Head Above the Water’ (2020) which saw her unique vocal style and music heralded in all corners. Power’s ability to interpret songs is unquestionable, as is her love of the art of songwriting. She skilfully brings joy from pain which is perfectly illustrated on this new EP.

Ranging from the brittle collapse of ‘Didn’t It Rain’ (Songs: Ohia) through to the slings and blows of Aretha Franklin, Bob Dylan and Patsy Cline, she brings hope and reverence to these classic songs.

The EP features ‘I’ll Be Here In The Morning’ from the late great pioneer of alt-country Townes Van Zandt’s essential album ‘For The Sake Of The Song’ (1968), ‘One More Cup Of Coffee’ hails from Bob Dylan’s ‘Desire’, Aretha Franklin’s ‘It Ain’t Fair’ from her 1970 album ‘This Girl’s In Love With You’, Songs: Ohia’s ‘Didn’t It Rain’ to ‘Leavin’ On Your Mind’, a country standard by Patsy Cline from 1963, that’s now taken to new depths of despair.

Also reworked is ‘May Morning Dew’ an Irish ballad that allows Brigid’s voice to ululate in the best tradition of the genre; the traditional sound is brought into a new decade with its chilling ambience.

"A remarkable Irish singer emerges from filigree and shadow" Mojo.

“The magic is in the folk singer’s extraordinary voice” Sunday Times.

"A remarkable Irish singer emerges from filigree and shadow" Mojo.

STAFF COMMENTS

Barry says: Well, it's certainly a week for the cover versions isn't it? First Angel Olsen and now the folk stylings of Brigid Mae Power with her wonderful collection of folky covers of classics. It's Powers' voice that really tie together the songs here, filled with unrivalled emotion and brittle folky charm.

TRACK LISTING

A1. I’ll Be Here In The Morning
A2. One More Cup Of Coffee
A3. It Ain't Fair
B1. Didn't It Rain
B2. May Morning Dew
B3. Leavin' On Your Mind

Love Record Stores Edition available instore from 10am on Saturday September 4th, any remaining copies will be available on online from 9pm on the same day.
Limited to one per person.

‘Life Flows In Endless Song / The Body Is A Tide’ EP is released on vinyl for this year’s Love Record Stores on 4th September 2021.
Following the release of ‘The Weight Of The Sun’ LP, Modern Studies shift from light to dark over two new EPs brought together as six track 12-inch ‘Life Flows In Endless Song / The Body Is A Tide’, a record that further cements their reputation for innovative craftsmanship. ‘Life Flows In Endless Song’ showcases the band’s increasingly expansive sound, swelling with orchestrated drama behind the rich vocal pairing of Emily Scott and Rob St John, before their otherworldly dreaminess is pin-pricked at its height by Emily’s beautiful alto on ‘The Failing Light’. ‘The Body Is A Tide’ hails from ominous darker terrains, scratching further into their own psyche; it’s heady and baroque, ornate and super-detailed, an opus that climaxes with ‘High Hymn Summers’ and its slowly-rolling drone, created by processing all the songs from ‘The Weight of the Sun’ played at once. "The EP nods at the idea of our collective bodies weathering rough times, played out with massed strings, prepared guitars, slow bass grooves, hypnotic drums, wobbling saw, xaphoon and mellotron. We shook off our usual song structures in favour of something repetitive, slow and heavy; life flows in endless song." 

From the turn of the millennium, ‘Pennsylvania’ was the eleventh studio album from this uncompromising and influential group, presenting their dark take on pop music. This edition is newly remixed by David Thomas in 2021 and reissued on Fire Records. “Everyone talked about our artiness and our unlikeableness, people completely ignored for decades me saying, ‘We’re a pop band’.” David Thomas. With ‘Pennsylvania,’ Pere Ubu welcome you to a barely recognisable secret country drawn out of its own spectral geography... This is much more than just music.

“[Pere Ubu] were still creating great works of abstract art, pushing the limits of rock ‘n’ roll to twist into avant-garde explorations of the darkest recesses of the human mind” Classic Rock // “From the beginning they obviously understood the nuts and bolts of popular music, and then loosened them.” Mojo

TRACK LISTING

Side A
A1 Woolie Bullie
A2 Highwaterville
A3 SAD.TXT
A4 Urban Lifestyle
A5 Silent Spring
A6 Mr Wheeler
A7 Muddy Waters

Side B
B1 Drive
B2 Indiangiver
B3 Monday Morning
B4 Perfume
B5 Fly's Eye
B6 Wheelhouse

Pere Ubu's darkest and most dramatic statement, ‘St Arkansas’ remains a work of offhand brilliance by a band who often seem capable of miracles. This edition is newly remixed by David Thomas in 2021 and reissued on Fire Records. Following ‘Pennsylvania’, ‘St Arkansas’ (2002) was Pere Ubu’s next studio album featuring a travelogue of characters encountered on the Mighty Road from Conway Arkansas to Tupelo Mississippi, I-40 to US 49 to State 6. “I drove the route and wrote down what the Road was telling me.” David Thomas. Pere Ubu are the mainstream.

“Immediate, energised and claustrophobic.. It's difficult to think of a more important band.” Mojo.

“Straddling the extremes of pure, uncompromising modern art and pure, uncompromising loud rock.” The Sunday Times.

TRACK LISTING

Side A
A1 The Feverered Dream Of Hernando DeSoto
A2 Slow Walking Daddy
A3 Michele
A4 333
A5 Hell

Side B
B1 Phone Home Jonah
B2 Lisbon
B3 Mr Steve
B4 Where's The Truth
B5 Dark

Tenth anniversary reissue of Josephine Foster’s lauded ninth album ‘Blood Rushing’. The North American Colorado based singer-songwriter has lent her warbling mezzo-soprano and interpretive wit to nearly two decades of self-produced recordings. Foster’s songs are rooted in early American folk-blues as well as classical art song and Tin Pan Alley. A rock-ballet chanté, the music is set to a Pueblo drum's metapulsing Pan-American heartbeat. Recorded in Colorado by Andrija Tokic (Alabama Shakes) with the collaboration of her partner Spanish guitarist Victor Herrero, and musicians Paz Lenchantin (The Entrance Band), Heather Trost (A Hawk and a Hacksaw) and Ben Trimble (Fly Golden Eagle). A story within a story, ‘Blood Rushing’ is a glimpse into the world of Blushing, a heteronym of the artist Josephine Foster. “North American folk linage from Jean Ritchie and Hedy West through to the present, via the chugging, churning electronic (folk) rock of The Velvet Underground, all the time infused with a joyous communal warmth.”

TRACK LISTING

A1 Waterfall
A2 Panorama Wide
A3 Sacred Is The Star
A4 Child Of God

B1 Blood Rushing
B2 The Wave Of Love
B3 O Stars
B4 Geyser
B5 Underwater Daughter
B6 Words Come Loose

An exploration of repression, longing and ‘otherness’ amidst illusory landscapes, ‘Rain’s Break’ EP is inspired by the early technicolour films of Powell and Pressburger. Lucy Gooch uses synthesisers and vocal layering to concentrate elements of each film’s score and narrative into songs which move through different moods of yearning and renewal:
“I first experienced their strange cinematic worlds in childhood, and they stayed with me, like waking dreams – their vibrancy seemed to capture the hidden emotional lives of everyday people. The films’ fantastical sets were often met with the complexities of the inner female experience, as portrayed by each heroine. People wrestling with post-war isolation, changing attitudes to women and sexual repression alongside their struggle to establish equality and autonomy of their own lives.”

So, it is amidst 1940’s austerity that these films were an escape, an over-rich backdrop of possibilities. A snatched piece of dialogue, the film’s score, the crackle of uncertainty all succumbs to the layered ambience of Lucy’s music as she traces moods of yearning and renewal on ‘Rain’s Break’ EP.

Originally from Norfolk, Lucy studied Fine Art and later moved to Bristol to join the emerging ambient scene there - gradually developing her writing and finally releasing her debut ‘Rushing’ EP in early 2020. Over the past year, she’s dipped into a wealth of long gone celluloid as the basis for a filmic journey, a five song EP that relives formative movies in her unique take on ecclesiastical pop.

‘Ash and Orange’ emerged after listening to old recordings of women’s choirs from the 1930’s, their stoic sopranos circling churches and halls. In two parts, it touches on an everyday person’s hidden life that leads to an emotional breaking-down. A change from Lucy’s trademarked looping style it takes its inspiration from choral composition.

‘Chained To A Woman’ by contrast, is more playful, nodding to ‘80s synth pop, a homage to some degree to Blue Nile, pop music tinged with melancholy.

“I sought to stick to that tradition of talk-singing the verses, and it seemed to fit in with the feeling of the song, which is more ambiguous. I wanted the words to be about being devoted to something, like family, a person or religion and all the things that come with that kind of devotion.”

Inspired by the monsoon scene at the end of Black Narcissus (1947), the title track ‘Rain’s Break’ takes its lead from the weather to reflect an emotional journey.

“That amazing tradition in early film of using weather to reflect the character’s emotional journey - it seems cliched now but at the time it was revolutionary. This is my attempt at trying to recreate the feeling of total surrender to drama, of something totally sensual.”

This is music that takes you places, shifts focus, paints large canvases.

STAFF COMMENTS

Barry says: There are all sorts of musical touchstones flying out of the player for this one. It's essentially widescreen ambient music but with a focus on the walls of echo and reverb-effected synths more akin to shoegaze. Slowly building into crescentic waves of layered tones, brilliantly warm but undeniably massive.

TRACK LISTING

Side A
1 Rain's Break
2 It Brings Me Back To You
3 Chained To A Woman

Side B
4 6AM
5 Ash And Orange

Come Away With ESG - 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that’s the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it’s for the dance floor but it’s not funk, there’s no horns, no driving organ; it’s the opposite of Sly And The Family Stone but no less cool and no less groovy. “A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, ‘Come Away’ confirms the notion that the real rhythm is what happens between the beats.

TRACK LISTING

1. Come Away
2. Dance
3. You Make No Sense
4. Parking Lot Blues
5. Chistelle
6. About You
7. It’s Alright
8. Moody ( Spaced Out )
9. Tiny Sticks
10. The Beat
11. My Love For You

“Treacy is the outsider's outsider, committed to a raw honesty, constantly bearing witness to his own suffering, his own weakness and fallibility.” The Quietus // A comprehensive remastered collection of all of the Television Personalities’ ground-breaking single releases from the Peel-approved ‘14th Floor’ through to the effervescent ‘Salvador Dali’s Garden Party’ EP. Includes the super rare Creation flexi, the TVPs as The Gifted Children, and the even rarer Caff 45 where the band tackle Stock, Aitken And Waterman.Purists will also find two shelved 45s for the Dreamworld label plus their take on Syd Barrett’s ‘Apples And Oranges’ from the ‘Beyond The Wildwood’ tribute album. Features the seminal ‘Where’s Bill Grundy Now’ and the self-effacing ‘Part Time Punks’ alongside a host of pop culture-bating gems. A celebration of the songwriting of Dan Treacy

TRACK LISTING

Side One

01 - 14th Floor
02 - Oxford St., W.1
03 - Part Time Punks
04 - Where's Bill Grundy Now?
05 - Happy Families
06 - Posing At The Roundhouse
07 - The Prettiest Girl In The World
08 - If That's What Love Is

Side Two

01 - Smashing Time
02 - King And Country
03 - I Know Where Syd Barrett Lives
04 - Arthur The Gardener
05 - Three Wishes
06 - Geoffrey Ingram
07 - And Don't The Kids Just Love It!

Side Three

01 - A Sense Of Belonging
02 - Paradise Estate
03 - How I Learned To Love The Bomb
04 - Then God Snaps His Fingers
05 - Now You're Just Being Ridiculous

Side Four

01 - She's Only The Grocer's Daughter
02 - A Girl Called Charity
03 - Salvador Dali's Garden Party
04 - The Room At The Top Of The Stairs
05 - This Time There's No Happy Ending
06 - Part One: Fulfilling The Contractual Obligations

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).

1500 pressed on Creamy White vinyl & DL card. First time on vinyl since 1998 for this magnificent patchwork collage of the Giant Sand main manís eclectic muses; a cut and paste gem, meandering, melancholy and beautiful. Classic solo album from Giant Sand's main man Howe Gelb circa 1998, re-issued with new liner notes and remastered on cream vinyl. A catch-all collection from the much-travelled troubadour that brings together a wealth of personal recordings edited into an intriguing ponder wander through the manís thinking.

A truly intoxicating set of songs buoyed by Howe Gelb's prosaic prose and effortless use of the mind-bending one-liner. ìíHisserí is the vision of a truly unique and engaging talent, and in its pure heart and soul lies a masterpiece.
College Music Journal // Pure genius and usually chaotic, Howe Gelb is a cottage industry often labelled the Godfather of alternative country. BOMB magazine // There are wonderful glimpses of what Gelb is capable of when heís not rushing off to dabble with the next nugget in a seemingly inexhaustible flow of ideas. The Line Of Best Fit // One of those albums that could have a semi-permanent spot next to the hi-fi for late-night playing. The Independent 

TRACK LISTING

Side A. 1 Temptation Of Egg 2 4 Door Maverick 3 This Purple Child 4 Shy Of Bumfuck 5 Propulsion 6 Catapult 7 Creeper.
Side B. 8 Tanks Rolling Into Town 9 Halifax In A Hurricane 10 Living On A Waterfall 11 Like A Store Front Display 12 Explore You 13 Nico's Lil Opera 14 Thereminender 15 Hisser 16 Intro Speck 17 Soldier Of Fortune 18 Lull 19 Short Way To End The Day

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).

1000 copies pressed on Yellow vinyl & DL card. Fist time on vinyl. All-enveloping superbly alternative third take on 1988's Charmed Life album featuring previously unissued versions and a half dozen previously unreleased songs. Includes brand new liner notes and an interview with Jad and David Fair.

TRACK LISTING

Side A. 1 Said And Done (Alternate Version) 2 Evidence (Alternate Version) 3 Vietnam (Alternate Version) 4 Love At First Sight (Alternate Version) 5 Snake Line (Alternate Version) 6 Fun For All 7 Face Rake (Alternate Version) 8 Later In A Magazine (Alternate Version) 9 Red Dress (Alternate Version) 10 Charmed Life (Alternate Version 1).
Side B. 1 Day And Night With Angie 2 Madonna Nude (Alternate Version) 3 Ashes On The Ground 4 T For Texas 5 I'll Change My Style (Alternate Version) 6 Fortunate (Alternate Version) 7 Please Crawl Out Your Window 8 30 Seconds In Heaven 9 Charmed Life (Alternate Version 2)

Marina Allen glides on angelic highs, surfing the husky deep; she is one of the great new voices of her generation. Writing songs that carry notes from other realms; these are kitchen table tales about love and fear, the capturing of the wild heart, sketching the breaking of dawn, bringing real life back to life. Every song on stunning debut album ‘Candlepower’ is a tick box of influences, asides, inspirations, quickfire theories, storylines and melodic progressions that galvanise a chemical reaction for each dramatic scene that unfolds on this genre-traversing seven song epic.

One listen to opening track ‘Oh, Louise’ underlines the range of Marina’s talent, it’s a filmic play on words, with an arrangement that’s like a Kate Bush dream sequence. It’s the perfect foil for the plaintive strum of ‘Sleeper Train’, a haunting, folky paean fit for Judee Sill brought up to date with some echoey electric guitar; or the conversational ‘Believer’; with a nod to Joni Mitchell in the lyrics it sounds every bit like Simon And Garfunkel at their Big Apple best listening to the ‘7 O’Clock News’ re-imagined on Sunset. The stuff of legend for a voice that surfs many musical tangents, hovers, and persists, that stings with honesty; morphing from Karen Carpenter’s gentle reverence to Laura Nyro’s soulful grit, moving through the phases like some possessed Dada performance artist before throwing in a melody from Joni at her jazziest or from the close harmonies of the lamented Roches when they flipped out with Robert Fripp. ‘Candlepower’ is a juxtaposition of melodies, an achingly beautiful set of songs set against the clank of the mundane world, a beguiling commentary on the everyday and everywhere. It’s all here, in under 20 minutes… every second counts.

TRACK LISTING

A1 Oh, Louise
A2 Original Goodness
A3 Belong Here
A4 Sleeper Tran
B1 Believer
B2 Ophelia
B3 Reunion

New studio album from the Dunedin (NZ) songsmiths helmed by the enigmatic Martin Phillipps with artwork by Trees’ David Costa. Dunedin’s finest, The Chills release their seventh studio album ‘Scatterbrain’, a glorious self-examination of Martin Phillipps’ songwriting hot (ish) on the heels of the hugely successful ‘Snowbound’ (2018) and the critically-acclaimed movie ‘The Chills: The Triumph And Tragedy Of Martin Phillipps’ a year later. “It’s about artistic integrity, self-realisation, self-acceptance and a reflection on mortality.” The Guardian Now in 2021, Phillipps is now taking stock of things – everything. Yes, everything.

The result is this triumphant new Chills’ album ‘Scatterbrain’, a thought-provoking and evocative take from a man who has lived through good times and bad. A mature and honest reflection on life, destiny and the fate of our times delivered in beautiful melodies with Phillipps’ trademarked incisive turn of phrase. Viewed from the perspective of a man understanding his age and indeed his own mortality, the new album takes a mature look at matters arising with a side order of perspective. ‘Scatterbrain’ is a life passing before your ears as uncertainty increases and fake news rumbles on; during which aliens invade, Phillipps scales the walls beyond abandon as he probes the minutiae of worlds within worlds and the hourglass fills. A landmark album from one of the great modern song writers, it’s pure pop music for the new normal and we can’t wait to see how it ends…

TRACK LISTING

Side A

A1 Monolith
A2 Hourglass
A3 Destiny
A4 Caught In My Eye
A5 You're Immortal

Side B

B1 Little Alien
B2 Safe And Sound
B3 Worlds Within Worlds
B4 Scatterbrain
B5 The Walls Beyond Abandon

One of the North-West’s finest exponents of otherworldly pop has landed back on earth with an album of shimmering space age bliss. Elements of disco, new wave and krautrock are undoubtedly present in Flock, but Jane never relies on genre tropes to carry her work. Instead, she harnesses familiar rhythmic devices and choices of instrumentation in her own distinctive way. And while comparisons could be drawn between Jane and contemporaries like Vanishing Twin and Gwenno, she has undeniably staked out her own domain within the realm of off-kilter synth pop.

Throughout Flock Jane demonstrates her delicate vocal agility over a series of hypnotic loops and clever synthesis. The lazy disco strut of “The Revolution Of Super Visions” sets up a jangling interplay between Jane’s sweetly sung declamations, new wave style guitar interjections and Cowley-esque synth squelch. While “Modern Reputation” is propelled forwards by a Broadcast style motorik rhythm with electronics whirring in the background and mantra-like vocal loops swirling in a strange ecstasy.

In the title track Jane’s gauzy vocals reverberate over the ebb and flow of a loose knit groove, while in “Sunset Dreams” ornate guitar riffs weave in amongst a haze of twinkling chimes and fizzing sawtooth synthesis. The album culminates in a moment of escapist pop euphoria with final track “Solarised”, laden with cascading arps and irresistible vocal hooks. Once again Jane has succeeded in creating something playful, fresh and unpretentious which is in equal parts a fun and intelligent listen. All hail the cosmic synth queen! 

STAFF COMMENTS

Barry says: This new outing from Jane Weaver sees Jane and co skirting the outer reaches of Disco, Synth-pop and ambient to stunning effect, rich with hooks but unmeasurably deep, it's one that will reveal more and more with each listen. Unsurprisingly superb.

TRACK LISTING

Side A
A1 Heartlow
A2 The Revolution Of Super Visions
A3 Stages Of Phases
A4 Lux
A5 Modern Reputation
Side B
B1 Flock
B2 Sunset Dreams
B3 All The Things You Do
B4 Pyramid Schemes
B5 Solarised

One of the year's most daring and true pop records, private LIFE comes as the result of Virginia Wing living through, and with, huge personal emotional and mental traumas. It is a document of how the very process of music creation in a group can be of huge therapeutic benefit to people. The three members of Virginia Wing have explored the depths of their creative and artistic inspirations within performance, production and composition, and have made a candid and brash pop record that speaks clearly about hope, desperation, impulse, addiction, urge and shame.

More tumultuous than its predecessor, private LIFE knocks hard. The evolution of Virginia Wing’s sound continues to build on the broad creative flow of the last album whilst being another audacious contribution to contemporary pop. The drums are huge and playfully unquantized. Edits are both assured and heavy handed, the instrumentation lightly mediates the two and finds itself on the edge of collapse alongside them. The icy facade of Merida Richards’ words are still front and centre, but are contrasted by dense, multilayered improvisations, vying for attention throughout the record. Over ‘I’m Holding Out For Something’s relentless juggernaut of 90’s R’n’B beats, Richards examines the relentless hope and desperation glued to modern consciousness, and speaks of how we often find the answer, or the route through, right at the breaking point. Subsequently, ‘St Francis Fountain’ compounds the issue, observing that often our own coping mechanisms can grow into full blown traumas of their own. Virginia Wing’s last record opened its arms into euphoric light, private LIFE invites you through a door and closes it. It examines what we’re doing at night, on our own, after work. What we do to enjoy ourselves, to cope, to be together, to be alone. It shines a dim blue light on what might be happening, causing us anxiety, stress and desire.

STAFF COMMENTS

Barry says: Virginia wing bring another nuanced slab of moody synth-indie, with 'Private Life' displaying all of the superb songwriting prowess which made 2018's 'Ecstatic Arrow' such a heavy hitter, but with a more world-weary experience and depth of feeling. Superb stuff.

TRACK LISTING

Side A
A1 I’m Holding Out For Something
A2 Moon Turn Tides
A3 Soft Fruit
A4 Michael Returns To The Garden
A5 99 North
A6 Return To View

Side B
B1 St. Francis Fountain
B2 Private Life
B3 Half Mourning
B4 Lucky Coin
B5 OBW Saints
B6 I Know About These Things

The third album from Dutch punk-laced noiseniks adds new maturity and a conceptual feel that pulls the extremes of their sound together. A psychefuelled journey into the id punctuated with rhythmic kabuki modal mood swings, thunderstorms, digital beeps, traffic noise, and just plain old beautiful cacophonous reverb-drenched sound when needed.

The ‘third chapter’ refers to the last five years that the Dutch band have spent creating their “difficult” third album. Each song spins a yarn; there are plagues, dreams, wind and fire, ‘mythical’ characters, and the search for the secret government warehouse. Lead single, Tokyo Music Experience, resonates with a conveyor belt-propelled modal guitar, reflecting the halcyon days of Japanese super-productivity; a mesmerising mantra, infected with news bulletin on-thehour bleeps underlining its time-sensitive nature; a pristine super-commercial anthem to drive loyalty and reinforce solidarity with the party!

Having been described as creating “underground noise with a bracing, warped pop appeal” (Mojo), their new album is a coming-of-age post-classic with a unique worldview - inspired by Van Dyke Parks (Song Cycle) Scott Walker (3 & 4), Moondog (Elpmas), White Noise (An Electric Storm) and Beach Boys (Smile).

If their previous effort (Tape Hiss) was their very own sketch of a sketch for an incomplete concept album, a noisy reaction to their previous life, then ‘Excerpts From Chapter 3..’, with all its interlaced intricacies, is the realisation of their transition from punk-spiked-pop to psyche-pop protagonists. Evolving, testing, infectious...

STAFF COMMENTS

Barry says: This wild and superb outing from Rats On Rafts shows that the bands playful spirit and whimsical melodies don't have to give way when things get serious. A brilliantly deep and eminently enjoyable third outing.

TRACK LISTING

Side A
1 Prologue: Rain
2 A Trail Of Wind And Fire
3 Second Born Child
4 Tokyo Music Experience
5 The Rise And Fall Of The Plague
6 Another Year

Side B
7 Fragments
8 The Disappearance Of Dr. Duplicate
9 Excerpt Taken From Chapter 3
10 Where Is My Dream?
11 Part One: The Long Drought
12 Part Two: Crossing The Desert
13 Epilogue: Big Poisonous Shadows

Bonus Dinked Edition 7":
1. Tokyo Music Experience (Single Edit)
2. Osaka

Half Japanese return with another thrilling ride into unknown charters encountering beasts, celebrities, and menaces.

Purveyors of noise and indie rock for over four decades, Half Japanese have inspired generations of fans from musicians and critics alike.

Now set to release their 19th studio album ‘Crazy Hearts’ continues with their detuned, outsider pop capturing you in the way that only Jad Fair ever can.

A philosophical psych-tinged journey, these whip-smart observations are uplifting with life-affirming sentiments (‘Wondrous Wonder’) that we are familiar with. They meld melodic classic rock riffs with heavier bass lines and darker, more twisted tones on ‘My Celebrity’ and ‘A Phantom Menace’.
Their last excursion saw Uncut praising them for their “unchanged, more ecstatic musings on love and science fiction” that continues to resonate here.

Half Japanese deliver another well-wrought album with their usual DIY ethos and art punk spirit at its core (‘Undisputed Champions’), all whilst wearing Jad’s heart firmly on its sleeve (‘Crazy Hearts’).
Recorded across various studios in Spain, France and the US, Jad Fair is accompanied by his longstanding band members John Sluggett, Giles Vincent Rieder, Mick Hobbs and Jason Willett. Mastered by Brian Pyle and mixed by Jason Willett of the band. Album includes artwork from American illustrator and cartoonist, Gary Panter and David Fair.

TRACK LISTING

1. The Beast Master
2. Wondrous Wonder
3. Dark World
4. And It Is
5. My Celebrity
6. Late At Night
7. Undisputed Champions
8. Crazy Hearts
9. As Best You Can
10. A Phantom Menace
11. A Job Well Done
12. Let It Show

Brand new album from Colorado’s freewheelin’ melodist Josephine Foster.

Revolving between her adopted Spain and her native American West, Josephine was stationed this spring in Nashville with maverick guitarist and comrade-in-arms Matthew Schneider. The result: ‘No Harm Done’, a spacious and enveloping love letter of an album.

Eight new slow-burning songs branch forth from idiosyncratic country folk blues, sung with sibylline wit and a hint of the absurd, awash in sensually anachronic lyricism.

“The Wheel of Fortune”, nearly a title track by virtue of its refrain: 'No harm will come/if there's no harm done', are words of a homebound wanderer finding refuge in healing stillness with her beloved, having 'time to kill' in the midst of 'hard times to feel at home'. All delivered with calm sagacity upon the pedestal of Mr. Schneider's pedal steel and underscored by a knowing trebled chorus in Foster's lower register. Going nowhere never felt like so righteous of a destination before.

Devotion in all its permutations, spiritual to carnal, are seamlessly explored.

In 'Conjugal Bliss', overtones of the 12-string and autoharp gently interplay, sounding like some unearthed Carter family wedding hymn (it bears the subversive subtitle '69' ) while 'How come, Honeycomb?' bounces low in the hips like a sultry old music hall number à la Harry Nilsson. The obliquely sapphic 'Leonine', it's unquiet harp scaling right out of ancient Lesbos, dreams of a kingless land; in 'Sure Am Devilish', a stargazer humbly confesses to a lowercase lord. 'Old Saw', the mesmeric album closer, is a medium's petition to cross the threshold and merge with the holy spirit.

Josephine's enigmatic voice captured once more by frequent co-producer Andrija Tokic in his analog Bomb Shelter studio, where layers of her guitar, piano, organ entwine with Schneider's 12-string, pedal steel and electric bass to rouse a spectral yet full blooded band. The ensuing cycle of songs pulse and glow within the ruins and deep fundamental roots of American song.

TRACK LISTING

Side A
1 Freemason Drag
2 The Wheel Of Fortune
3 Conjugal Bliss
4 Love Letter

Side B
5 Sure Am Devilish
6 Leonine
7 How Come, Honeycomb?
8 Old Saw

Pulp’s 1992 album ‘Separations’ is part of the Fire Embers reissue series with unreleased bonus material. Their third and last album on Fire, Pulp had already transformed from their debut ‘It’ through the dark electronic phase of Freaks and were garnering significant momentum. Now critically acclaimed and with a live reputation matched by only a few, most of the songs on Separations sound fully-realised in that undeniably Pulp manner that was soon to be experienced everywhere. And, for the first time, there was an inescapable disco pulse. This is the transition album where Pulp, caught between a doomed romantic outsider past and an acid-bright future, made an album that brilliantly reflects both. Remastered and repackaged. Liner notes by Everett True. Featuring 4 bonus tracks ‘Death Goes To The Disco’ and ‘Is This House’, as well as an extended version of the single ‘Countdown’ and the previously unreleased ‘Death Comes To Town’. Separations spawned two of Pulps most successful singles to date in ‘Countdown and ‘My Legendary Girlfriend’ with the latter being placed on many top singles of 1991 lists by major music publications. Pulp’s ‘It’ and ‘Freaks’ will be reissued at the same time for the complete Pulp on Fire collection. 

TRACK LISTING

1. Love Is Blind
2. Don't You Want Me Anymore?
3. She's Dead
4. Separations
5. Down By The River
6. Countdown
7. My Legendary Girlfriend
8. Death II
9. This House Is Condemned
10. Death Goes To The Disco (BONUS)
11. Is This House? (BONUS)
12. Countdown (BONUS Extended Version)
13. Death Comes To Town (Bonus)

Recorded in Gold Dust Studios with a new sense of optimism and a fuller sound down to lots of extra energy (Nick believed it might be their last ever record) and the addition of piano and keyboards brings an instrumental direction.

Released on double LP with gate-fold sleeve for Record Store Day.

Ltd edition BOOKBACK CD companion to the Deluxe vinyl reissue of The Lemonheads ‘Lovey’ for Record Store Day 2020, housed in a bookback sleeve with expanded liner notes and unseen photos – this is the definitive document of Dando’s first steps towards the mainstream. The lovingly repackaged CD is accompanied by a second disc, ‘Triple J Live at the Wireless’, an unearthed radio session taken from their 1991 trip to Australia.

The major label debut for Evan Dando’s Lemonheads from 1990, following three “ramshackle punk” (©Select magazine) albums for Taang! Pivoted on a more approachable set of sweet melodies still rife with punky spirit. A light and dark album, polished in the arrangements, nodding to the excess of American culture (Manson and Gummi Bears), hectoring Reagan’s drug laws (‘Lil’ Seed’), riffing on everyday life.

Remastered with a freshly-dusted off second album featuring a full radio session recorded during their trip to Australia to promote the album and their gorgeous cover of Gram Parsons’ ‘Brass Buttons’.

“Like Hüsker Dü when they were at their most ferocious or REM when they were at their most Byrdsian hypnotic.” NME

TRACK LISTING

Disc One
The Lemonheads - Lovey
1 Ballarat
2 Half The Time
3 Year Of The Cat
4 Ride With Me
5 Lil Seed
6 Stove
7 Come Downstairs
8 Left For Dead
9 Brass Buttons
10 (The) Door
11 Untitled

Disc Two
The Lemonheads - Live At The Wireless
1 Come Back D.A.
2 Stove
3 A Song For You
4 Come Downstairs
5 Nighttime (Big Star Cover)
6 Year Of The Cat
7 Ride With Me
8 Die Right Now

Back in the 80s Dons Savage of Dead Famous People joined her first band Freudian Slips which soon ended so she along with fellow Freudian Slip refugee Biddy Leyland could pursue their own talents. A chance encounter with Flying Nun's spiritual guru, Chris Knox, led to a one-off deal with the label that resulted in a five-song EP, ‘Lost Persons Area’. Moving to London in 1986 the fabled "Flying Nun sound" began making an impact outside New Zealand. The release of near-perfect compilations by The Clean and The Chills except Dead Famous People were a little early for that buzz. Stumbling into a deal with Utility Records, Billy Bragg and legendary manager Pete Jenner. Dons later started singing with new combo, Saint Etienne, her vocals feature on the original version of their cover version hit, ‘Kiss And Make Up’, as well as a cover of Gil Scott-Heron's ‘Winter In America’. Around this same time, Martin Phillipps of The Chills asked Dons requested she sing on ‘Heavenly Pop Hit’. Dons soon returned home to Auckland without an outlet for her music, three decades later Fire tracked her down and the rest is history. Now set to release her new album ‘Harry’, it’s more philosophical than her earlier work. It feels like the right one for a world of apocalyptic pandemic, uncertainty and quarantine. Dons' power over melody and knack for profundity remains unchanged since Dead Famous People's original incarnation. A rare record in a time of musical factionalism and a world divided into camps of willful obscurity and grotesque mockeries of stardom and art, it’s a document of unadorned perfection.

"Bob bought a DFP single which we both really liked, we were drawn to the mystery of the band's name and the melancholy tone of Dons' voice." Pete Wiggs - Saint Etienne.

“There was a sense of excitement that something special was happening." Martin Phillipps – The Chills.

TRACK LISTING

Side A
A1 Looking At Girls
A2 Goddess Of Chill
A3 Safe And Sound
A4 Turn On The Light
A5 Dead Birds Eye

Side B
B6 Groovy Girl
B7 The Great Unknown
B8 Dog
B9 To Be Divine
B10 Harry

Part of Fire’s ongoing series of re-imagined soundtracks. Following on from Fenella, Jane Weaver’s score for Marcell Jankovics’ ‘Feherlofia’, and Death and Vanilla’s reworking of ‘The Tenant’ and ‘Vampyr’. A specially recorded soundtrack for Alfred Hitchcock’s legendary Ripper-based drama by multi-award-winning composer Graham Reynolds (Where Do You Go, Bernadette/A Scanner Darkly). ‘The Lodger’ – based on Marie Belloc Lowndes’ 1913 novel with a nod to the infamous Jack The Ripper case – set many hearts racing when visiting the East End of London and an unexpected fog descended.

The drama was afoot, and the tension has been further escalated with a re-imagined score by multi award-winning composer, bandleader, and innovative improvisor, Graham Reynolds. This tale of murder and suspense set on the streets of terrorised London is eerily completed as Reynolds’ sweeps from light to dark; it’s playful in places, haunting, a tease – like Hitchcock at his best. Nowhere is safe, even the seemingly innocuous ‘Police Station’ which is accompanied by a brooding piece of maniacal piano that underpins a gloriously evocative theme; a haunting and suggestive muse that stutters with tension. It’s another Reynolds’ master stroke on the heels of his score for Richard Linklater’s ‘Where Do You Go, Bernadette’, his work on Ballet Austin’s ‘Grimm Tales’ and his contribution to ‘The Sound Of Science’, a multimedia collaboration with Kronos Quartet’s former cellist Jeffery Zeigler.

TRACK LISTING

Side A

A1 - The Lodger
A2 - When He Sits At The Table
A3 - Golden Curls
A4 - Tempting Providence
A5 - You Will Not Rest

Side B

B1 - The Satchel
B2 - Keep Your Handcuffs Hidden
B3 - Police Station
B4 - A Kiss On The Hand
B5 - The Chase

Artist, illustrator, writer and lo-fi innovator, Tobin Sprout was the super-productive partner of Robert Pollard in the legendary Guided By Voices. The gifted songwriter returns with a pensive, expansive part autobiographical new album ‘Empty Horses’. Here he’s part Townes Van Zandt, part John Prine, part Robbie Robertson at his retrospective best.

The album is a meticulously observed study of America and Americana (not the music, but the state of mind). An alternative American Songbook, if you will, a collection of laments to simpler times and the struggle for what’s right, peppered with an examination of faith and the search for a sense of justice. Close up and personal, ‘Empty Horses’ is a poignant carefully etched experience, a rolling journey in modern times, nodding back to tradition, a personal snapshot filled with honesty.

‘Empty Horses’ is released on vinyl LP and also a deluxe bookback CD, beautifully packed with 24 pages of paintings and lyrics by Tobin Sprout, a true collectors piece for fans of Tobin’s music and art.

“The perfect aural encapsulation of melancholy: in turns somnambulant, romantic and all-consuming” Rolling Stone.



“Raw, honest and often revelatory” Consequence Of Sound

TRACK LISTING

Side A
1 Wings Prelude
2 The Return
3 Breaking Down
4 On Golden Rivers
5 The Man I Used To Know

Side B
6 Every Sweet Soul
7 Empty Horses
8 Antietam
9 All In My Sleep
10 No Shame

‘Sun Racket’ is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos. When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that”.

Two-minute songs reappearing as twisted instrumentals or another song’s bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. ‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal”. “All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” - Kristin Hersh And so, they continue. Business unusual.

STAFF COMMENTS

Barry says: Throwing Muses bring us their newest selection of gritty, fuzzed-out rock and / or roll, classic rock tinged melodies and deep, bluesy grooves. It's an intoxicating and exciting mix, and one that hasn't tempered any over time.

TRACK LISTING

1 Dark Blue
2 Bywater
3 Maria Laguna
4 Bo Diddley Bridge
5 Milk At Mcdonald’s
6 Upstairs Dan
7 St Charles
8 Frosting
9 Kay Catherine
10 Sue's

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

Black Vinyl.Essential reissue of Josephine Foster's crucially revered classic 'This Coming Gladness' ñ for the first time on vinyl since 2008.Comes with brand new artwork and housed in a reverse board sleeve with a download card.

Brigid Mae Power paints expansive songs that are effortless, hypnotic and folk-oriented like Judee Sill, Bill Callahan and Sharon Van Etten.

The third album from the celebrated singer/songwriter, ‘Head Above The Water’ is a coming of age opus featuring a ground-breaking amalgamation of traditional folk and country - an engaging blend of strings, bouzouki, piano and Power’s distinctive vocal make this an achingly beautiful body of work.

Recorded in analogue studio The Green Door in Glasgow with Alasdair Roberts co-producing alongside Brigid and Peter Broderick. It’s a continuing tale of everyday survival; more diverse, different, a bigger canvas, with broader brushstrokes…

Country and traditional folk rub shoulders, making for a juxtaposition of threads, with added instrumentation from five musicians lured into the studio to provide larger dynamics.

“Power meditates on the dichotomy that’s always existed in her work, melding atmospheric bliss and stark desperation.” Pitchfork.

“Power invokes the elements, either in contrast to internal weather or in sympathy with it.” The Guardian.

“Haunting and haunted” (The Line Of Best Fit), ‘Head Above The Water’ continues in that vein becoming more ethereal, more personal and even more alluring.

TRACK LISTING

Side A
A1 On A City Night
A2 Wearing Red That Eve
A3 Wedding Of A Friend
A4 Not Yours To Own
A5 I Was Named After You

Side B
B6 We Weren't Sure
B7 You Have A Quiet Power
B8 I Had To Keep My Circle Small
B9 The Blacksmith
B10 Head Above The Water

A Deluxe remastered edition of Giant Sand’s 1991 album ‘Ramp’ with a second disc featuring the Mad Dog sessions from earlier that same year. “Convertino's brush-work and Burns' upright bass provide the perfect foundation for Gelb's parched voice and chaotic guitar, and guests include Rainer, Victoria Williams and country veteran Pappy Allen. It’s one of Giant Sand's strongest and most complete albums.” The Quietus // Featuring piano lounge music for an off-world colony interrupted by an onslaught of guitar when needed, it’s light and dark and the better for it, a musical journey on a road less travelled. With Gelb’s lyrical invention to the fore: “His thoughts unfold in long, rolling sentences that don't always follow conventional rules of grammar or syntax.” The Quietus // The Tucson sound at it very best.

TRACK LISTING

Disc 1

1 Warm Storm
2 Romance Of Falling
3 Wonder
4 Welcome To My World
5 AntiShadow
6 Neon Filler
7 Jazzer Snipe
8 Z.Z. Quicker Foot
9 Seldom Matters
10 Resolver
11 Nowhere
12 Always Horses Coming
13 Patsy's Blues

Disc 2 - Live At Mad Dog Studios – 30th January 1991:

1 Back To The Black And Grey
2 Trickle Down System
3 Bible Black, Book II
4 Still Too Far
5 Romance Of Falling
6 Can’t Find Love
7 Shadow To You

New album from kosmiche folk-rock quartet Modern Studies. A glorious compendium of haunted disco hallelujahs, mercurial krautrock chorales, cosmic pop adagios and euphoric, resilient, anthems. ‘The Weight of the Sun’ sees principal songwriters Emily Scott and Rob St John further their warm, esoteric field studies with Pete Harvey and Joe Smillie, as previously reconnoitred on ‘Swell To Great’ (2016) and ‘Welcome Strangers’ (2018).

“The exact point where Fairport Convention meet Jim O’Rourke at a remote Scottish railway station.” Tim Burgess.

“Melancholic magic… recalls Johnny Marr’s hazier reveries and the febrile, electrified folk of Polly Harvey’s Let England Shake.” UNCUT

There is a strange familiarity, and a welcome strangeness, in the quiet alchemy of Modern Studies.

TRACK LISTING

Side A
1. Photograph
2. Run For Cover
3. Heavy Water
4. She
5. Corridors
6. Signs Of Use

Side B
7. Brother
8. The Blue Of Distance
9. Back To The City
10. Jacqueline
11. Spaces
12. Shape Of Light

Popping up unassumingly in the second season of the popular series ‘End Of The F**cking World’ on Netflix and Amazon. This new release is sided with exclusive B-side ‘All Glow Now’. Taken from her 2013 album of the same name, ‘I’m A Dreamer’ beckons with a gentle hand, each note clear and crisp. ”Another stellar effort” (NME) the album “collects together a set of early country-esque songs” (The Quietus) and is produced by Andrija Tokic. The song sits comfortably at home in salon or saloon with its delicately arranged piano, woozy harmonica and soul-searching lyrics. “A masterclass in songwriting that perfectly invokes old Americana” Time Out // The North American Colorado based singersongwriter breathes new life into archaic forms, embodying the cultural archelogy of Harry Smith’s old weird America. She has lent her warbling mezzo-soprano and interpretive wit to nearly two decades of self-produced recordings. Her songs are rooted in American folkblues as well as classical art song and Tin Pan Alley. (E. Gades)

Argentinian grrl group Las Kellies return with new album ‘Suck This Tangerine’ out 27th March on Fire Records and will be touring Europe in Spring 2020. Sucking you in, Las Kellies takes us straight back to the party reminding us of what we’ve been missing with their libidinous mix of garage, punk and dub. Thrashing it out on the dancefloor, ‘Suck This Tangerine’ deals with the difficulties of a society in never ending crisis (‘Funny Money’) to the highs and lows in relationships (‘He’s Who’, ‘Let You Go’) and there’s a guest appearance from ex-Kellie Julia Worley on ‘Close Talker’. Recorded at home in Buenos Aires, the chemistry of the duo’s formative years remains as does their febrile new wave post-punk sound soaked in fiery dance beats and dub-pop. Their first release since 2016’s ‘Friends & Lovers’ was “impressively varied” (The Vinyl District) whilst “seamlessly melding psych/fuzz pop, post-punk attitude and dance beats” (Louder Than War). Las Kellies are Cecilia Kelly (bass, guitars, vocals) and Silvina Costa (drums, percussion and vocals). "Absolutely love 'em" Lauren Laverne

TRACK LISTING

1. Closer
2. Funny Money
3. Baby
4. He's Who's
5. Matrixland
6. Despite.
7. Charade
8. Rid Of You 
9. Weekdays
10. Let You Go 
11. White Paradise
12. Close Talker

Critical praise from Pitchfork, Clash, The Wire, Q Magazine and more upon release. New inverted LTD edition artwork. Fire re-issue Bardo Pond’s eponymous eighth studio album from 2010, their debut for Fire from way back when. A lysergic brain wrestler in which the Pennsylvanian drone outfit perfect their modal sound. Teasing the artistry of LaMonte Young and Terry Riley into a guitar shaped cauldron, the album’s compulsive reverbed guitar shapes slowly simmer behind Isobel Sollenberger’s esoteric vocals “Like hearing a tannoy at a station in the voice of Jesus.” The Quietus. A claustrophobic stuttering raga interlocks with their psychedelic leanings best exemplified on ‘Cracker Wrist’ which sounds like something that’s intentionally always just about to happen/and/or spin back in time. Featuring lengthy fully nurtured play offs between the quintet ‘Bardo Pond’ is a heady statement that’s like the most wholesome kind of vegan-friendly mushroom trips. Pitchfork reckons they’re “playing fuzzed out stoner dreams.” Vice’s musical brother Noisey likens them to “Fugazi On Acid.” Allmusic intervenes with: “These are epic, soaring psychedelic ambient power-drone rock noise melodies where partially buried, distant female vocals are laced throughout a roaring, murky/sludge guitar soundscape

TRACK LISTING

1 Just Once
2 Don’t Know About You
3 Sleeping
4 Undone
5 Cracker Wrist
6 The Stars Behind
7 Wayne’s Tune

A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album.

Eyelet was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas’ second child and the death of fellow band member Alex Williams’ mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce.

‘Caterpillar’ described by Emma as “a song for my unborn child”. It's followed by syncopated lullaby ‘Good Grief’ with its haunting keyboard hook and icy percussion thawed by Emma’s yearning vocals about the quiet strength of generations of women. With nods towards Arthur Russell and Jenny Hval, ‘Geese’ is a mini symphony of driven electronica inspired by Welsh cultural theorist Raymond Williams’ novel People Of The Black Mountains.

Young Fathers inflected rhythm can be heard on ‘Radel 10’ that accompanies the multi-tracked variations of Emma and defiant lyrics that were inspired in part by The Good Immigrant - the landmark anthology of essays on race and immigration by BAME writers.

STAFF COMMENTS

Barry says: Islet were one of the first bands I saw play when I moved to Wales, and remained a mainstay on my shelves since that day. Whilst their groove has morphed, and the frenetic energy has both waxed and waned, the output has remained undeniably brilliant. 'Eyelet' is on the more relaxing side, but absolutely glimmers with astoundingly written pop songs and immersive, soaring heft. Their greatest work to date, in a catalogue of gold.

TRACK LISTING

Side A
A1 Caterpillar
A2 Good Grief
A3 Treasure
A4 Geese
A5 Sgwylfa Rock

Side B
B1 Radel 10
B2 Clouds
B3 Florist
B4 Moon
B5 No Host
B6 Gyratory Circus

Bold, weird, wild, wired, sonically luxurious yet never losing touch with its DIY-‘til-I-die roots, Thumb World is a voyage to the outer rings of Pictish Trail’s mind at its darkest, funniest and most inventive – a plugged-in, fuzzed-out, fucked-up contemplation on, as he puts it, “life repeating and gradually degrading, the inevitable cyclical nature of things, and the sense of their ultimately being no escape.”

Expect alien abductions, thumping beats, Trump-haired pigs, paternal panic, astronaut sex, bad acid trips, worse hangovers, lashings of distortion and a lot of anthropomorphic thumbs. “Our opposable thumbs are the things that separate us from most other animals on Earth,” Pictish explains, of the fat digit symbolism, “they are also the things that we use to swipe on screens, to separate ourselves from our normal lives, but which in turn trap us within an artificial reality.”

Produced and mixed by Rob Jones, featuring string arrangements from Kim Moore and drumming from Alex Thomas (Squarepusher, Anna Calvi, Air), Thumb World is Pictish Trail’s most collaborative album to date.

An audio-visual dialogue with Swatpaz, AKA Scottish artist Davey Ferguson – the man behind the Turbo Fantasy series and an entire episode of cult TV phenomenon Adventure Time – furnished Johnny with not just a graphic aesthetic for the album, but even helped him to shape the sound of the finished record. “I sent Davey a work-in-progress mix of the album,” Johnny says, “he came back with sketches in which he had reimagined Thumb World as an 80’s arcade game. Some of the songs are centered around specific visual images, inspired by Davey’s sketches.”

Due for release on Fire Records on February 21, 2020. Four years in the making, Thumb World is the much-anticipated follow-up to his critically acclaimed Scottish Album of the Year Award public vote winner Future Echoes.

STAFF COMMENTS

Barry says: This definitely falls solidly within my realm of interests,

videogame aesthetic [x]
superb production [x]
brilliantly written tunes [x]

It's got it all, and only goes to show how the super talented Johnny Lynch keeps smashing it out of the park. Ace stuff.

TRACK LISTING

Side A
1 Repeat Neverending
2 Double Sided
3 Pig Nice
4 Lead Balloon
5 Fear Anchor

Side B
6 Slow Memories
7 Bad Algebra
8 Heart Eyes
9 Turning Back
10 Thumb World

“What Black Lips do so well is tease the horror out of wholesomeness and recast golden-age rock’n’roll in a strange, discomforting light” Pitchfork.

“Cosmic country that comes strutting off a dusty back porch with gritted teeth” Consequence Of Sound.

It’s country music but not as we know it which begs the question: Have these Bad Kids of 21st Century rock ’n’ roll finally grown up on their ninth studio album? Are they at peace with themselves? Have they made a record their parents could listen to? The Black Lips new album ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain’t another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren’t the usual clichés about drinking, honkytonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre by not sounding or dressing their musical predecessors. They also dug contemporary hip-hop and punk and actualized themselves Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band’s stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. Skidding onto the asphalt in a shower of sparks, they roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain’t your granny’s country album. And conversely this ain’t your mama’s Black Lips.

STAFF COMMENTS

Barry says: Just as the thigh-slapping hoedown starts, it fades away into rich psychy rock and swinging blues riffage. Black lips have always been one of the most distinctive bands that start with 'Black___' (of which there are A LOT), and 'In A World That's Falling Apart' provides a feelgood alternative to that exact scenario. Turn it up and don't stress. Black Lips got this.

TRACK LISTING

1. Hooker Jon
2. Chainsaw
3. Rumbler
4. Holding Me Holding You
5. Gentleman
6. Get It On Time
7. Angola Rodeo
8. Georgia
9. Odelia
10. Dishonest Man
11. Locust
12. Live Fast Die Slow

Could it be that the world is finally ready for the tempestuous folk-rock opera that is "All the Leaves are Gone?" In 2004, only the truly informed and forward-thinking heads "got" this mini masterpiece. Critics scratched their heads and usually resorted to comparisons of past artists, like ol Grace Slick and her Great Jefferson Society, Fairport Convention (but which era? SURELY Judy Dyble's early reign?), and at best, Shirley Collins. A few fans attempted to connect the record to even more obscure "freak folk/rock" like Mellow Candle, Fear Itself, or Trees. "All the Leaves are Gone" was made by unique personalities not concerned with influences or copying any bygone era. Surely, some things are in our DNA or even early childhood, as Josephine Foster's roots in opera manifest themselves as much as any other influence in this organic song cycle. Sure, guitarist Brian Goodman may have heard Richard Thompson before, but his alchemical and molten guitar spray is purely his own, in tunings and intervals still not meant for normal humans to understand, mostly because his 2004 guts were poured into every sublime note (I think even Brian himself never even understood how good he was). That fiery emotion is also in every nuance of Foster's songs--like life, there's disquieting, jagged moments of unease, and there's calm both before and after the storm. There are moments of utter gentleness along the journey---because yes, every concept album should be a voyage, and this is one everyone should take. - Steve Krakow

TRACK LISTING

Well-Heeled Men
The Most Loved One
All The Leaves Are Gone
Nana, Deathknell
Silly Song
Jailbird (Hero Of The Sorrow)
Worried And Sorry
Who Will Feel Bitter At The Days End?
John Ave
Seen From The Gray Train
Don't Wait Mary Jane
(You Are Worth) A Million Dollars

This unique package successfully archives the key elements of Jane’s ‘Loops In The Secret Society’ tour. Housed in a concise limited-edition pocket-compendium the new CD version brings Jane’s fully realised ‘Loops Variations’ and sonic installations into your own environment with new illustrations based on the songs by Andy Votel and DVD featuring the experimental film installation featured on the tour by Nick Farrimond. When science fiction turns science fact the effect can be truly momentous. The state demands that no-one wants an unlicensed machine-hum from an outbuilding; no-one wants clever prose mapping the future, no-one wants “music” that is attention-seeking, soul-defining, beneficial, Biblical, baroque and beautiful.

No-one told Jane Weaver that. Jane Weaver’s multi-layered synthetics evolved into a welcoming slew with 2014’s ‘The Silver Globe’, continuing through to 2017’s ‘Modern Kosmology’. ‘Loops In The Secret Society’ is a re-imagined journey through parts of both albums, with new ambient pieces primed and polished; with new tangents explored in a lab-friendly blossoming of the Weaver vision that travels yet further into the psych of our future. A continuous experience with one-line observations set in glorious sense-stimulating sound. That source material was then united in an expansionist experiment in late 2018. The ‘Loops In The Secret Society’ tour fused unrelated sounds set off against sympathetic new textures, tones and drones; hot-housed into an idealistic soundscape that formed the conducive parts of the imminent album of the same name. Co-conspirators include Henry Broadhead, PJ Phillipson and Andy Votel. Renegades all, headed by the enigmatic Weaver all under surveillance. 

TRACK LISTING

1 Element (Loops Variation)
2 Milk Loop
3 Arrows (Loops Variation)
4 Found Birds
5 H>A>K (Loops Variation)
6 Did You See Butterflies (Loops Variation)
7 Sun House
8 I Wish (Loops Variation)
9 Mission Desire (Loops Variation)
10 Battle Ropes
11 Found Birds
12 Slow Motion (Loops Variation)
13 Margins
14 Cells (Loops Variation)
15 Code (Loops Variation)
16 Signs Are Rising
17 Ravenspoint (Loops Variation)
18 Sous Le Même Soleil, Vie Disparu Dans Le Ciel (Loops Variation)
19 Majic Milk (Loops Variation)
20 Conduit
21 Ivana Vessel
22 Battle Ropes

A conceptual masterpiece, complete with a second disc capturing a classic KCRW Morning Becomes Eclectic session just prior to the original album’s release in 1994, plus five bonus tracks available for digital download. An epic windswept desert dry encounter with one of America’s greatest bands that traverses genres and styles to create a complete masterpiece. “While the guitars still squall and roar, they're used more sparingly, erupting to devastating effect in gloomy, low-key songs.” The Quietus // Emotional and uplifting, and always thought provoking, the band’s line up of Howe Gelb, latter day Calexico’s Joey Burns and John Convertino are joined by Victoria Williams, Pete Holsapple, Chris Cacavas, Pappy Allen and Lisa Germano, the whole shebang produced by Daniel Lanois protégé Malcolm Burn. “Giant Sand move to the darker side of their emotional stew. Within is jazz, country, folk, blues even Glam, we’re led to believe the mainstay is downbeat but the result is monumental

TRACK LISTING

A1 Glum
A2 Yer Ropes
A3 Happenstance
A4 Frontage Road
A5 Painted Bird

B1 1 Helvakowboy Song
B2 Spun
B3 Left
B4 Faithful
B5 Bird Song
B6 I'm So Lonesome I Could Cry

C1 World Stands Still – KCRW SESSION
C2 I Wish You Love - KCRW SESSION
C3 Interview - KCRW SESSION
C4 Lester Lampshade - KCRW SESSION

D1 Get To Leave - KCRW SESSION
D2 Left - KCRW SESSION
D3 I'm So Lonesome I Could Cry - KCRW SESSION
D4 Interview - KCRW SESSION
D5 Instrumental - KCRW SESSION

‘Fenella’ is the latest project from Jane Weaver - musical polymath and one of the most respected electronic composers of recent times - and her long-term bandmates Peter Philipson and Raz Ullah.

Having already released three critically-acclaimed LP’s within the last five years Weaver’s creativity continues to expand ever further into the (modern) kosmos with this reimagined soundtrack to Marcell Jankovics’ cult animation Fehérlófia.

Released in 1981, Fehérlófia is a remarkable animation based in ancient folklore with a narrative culled from mythical tales of the Scythans, Huns and Avars.

Weaver’s richly emotional and psychedelic music offers a perfect contemporary dialogue with Jankovics’ astonishing visual aesthetic.

A mixture of ambient textures, menacing drones and spine-tingling vocals combine to create a lavish soundscape saturated with hypnotic moods and cinematic atmosphere.

Fenella’s self-titled LP is a continuation of Fire Records re-imagined score series.

STAFF COMMENTS

Barry says: F'in-ell-a, this is good. As you'd expect, a project from Raz, Jane and Peter being anything but wonderful would be a rare day indeed, but this woozy slab of arpy psychedelia is pushing the boundaries. Intricate but easily digested, this rich tapestry of fizzing oscillators and analogue saturation is a gift straight from the white mare's mouth. AT LEAST 250ug of pure joy.

TRACK LISTING

Side A
Slow Swoop
Three Heads Rising
Bright Curse
Occurring In Waves
Triangular Journey
The Seed
Pendulum
Shard Of Glass
Truly Seduced

Side B
The Spectacle
Battle
Echo Chamber Of Your Heart
Strength In Air
Rotation Wells
Gilded Griffin
Transfiguration Into One