O.Genesis present a super Limited 12" Pressing, exclusive to Piccadilly Records, of remixes from Tim Burgess' recent, critically acclaimed, album "Oh No, I Love You".

Seahawks delivers a stunning 11 minute remix of "A Gain//Stoned Alone Again Or (Seahawks Remix)", exclusive to 12", whilst on the flip Tandy Love aka Andy Votel brings his remix skills to "Hours".

TRACK LISTING

A – A Gain // Stone Alone Again Or (Seahawks Remix)
B – Hours // Tandy Love (Andy Votel Remix)

"Trespass" is more pastoral and low-key than the Genesis albums that followed it. The interplay between guitarist Anthony Phillips and bassist Mike Rutherford finds the group at its folkiest and most subdued. Tony Banks hadn't yet turned to the synthesizer. Peter Gabriel had not yet reached the heights of poetic socio-political broadside that would mark such albums as "Foxtrot". The anomaly here is "The Knife", a gloriously bombastic track full of classical motifs, thundering riffs and rhythms, and a strong anti-war message. It would become one of the most-loved early Genesis tunes. Drummer John Mayhew might be the Pete Best of prog-rock, as he was Genesis's original drummer, ultimately replaced by future bandleader Phil Collins. On this, Mayhew's final recording with Genesis, he shows taste and restraint, laying out for long sections while the sonic tapestries of the guitars and keyboards unfold. Though not an essential pick in the Genesis catalogue, "Trespass" is a satisfying snapshot of this important band's formative development.

After Peter Gabriel departed to pursue a solo career, drummer Phil Collins took on the mantle of lead vocalist. On this album, they reverted to the English eccentricity of "Selling England By The Pound", rather than the more angular postmodern sounds of "A Lamb Lies Down On Broadway". Although it may not be as immediate as "Selling England..." it showcases the band at the height of their musical prowess.

Classic 1971 album from one of rock's most successful bands. From their progressive rock beginnings to their commercial superstardom, Genesis created some of the most challenging, creative and rewarding albums of their generation.

If one had to pare the prog-rock story down to a handful of essential albums, this would undoubtedly be one of them. "Selling England By The Pound" was the culmination of all that Genesis had been striving for since their late - 60s inception, the refinement of the vision that developed on "Trepass", "Nursery Cryme", and "Foxtrot". The fusion of a complex classical mind with an electrified rock heart and pastoral folk spirit defined Genesis' anatomy, and never more effectively than on "Selling England..".

Peter Gabriel's startlingly unpretentious tale-spinning is at its best on "The Battle of Epping Forest". Tony Banks's elegant, sophisticated keyboard work is a vital element of nearly every tune, and the electric/acoustic guitar tapestry woven by Steve Hackett and Mike Rutherford is the perfect icing on the cake. Somewhat anomalous but entirely welcome is the Gabriel-era band's catchiest, quirkiest song "I Know What I Like (In Your Wardrobe)", the tale of a somewhat daft gardener. Phil Collins's lead vocal on the gorgeous acoustic ballad "More Fool Me" paints the shape of things to come. If you only buy one Genesis album, make it this one.

"Wind And Wuthering" followed quickly on from "A Trick Of The Tail" and followed a similar English eccentrics path as they began to mould a new post-Gabriel sound. Although not far removed from "A Trick..." there are slight glimmers of the direction the band would take in the years to come. 

"Foxtrot is where Genesis began to pull all of its varied inspirations into a cohesive sound - which doesn't necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here. Indeed, the startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power. There's might and majesty here, and it, along with "Get 'Em Out by Friday," is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose. But what impresses most about Foxtrot is how that precociousness is delivered with pure musical force. This is the rare art-rock album that excels at both the art and the rock, and it's a pinnacle of the genre (and decade) because of it." - Allmusic.

"Given all the overt literary references of Selling England by the Pound, along with their taste for epic suites such as "Supper's Ready," it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974's The Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made some tentative moves toward developing this story into a movie with William Friedkin but it never took off, perhaps it's just as well; even with the lengthy libretto included with the album, the story never makes sense. But just because the story is rather impenetrable doesn't mean that the album is as well, because it is a forceful, imaginative piece of work that showcases the original Genesis lineup at a peak. Even if the story is rather hard to piece together, the album is set up in a remarkable fashion, with the first LP being devoted to pop-oriented rock songs and the second being largely devoted to instrumentals.

This means that The Lamb Lies Down on Broadway contains both Genesis' most immediate music to date and its most elliptical. Depending on a listener's taste, they may gravitate toward the first LP with its tight collection of ten rock songs, or the nightmarish landscapes of the second, where Rael descends into darkness and ultimately redemption (or so it would seem), but there's little question that the first album is far more direct than the second and it contains a number of masterpieces, from the opening fanfare of the title song to the surging "In the Cage," from the frightening "Back in NYC" to the soothing conclusion "The Carpet Crawlers." In retrospect, this first LP plays a bit more like the first Gabriel solo album than the final Genesis album, but there's also little question that the band helps form and shape this music (with Brian Eno adding extra coloring on occasion), while Genesis shines as a group shines on the impressionistic second half. In every way, it's a considerable, lasting achievement and it's little wonder that Peter Gabriel had to leave the band after this record: they had gone as far as they could go together, and could never top this extraordinary album." Allmusic.

"Duke showcased a new Genesis - a sleek, hard, stylish trio that truly sounded like a different band from its first incarnation - but Abacab was where this new incarnation of the band came into its own. Working with producer Hugh Padgham, the group escalated the innovations of Duke, increasing the pop hooks, working them seamlessly into the artiest rock here. And even if the brash, glorious pop of "No Reply at All" - powered by the percolating horns of Earth, Wind & Fire, yet polished into a precise piece of nearly new wave pop by Padgham - suggests otherwise, this is still art rock at its core, or at least album-oriented rock, as the band works serious syncopations and instrumental forays into a sound that's as bright, bold, and jagged as the modernist artwork on the cover. They dabble in other genres, lacing "Me and Sarah Jane" with a reggae beat, for instance, which often adds dimension to their sound, as when "Dodo" rides a hard funk beat and greasy organ synths yet doesn't become obvious; it turns inward, requiring active listening. Truly, only "No Reply at All," the rampaging title track (possibly their hardest-rocking song to date), and the sleek and spooky "Man on the Corner" (which hides a real melancholy heart underneath its glistening surface) are immediate and accessible -- although the Mockney jokes of "Who Dunnit?" could count, it's too much of a geeky novelty to be pop. The rest of Abacab is truly modern art rock, their last album that could bear that tag comfortably." - AllMusic.

"If And Then There Were Three suggested that Genesis were moving toward pop, Duke is where they leaped into the fray. Not that it was exactly a head-first leap: the band may have peppered the album with pop songs, but there was still a heavy dose of prog, as the concluding "Duke" suite made clear. This is modernist art rock, quite dissimilar to the fragile, delicate Selling England by the Pound, and sometimes the precision of the attack can be a little bombastic. Nevertheless, this is a major leap forward in distinguishing the sound of Genesis, the band, and along with a new signature sound come pop songs, particularly in the guise of "Misunderstanding" and "Turn It on Again." The first is a light, nearly soulful, heartache song, the latter is a thunderous arena rocker, and both showcase the new version of Genesis at its absolute best. The rest of the record comes close to matching them." - Allmusic.

"Moments of Genesis are as spooky and arty as those on Abacab - in particular, there's the tortured howl of "Mama," uncannily reminiscent of Phil Collins' Face Value, and the two-part "Second Home by the Sea" - but this eponymous 1983 album is indeed a rebirth, as so many self-titled albums delivered in the thick of a band's career often are. Here the art rock functions as coloring to the pop songs, unlike on Abacab and Duke, where the reverse is true. Some of this may be covering their bets - to ensure that the longtime fans didn't jump ship, they gave them a bit of art - some of it may be that the band just couldn't leave prog behind, but the end result is the same: as of this record, Genesis was now primarily a pop band. Anybody who paid attention to "Misunderstanding" and "No Reply at All" could tell that this was a good pop band, primarily thanks to the rapidly escalating confidence of Phil Collins, but Genesis illustrates just how good they could be, by balancing such sleek, pulsating pop tunes as "That's All" with a newfound touch for aching ballads, as on "Taking It All Too Hard." They still rocked - "Just a Job to Do" has an almost nasty edge to its propulsion - and they could still get too silly as on "Illegal Alien," where Phil's Speedy Gonzalez accident is an outright embarrassment (although in some ways it's not all that far removed from his Artful Dodger accent on the previous album's "Who Dunnit?"), and that's why the album doesn't quite gel. It has a little bit too much of everything - too much pop, too much art, too much silliness - so it doesn't pull together, but if taken individually, most of these moments are very strong, testaments to the increasing confidence and pop power of the trio, even if it's not quite what longtime fans might care to hear." - Allmusic.

One of the most remarkable unheard albums of 1969, Genesis, the sole release by San Francisco-based sisters Wendy and Bonnie Flower, has emerged as an acclaimed pop-psych touchstone. Brimming with melodic confections and laced with radiant, sisterly harmonies, the set’s breezy Brazilian splashes and soft-rock strains convey a sophistication that belies the artists’ tender ages (Wendy, 17; Bonnie, 13). The album has grown over the years in importance, and has influenced a generation of psychedelic pioneers, from Broadcast to Stereolab to Welsh rockers Super Furry Animals ( who sampled the duo on their hit "hello Sunshine").

TRACK LISTING

CD Tracklisting
Disc 1
1. Let Yourself Go Another Time
2. The Paisley Window Pane
3. I Realized You
4. By The Sea
5. You Keep Hanging Up On My Mind
6. It's What's Really Happening
7. Five O'Clock In The Morning
8. Endless Pathway
9. Children Laughing
10. The Winter Is Cold
11. Let Yourself Go Another Time (instrumental Version)
12. The Paisley Window Pane (alternate Version)
13. I Realized You (alternate Mono Mix)
14. It's What's Really Happening (alternate Mono Mix)
15. Five O'Clock In The Morning (alternate Mono Mix)
16. Endless Pathway (alternate Mono Mix)
17. The Winter Is Cold (alternate Version)

Disc 2
1. Children Laughing (demo)
2. Years (demo)
3. Popular Phrases (demo)
4. Eleanor Rigby (demo)
5. The Winter Is Cold (demo)
6. The Ice Cream Man Song (demo)
7. December Sun (demo)
8. Wake Up, Sleepy Eyes (demo)
9. We Can Work It Out (live)
10. Thinking, Waiting (live)
11. Cover Our Child (demo)
12. Story Of A Conventional Man (demo)
13. The Paisley Window Pane (live)
14. The Night Behind Us (Crystal Fountain Demo)
15. Sensations (Crystal Fountain Demo)
16. Never To Rest (Crystal Fountain Demo)
17. Children Laughing

LP Tracklisting
1. Let Yourself Go Another Time
2. The Paisley Window Pane
3. I Realized You
4. By The Sea
5. You Keep Hanging Up On My Mind
6. It's What's Really Happening
7. Five O'Clock In The Morning
8. Endless Pathway
9. Children Laughing
10. The Winter Is Cold

Jacques Renault draws inspiration from the rich heritage of Latin Underground music, Renault embraces the vibrant rhythms, soulful melodies, and irresistible beats to create a captivating soundscape that bridges the gap between eras. He weaves together a collection of handpicked Latin Underground Classics, each chosen for its historical significance and cultural impact. With great respect for the original compositions, Renault breathes new life into these hidden gems, preserving their authenticity while crafting alluring edits that speak to contemporary audience.

It's another winner from Mushroom Pillow - the same label that you the Joe Bataan Andres remix, the JD Twitch tweak of Cumbia Moderna De Soldedad and the Phenominal Handclap Band / Jose Parla mix of Alfredo Linares. 

STAFF COMMENTS

Matt says: Mushroom Pillow enlist Jacques Renault for another double header of Latin reworkings. Obviously the Genesis in question here isn't the long serving UK rock band, but the Colombian folk-rock band popular in 1970s. Meanwhile Sangre Joven's harmonica-driven powerhouse gets nicely tailored for modern dancefloors under Renault's talented hand. Mega 7"!

TRACK LISTING

Genesis - Cumbia Cienaguera. Jacques Renault Mix
Sangre Joven - Chevere Jacques Renault Mix

Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones’ incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it’s removed from the jacket.

3LP
‘BBC Broadcasts’ is an extensive collection of broadcast material from one of the biggest selling recording artists of all time. Curated by Genesis founding member Tony Banks and the group’s long-time engineer and producer Nick Davis this 3LP set includes 24tracks, all of which are making their first appearance on the format. The vinyl set also includes fully illustrated inner bags containing extensive sleeve notes by respected music writer Michael Hann.

5CD
‘BBC Broadcasts’ is an extensive collection of broadcast material from one of the biggest selling recording artists of all time. Curated by Genesis founding member Tony Banks and the group’s long-time engineer and producer Nick Davis this 53-track, 5-CD set includes a treasure trove of rare and previously unreleased material and comes with a fully illustrated 40-page booklet containing extensive sleeve notes by respected music writer Michael Hann.

Jorge Elbrecht joins the O Genesis roster for a special edition release of Presentable Corpse 002. Although Jorge Elbrecht may be a new name to UK music fans, he already has an illustrious and varied body of work to his name, thanks to his prolific output as a solo recording artist, producer, mixer, and visual artist. Born in Costa Rica and raised in the U.S., Elbrecht’s production and collaboration credits with the likes of Sky Ferreira, Japanese Breakfast, Gang Gang Dance, No Joy, Geneva Jacuzzi, and countless others have given him a well-deserved reputation as one of the most in-demand and respected names in independent music today.

Presentable Corpse 002 is the inaugural full-length collection of his ongoing Presentable Corpse recordings. Elbrecht himself describes Presentable Corpse as “sunshine pop” that contains lyrics written from the perspective of a fictional Vietnam-era soldier at war, conveying a story of regret, homesickness, combat fatigue, and political anger.

Information about Elbrecht largely comes from The Executor(s) of the Estate of Jorge Elbrecht, who claims full control over the artist’s creative output, both past and present. According to the estate, Elbrecht’s “disaffection with the milieu of the day developed into a pathology by his late twenties, resulting in dangerously high levels of stress and anxiety as the thematic content of his work grew darker.”

Presentable Corpse 002 is sure to not only delight Jorge Elbrecht’s already sizeable fan-base with its disarmingly inviting psychedelic sunshine pop, but also gain a considerable and well-deserved new following in the UK and Europe. 

TRACK LISTING

1. Blocking Out The Horror
2. This Time Or Never
3. Tuesday Morning
4. Ancient Grief
5. The Clouds Are Gone
6. Brittle Vines Break
7. Fading Memory
8. Run & Hide
9. The Springtime Brigade
10. Dawn Is Creeping
11. Leaf Cycle
12. Piereced By The Ice 

On "Neon Genesis: Soul Into Matter²" Meemo Comma (a.k.a. Lara Rix-Martin) takes Kabbalistic text and Jewish prayer and guides them through twinkling ambient synths, breakbeats and cranking industrial noise, full of strange wonder and drama. You can hear soft synths transmuted into choirs of seraphim and moments of occulted dancefloor rapture, from Aramaic chanting and ravey breakbeats to readings from the Zohar. It is quite beautiful at times. Jewish mysticism is at the root of Western esoteric beliefs and therefore has formed the structure of many films and books that explore the question of humanity.

Inspired by the visuals of Evangelion and nineties anime soundtracks such as Ghost In The Shell (and its later Stand Alone Complex series), the new Meemo Comma album is a soundtrack to an imaginary anime that, like its real counterparts (e.g. Full Metal Alchemist), takes the beautiful parts of Kabbalah and sets them to science fiction stories. When asked about the themes that inform her new album, Lara Rix-Martin says "Judaism is filled with many tales and teachings that prevail in science fiction to this day - whether consciously or not. Sci-Fi is the genre best equipped to explore the immensity and challenges of human experience. Something that Judaism has also been attempting for over three thousand years." "I watched Ghost in the Shell when I was 14 and it was so striking, visually and sonically. The soundtrack has acted as a backdrop to explore my Jewish identity. I have been reading the Talmud since last year, discovering a deeper love for Jewish stories and teachings.

There are some beautiful, hopeful ideas in Kabbalah too, which were a central inspiration to this album such as the idea that the first human was non-gendered and just this form made up from the qualities of HaShem (God) who performed 'Tzimtzum', contracted their form using their Ein Sof (eternal light) to create 'Adam Kadmon' whose form split into all human souls." Lara playfully subheads her album: “In the year 5781 humanity is ever closer to becoming a singular consciousness. A team of humans are forming an android, Adam Kadmon (CODENAME: UNIT KADMON). First, humans have to gain higher consciousness guided by the Sefirot.“ While you don't have to know about these influences to enjoy the music, it stands true that the intention is an irreverent love letter to the way grand myths are birthed into the future through new forms, retaining their beauty and elegance

TRACK LISTING

A:
1/Upload To Unit Kadmon
2/Neon Genesis: Title Sequence
3/Tikkun Olam
4/Ein Sof
5/Tzimtzum
6/Gevur
7/Genesis 8:22 – Annihilation
8/Tohu & Tikun

B:
1/Tif’eret
2/Unit Chai
3/Yetzirah
4/Merkabah
5/Nefesh
6/End Credits

Youngs recorded the album in his hometown, Glasgow, as a cycle of chamber songs, a 21st century update of the solo album – one musician playing all the instruments in a small one-room set up. The album itself began with Youngs collecting his own percussion samples: from handclaps, a battered old cymbal, an extractor fan vent, FM radio interference, cassette hiss and a kick from “a disastrously ‘80s sounding drum machine”. These were then used to programme beats, played back at randomly determined tempos in durations mapped to randomly chosen major label songs.

The original plan was to send Belief out to the ‘major’ labels and collect the rejection letters as an art project. But, as soon as the album had been mixed, Daniel O’Sullivan (Grumbling Fur, This Is Not This Heat) played the songs to Tim Burgess and before the mail art project could take off, Belief became Richard’s debut for Tim Burgess’ O Genesis Recordings label.

TRACK LISTING

A1: My Own 21st Century (3'48")
A2: Nebulosity (3'17")
A3: Feeling Like Dystopia (4'06")
A4: As The Mind Shrinks It Tends Towards Disappearing (2'38")
A5: Bewilderment (2'34")
B1: In Another Fog (2'27")
B2: I Wasn't Alone (2'08")
B3: Caledonia Running Out Of My Mind (3'25")
B4: Can You Not See My Intensity? (2'32")
B5: Otherwise Ourselves (1'39")
B6: Great Breath Of Wonderment (3'33")

‘Over You’, recorded and self produced in London last year, was mixed by Tim Burgess and Jim Spencer and features eleven tracks including the forthcoming single ‘Medicine’

Meet Throwing Up. Their music is the sound of a kind of sticker book collage of the best of the past and the present, with one eye on the future. There are clues that they're from London and it's 2013 but they could be from anywhere, anytime in the last 30, or even the next 10 years – ‘Over You’ builds a house on these raw foundations. With their whistle at the bus stop hooks and snappy tunes their songs are stripped back, yet so catchy too… it’s Agit pop like we’ve not seen in a while. A little bit of something to shake the mainstream up but happy to be a poster on your bedroom wall too – We love Camille and Clare and we reckon the world will too. We love Throwing Up and they’re what we really need right now!

Throwing Up began early last year when Camille Benett (vocals/guitar) and Clare James Clare (bass/vocals) both formerly of unhinged girl-rage rock quartet Headless teamed up with drummer Andrew Moran. The trio have since built up a great reputation for their explosive live shows which combine the emotional impact of their songs with irreverent delivery and theirs is a sweet spot somewhere between self-awareness and youthful innocence.

TRACK LISTING

1. Red Ribbon
2. Big Love
3. Snake
4. Toothache
5. Mother Knows Best
6. Sarah
7. Gone Again
8. Bother You
9. Stomach Pain
10. Medicine
11. When I Touch You

"A few months ago it was decided that OGen004 would be a vinyl and digital release of some poems by Jack Underwood. We had no real idea how much interest would be generated by a 7" single of poetry but everyone who had heard Jack's poetry seemed to like it and the idea was we would treat it like any other release of a song by a band - we thought that if we didn't make out we thought it was a little odd that nobody else would."

Debut single from this Leeds via Manchester via London duo on the fledgling O Genesis Recordings label.

Replicas, Helena Gee (vocals/ guitar) and Ashiya Eastwood (vocals/ guitar/ keyboard), formed at the end of last year and have been quietly building a growing fan base around the country with their enchanting slant on moody, yet melodic pop.

Produced by Tim Burgess, the new single is a three track EP featuring ‘Hearts Beat’, ‘In The City’ and Disappear’.

TRACK LISTING

A1: Hearts Beat (33 Rpm)
A2: The City (33 Rpm)
AA: You Disappear (45 Rpm)