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“Style wise, it’s incredibly different, going back to thinking about guitars and guitar sounds. Obviously you have to take into consideration things like percussive elements such as drums, which I haven’t been using in my other projects; but this is the mind set that makes up Loop.”

So says Robert Hampson, the indefatigable visionary behind inspirational sonic architects Loop, whose eagerly anticipated fourth LP Sonancy (Latin for “to create noise”) is the perfect document for these strange times. Dynamic, dystopian, righteously angry and unashamedly Loop-ian, it’s an album that marks a vital re-emergence for Hampson and co.

Formed in South London in the mid-1980s, Loop blazed a trail with their potent mix of motorik beats and heavy guitar riffs, recording a trio of brilliant albums that set the indie charts alight before imploding in 1990 after the release of album number three, A Gilded Eternity. As critics enthused at the time, Loop were the sound of Suicide jamming with the Stooges aboard a spaceship built by Hawkwind and piloted by CAN. They were post-psychedelic, pre-shoegaze figureheads in a world of anodyne pop jangle and baggy rhythms, and even their closest contemporaries like Spacemen 3 and My Bloody Valentine didn’t plough such a distinctive furrow as theirs.

After Loop’s demise, Hampson pivoted away from guitars with electronic project Main, before moving to France and hooking up with fabled experimental collective Groupe de Recherches Musical (GRM). Loop were a distant memory, one that Hampson seemed unwilling to revisit, so it was a delightful surprise when they remerged in 2013 to play and curate the All Tomorrow’s Parties (ATP) festival, followed by a performance personally requested by Robert Smith of The Cure at Meltdown Festival in 2018.

“Through that long period when I often said I wouldn’t reform Loop, I didn’t miss it, I didn’t feel the need to have it in my life,” Hampson explains. “It was working with people like Barry Hogan at ATP and the re-mastered reissues of our original albums coming out that sparked my interest again. It took me a few years to be comfortable to say, ‘Yes, we can do this again, we’re relevant’. I’m not someone who will do something for the sake of doing something.”

Along with the live shows, there also came new music in the shape of a 2015 EP called Array 1, the first in a planned trio of EPs of protracted tracks which Hampson eventually abandoned in favour of the more direct pleasures of their astounding new full length Sonancy.

“I dropped the idea of the EP series and went in an entirely different direction. I started writing songs that were much more immediate, tighter, dare I say more aggressive – although not aggressive in the old Loop way, but with a spikiness. It needed to sound more modern. When Main petered out, I started working with people like the GRM in France, so I went in the direction of electroacoustic musique concrète. Loop is completely removed from that, but there are parts of the Array EP and Sonancy that go towards the more experimental sounds. It’s not just guitar thrash.

“My motto has always been ‘Forward’ and I always try to do something new with each record. I always try to push different influences in there. Specifically for this record, I wanted to counter the idea of the Array EP, on which all the tracks were longer and drawn out. They still had the motorik element of bands like Neu! and CAN, but Loop’s always had that. With Sonancy I also wanted to take a post-punk sound, spin it on its head and mix it with a psych influence. A total gumbo. Which has always been Loop, this mash up of spicy rhythms.”

Indeed, with its rich mixture of styles and cadences, Sonancy is the sound of Loop in the 21st century, Hampson’s intense guitar work anchored by propulsive backing in service of songs with clinically dissociative titles such as ‘Eolian’, ‘Supra’, ‘Penumbra’ and ‘Fermion’.

“People who know my music well know that from the last Loop album onwards, my interest in chemistry, science and astronomy have come to the fore,” Hampson elaborates. “I use those titles but I use them in an abstract context. With the cutback, minimalist sound I wanted for this record, I wanted to do that with the lyrics and the titles as well. It’s very immediate. The songs are shorter in length, the lyrics more minimal than ever.

“I’m often asked to print the lyrics but I want people to approach our records with a sense of mystery, so you don’t necessarily know what’s going on. You may call it challenging. I’m influenced by J.G. Ballard and Philip K. Dick to a certain degree. Lyrically, if you listen to it intently, there’s this dystopian outlook. There’s a lot of anger in there. I don’t like seeing the wanton abuse of power, which is what we’re seeing right now and I’m disgusted by it. I wouldn’t say Sonancy is bleak though because I’m one of those people who believes there’s a chance for change. That may be naïve, but I always hope that people will come out of this coma they all seem to be in. I’ve imbued the lyrics with a little bit of hope.”

Hope is a powerful force, one perhaps needed more than ever today. Pandemic lockdowns stretched the making of Sonancy, recorded at long-term Loop soundman Joe Garcia’s Bristol-based studio Joe’s Garage, from an expected couple of weeks to almost a year. Still, if recording was elongated, the experience was made easier by the interplay between the members of what is the most enduring line-up of Loop to date.


Barry says: It's been a LONG time since Loop fans got any new material. There was an EP some 7 years ago, but that could only hint at the fiery beats and immediately endearing maelstrom that 'Sonancy' provides. It's a wonderful return, and has every bit of the scathing industrial percussion and treble-heavy guitar walls we've come to know and love, a brilliant outing from a much-loved band and most importantly, a great LP on it's own merits.


1. Interference
2. Eolian
3. Supra
4. Penumbra I
5. Isochrone
6. Halo
7. Fermion
8. Penumbra II
9. Axion
10. Aurora

After being out of print for several years, Duval Timothy’s phenomenal ‘Brown Loop’ has finally been reissued. Recorded in New York in the winter months of 2016, this brand-new edition features a slightly adjusted track listing. 

'I often find myself listening to Duval’s music when travelling. On an aeroplane for example, where the comforting piano pieces are set starkly against the sound of the world passing by, the constant engine humming, air conditioning running. Or when I’m walking through a city I’ve not been to before, the music blending into the continuous noise of cars and motorbikes, anchoring me when I find myself in unknown surroundings. Grounding me, one note at a time, in contrast to a city that does the exact opposite. Duval’s compositions bring a sense of comfort where there is detachment. It’s the soundtrack for an immigrant (such as myself), alienated from wherever he came, but someone who also doesn’t fully belong to the place he set off to.

I heard Duval describe the music of Brown Loop as ascending a mountain, and after you reached the top you come down to the other end. Through rhythmic repetitive patterns, the music builds. Within the pieces, melodies stray away from the theme, into unknown territories, but always find their way back to a comfortable home. Most elaborately this happens on my favourite piece, ​Hairs. The patterns and melodies on pieces such as ​Through The Night and (recently added to the vinyl version) ​G are stripped down to their very essence.

It is not just jazz, it’s pure hip hop, as the hooks are reminiscent of the shards of melancholy legends like Dilla, Pete Rock and Havoc used in their best work. In terms of repetition, the music is also very techno. And like in all good techno, the patterns (perhaps contrary to popular belief) ooze humanity and emotion. But most of all Duval’s Brown Loop is a very personal record. it takes courage to expose your inner self like that in the most minimal of compositions. But once you find the right notes, the right pattern, music is the most beautiful thing in the world.'

Martyn Deykers


A1. Through The Night
A2. Cold Is Coming
A3. Badman
A4. Clouds
A5. G
A6. Blue Borough

B1. Hairs
B2. Pleats
B3. Smoke Alarm
B4. Passing

Moon Gangs

Earth Loop

    ‘Earth Loop’, the debut album by BEAK> keyboardist William Young’s Moon Gangs project, is set for release via Village Green Recordings.

    A classically-trained pianist, Young composed ‘Earth Loop’ “half and half in a classical sense,” some played live on keyboards, with ideas notated traditionally, the other half created using analogue sequencers with random voltage sources.

    “Earth Loop mainly came out of jamming with synths. The mixer I use is an old Tascam 144 so if things are sounding good I just hit record and get it to tape. Everything started as big long rambles recorded live that are then trimmed down into something more concise. Inspiration-wise I’d been listening to more classical stuff, a lot of chamber music for strings, and I think that shows in the string section-y bits. Although they’re all synths, not actual strings. It was recorded all over the place over quite a long time which I guess is why there are a lot of different ‘moods’ on it, rather than it being a document of a specific period of time/place. I also started building a field recording library over the last couple of years so there’s quite a bit of that in there, but they’re generally processed and run through synths so they’re not too recognisable.” - William Young, Moon Gangs

    Young’s introduction to synth music came from listening to film scores when he was a teenager, such as ‘Terminator’, ‘Videodrome’, ‘Zombie Flesh Eaters’ and ‘Phantasm’. Scores from kosmische pioneers Tangerine Dream and Popol Vuh also played a large part in these formative musical years.

    Not going out much as a child, Young spent a lot of time indoors playing video games. Instead of a SNES, his mum bought him a Commodore 64 as she thought the keyboard made it seem more educational. Certain games and their soundtracks also struck a chord, such as ‘The Last Ninja’, ‘Dante’s Inferno’, ‘Stormlord’ and ‘Castle Master’.

    Moon Gangs officially began in 2011, with the release of ‘Sea/Sky’ on cassette tape via the incipient Where To Now label. Friends from his time spent in Brighton, it was both Young’s and the label’s first release and set the tone for his later output with ambient, analogue synth loops and foreboding, cinematic drones. Subsequent releases followed, such as 2014’s self-titled EP, mixed by Hookworms’ MJ, and an appearance on the Blanck Mass-curated film score ‘The Strange Colour Of Your Body's Tears’, released via Death Waltz.



      Described, variously, as “dusky and mysterious, cosmetic and up-for-it”, “Industrial techno disco,” and “like a Japanese express train”, Curve’s second album Cuckoo is more sophisticated, more seductive, less serrated, even squelchy in places than their debut, Doppelganger. A mature, fluent, and literary album, it hit the Top 30 on release in 1993. Cuckoo takes the listener from the established hallmarks and runs with them - over the horizon - to many new and rich areas of pop melodrama. Delicate and gorgeous moments sit easily with their simultaneously cool and incendiary sound. A more personal album, it is nonetheless metallic, unforgiving, LOUD, clear. As with Doppelganger the album was produced by the band with Flood and Steve Osborne, and it was mixed by Alan Moulder. It is home to the lead tracks from singles ‘Blackerthreetracker’ EP and ‘Superblaster’ and is regarded by the band as their best piece of work.


      Disc: 1 (2CD Version)
      1. Missing Link
      2. Crystal
      3. Men Are From Mars, Women Are From Venus
      4. All Of One
      5. Unreadable Communication
      6. Turkey Crossing
      7. Superblaster
      8. Left Of Mother
      9. Sweetest Pie
      10. Cuckoo

      Disc: 2 (2CD Version)
      1. Missing Link (Single Version)
      2. On The Wheel
      3. Triumph
      4. Superblaster (Remix)
      5. Low And Behold
      6. Nothing Without Me
      7. Missing Link (Screaming Bird Mix)
      8. Rising (Headspace Mix)
      9. Half The Time (Honey Tongue Mix)
      10. Rising (Original Version)
      11. Half The Time (Original Version)

      1. Missing Link
      2. Crystal
      3. Men Are From Mars, Women Are From Venus
      4. All Of One
      5. Unreadable Communication
      6. Turkey Crossing
      7. Superblaster
      8. Left Of Mother
      9. Sweetest Pie
      10. Cuckoo

      Jan Jelinek


        Craftily utilising the catalogue number FAITBACK01, Faitiche present a long-lost vinyl album, Jan Jelinek's "Loop-Finding-Jazz-Records", originally released in 2001 on ~scape. Now the album is available again on vinyl, as a double LP with two bonus tracks. Don't be misled by the title, though for there isn't a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm. The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas. Evolving out of Jelinek's dislike for (and inability to play) keyboards, the LP finds the producer abstracting his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop an immersive dub techno framework. Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes. It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm. Listen carefully and you'll hear textures slowly unfolding and mutating into swell of aquatic ambience. 


        Patrick says: This lost classic from Jan Jelinek sees microscopic samples of surface noise and vinyl hiss distilled into an immersive dub techno vessel awash with Biospheric flavours.


        Loop The Loop

          'Loop The Loop' is the debut album from Nathan Jenkins, otherwise known as Bullion. Initial pressing of vinyl edition is limited to 1000 copies and comes as 2LP gatefold. The album features the single 'Never Is The Change'.

          The evolution of Nathan's sprightly electronic pop continues with a playful and open hearted record, showcasing his inventive arrangements and crisp production. Instrumentation on 'Loop The Loop' is broad and features performances from friends and collaborators including Sampha, Laura Groves, Sarah Anderson (Chrome Hoof), Nautic and Tom Skinner.

          Having released music with Young Turks, R&S and Greco Roman, the album comes out via Nathan's own label DEEK Recordings.

          'One of Bullion's greatest assets is being able to work with so many different ideas and styles.' - Pitchfork

          'Bullion never fails to surprise. His instruments are samples, beats and loops, stitched together with intelligence and wit - his music stubbornly refuses to be tied to genre, time or place.' - Dummy Magazine

          Earl Brutus

          Tonight You Are The Special One (Expanded Edition)

            Earl Brutus achieved notoriety and cult status with the release of their debut album Your Majesty… We Are Here. Their attention grabbing interviews and gigs attracted wider interest and they sign to Island Records via Fruition. They released a second long player, Tonight You Are The Special One, and several singles including The SAS And The Glam That Goes With It and Come Taste My Mind (“masterful examples of raging techno-pop” - Select ) and Larky.

            The band continued to play chaotic shows and the last ever gig is at Hammersmith Working Men’s Club on 7th April 2004 and the last track from that gig, Teenage Taliban, is included on the 2CD edition along with a demo recorded in William Reid’s (Jesus And Mary Chain) front room. Other bonus tracks include all the single b-sides sequenced by the band.

            The art direction on this re-issue has been done by Scott King who realised the concepts for the original release and singles. The album sleeve is included in Q magazine’s 100 Best Album Sleeves Of All Time in 2001.

            TRACK LISTING

            DISC: 1
            1: The Sas And The Glam That Goes With It
            2: Universal Plan
            3: Midland Red
            4: God, Let Me Be Kind
            5: Come Taste My Mind
            6: Second Class War
            7: Your Majesty We Are Here
            8: Don't Die Jim
            9: 99 P
            10: East
            11: Edelweiss
            12: Male Wife

            DISC: 2 (2cd Edition Only)
            1: Nicotine Stain (Live)
            2: Superstar
            3: Larky
            4: Tv Tower
            5: William, Taste My Mind (William Reid Remix)
            6: Gypsy Camp Battle
            7: The Scottish
            8: Teenage Opera
            9: Come Taste My Mind (Live At The Astoria 1998)
            10: Nice Man In A Bubble
            11: England Sandwich
            12: Teenage Taliban (Demo / Live From Hammersmith Working Men's Club, 7 Th April 2004

            Earl Brutus

            Your Majesty...We Are Here (Expanded Edition)

              Earl Brutus are Nick Sanderson (Clock DVA, Jesus And Mary Chain, World Of Twist), Gordon King and Jim Fry (World Of Twist), Rob Marche (JoBoxers, Subway Sect) with Shins and Stuart Boreman.

              Earl Brutus formed in 1993 and release a handful of singles before their debut album Your Majesty… We Are Here on Deceptive Records in 1996. They are chaotic, glam-rock, glitter-stomp British Pop. They think Bowie, T-Rex, Kraftwerk and The Fall. Their chaotic live shows became folklore and their reviews and interviews were always impressive. Your Majesty… featured in Q Magazine’s Top 50 Albums of the Year in 1996 and in 1000 Albums To Hear Before You Die.

              Your Majesty… has been long unavailable and is now re-issued.

              The two CD edition also includes all the b-sides sequenced by the band and an unreleased David Arnold remix of Life’s Too Long, the rare Alan Vega (Suicide) version of On Me Not In Me and Earl Brutus Display Purchasing Power, both commercially available for the first time.

              TRACK LISTING

              DISC: 1
              1: Navy Head
              2: I'm New
              3: Male Milk
              4: On Me Not In Me
              5: Don't Leave Me Behind Mate
              6: Thelmex
              7: Black Speedway
              8: Motarola
              9: Shrunken Head
              10: Cursty
              11: Blind Date
              12: Life's Too Long
              13: Karl Brutus
              14: Single Seater Xmas

              DISC: 2 (2cd Edition Only)
              1: Earl Brutus Display Purchasing Power
              2: North Sea Bastard
              3: Mondo Rotunda
              4: On Me Not In Me (Alan Vega Version)
              5: Bonjour Monsieur
              6: Valley Of The Slimkings
              7: Like Queer David
              8: Life's Too Long (Flash Vs Tarkus)(Saint Etienne Remix)
              9: 48 Trash
              10: Life's Too Long (David Arnold Remix)
              11: I Love Earl Brutus (Introducing Shinya)

              The Bluetones

              Return To The Last Chance Saloon

                “Return To The Last Chance Saloon” is a hit packed, gold selling, Top 10 album that was originally released in March 1998. Featuring the hit singles ‘Solomon Bites The Worm’, ‘If…’, and ‘Sleazy Bed Track’ plus mail-order only single ‘4-Day Weekend’, this re-issue is augmented by the addition of standalone Top 10 single ‘Marblehead Johnson.’

                The bonus material included across this 2CD set includes each band member’s favourite B-side, plus a stunning gig recorded at BBC’s Sound City in Newcastle in 1998. A set packed with all their hits; it’s the sound of a band at the top of their game playing to a jubilant and adoring audience. The 2CD, 36 track package is completed by the addition of previously unreleased BBC session tracks from the era and all contained in a tri-fold sleeve with a new booklet containing brand new sleevenotes from Mark Morriss.

                "Return To.." is as fresh as your first outdoor breath on a crisp spring day, as adrenalising as a five mile freefall into neat vodka and as heartbreaking as finding an ex's hair on a long forgotten shirt.” Melody Maker, 1998 “At times better than anything they've ever done” NME, 1998

                60ft Dolls

                The Big 3 - Deluxe Expanded Edition

                60ft Dolls are one of the most underrated of the Cool Cymru bands. They spearheaded the Newport scene of the 1990s, were championed by Steve Lamacq and soon signed to Indolent Records following a couple of Rough Trade singles and support slots for Oasis, Elastica and Dinosaur Jr. The Big 3 was released in 1996 to strong reviews and made the Best Of The Year lists in the NME, The Guardian, New York Times and was named in 2003 by Mojo as one of the Top 12 Britpop Albums Of All Time. It features the singles Happy Shopper, White Knuckle Ride, Pig Valentine, Stay and their Top 40 hit Talk To Me.

                They spearheaded the Newport scene of the 1990s, were championed by Steve Lamacq and soon signed to Indolent Records following a couple of Rough Trade singles and support slots for Oasis, Elastica and Dinosaur Jr. This 2CD expanded edition includes the original album together with the best of their b-sides as chosen by the band. Also included is their session for John Peel which is listed in the Best Peel Sessions Of All Time.“as close to soar-away rock perfection as it's possible to imagine" NME 1996. “pure, unadulterated, no nonsense, emotional, tuneful, impassioned, purposeful, hedonistic rock 'n' roll" Melody Maker 1996. A blistering kamikaze mission of damaged punk magic.” MOJO (2015)

                TRACK LISTING

                DISC: 1
                1: New Loafers
                2: Talk To Me
                3: Stay
                4: Hair
                5: Happy Shopper
                6: The One
                7: Good Times
                8: No. 1 Pure Alcohol
                9: Streamlined
                10: Loser
                11: Pig Valentine
                12: Terminal Crash Fear
                13: Buzz

                DISC: 2
                1: Doctor Rat
                2: British Racing Green
                3: Everybody's Got Something To Hide(Except For Me And My Monkey)
                4: Mess
                5: Stay (60ft Dolls Vs Pastor Ray Bevan)
                6: White Knuckle Ride
                7: After Glow
                8: Easy
                9: The Maindee Run
                10: Yellow Candles
                11: Rosalyn
                12: The New Loafers*
                13: Streamlined*
                14: Loser*
                15: Piss Funk*
                16: Stay*

                Sea Of Bees

                Build A Boat To The Sun

                  Sea of Bees is the musical project of Julie Ann Bee, or Jules as everyone calls her. She sings, writes the songs, and plays lots of musical instruments. She is the kind of singer-songwriter you come across only a few times in a lifetime – special, unusual, leaping out at you like an alien, her character fully-formed, her uniqueness intact.

                  Following the acclaim of debut album, Songs For The Ravens and follow-up Orangefarben, Jules is leaving the darkness for brighter horizons, gathering the good things up, leaving the bad behind and moving forward. The music has moved forward sonically too, with a full band sound after Jules bought a drum set and spent as much time playing it as she played guitar, much to her neighbour's dismay.

                  Working with long-time producer John Baccigaluppi she again visits a variety of styles across the album – folk, Americana, pop and rock. The album was mixed by Jesse Lauter (The Low Anthem).


                  The Singles And EPs

                    Following the acclaimed re-issue of their sole album, Leave The Straight Life Behind, BOB return with an anthology of all their singles, many appearing on CD for the first time.

                    The band’s most well-known single, Convenience, a John Peel favourite, opens this 2CD set and the CD is then a chronological run through of the key songs from the various singles and EPs.

                    Disc Two includes many of their b-sides and EP tracks including their debut 1986 flexi disc.

                    All tracks bar Convenience appear on CD for the very first time having all only ever been released on vinyl previously.

                    The Pre New

                    The Male Eunuch

                      The Male Eunuch follows the highly acclaimed Music for People Who Hate Themselves and its remixed companion album Music for Homeowners. Early material has been streamed online and has had strong radio play with tracks Speed Queen and A Song for One Direction.

                      The bands own protest ambassador Stu Boreman stated: "Binary Digital Bankruptcy converts this Sonic Debris into the sound of summer. Off shore becomes on shore as British Summer Time arrives early. Shot thru the Black Hole into the hole in your heart, it's the colour chart from hell. Foxton's still burns. Face-sitting is banned. Froch vs Groves. Farrow & Ball. We are at War."

                      “The Pre New bring absurdist punk spleen, synth pulse and the chaotic free play of signifiers – with an enraged estate agent on vocals, a Zal Cleminson lookalike in a hoodie and samples from Mike Leigh’s ‘Nuts in May’” – Q
                      “The Pre New – as the name suggests – are the a mix of the noble past and the glorious future” – THE HERALD
                      “Wow – that was definitely made for television...brilliant” – BBC 6 MUSIC - MARC RILEY
                      “Wrap your ears round the warped brilliance of The Pre-New” – THE QUIETUS

                      Jack Adaptor


                        Twenty years after the demise of independent rock favourites The Family Cat, singer and lyricist Paul “Fred” Frederick returns with a new record as Jack Adaptor, a duo with songwriting partner Christopher Cordoba.

                        Fans of the Family Cat will recognize the vocal style and find joy in the sophisticated songwriting of Frederick and Cordoba, from up-tempo indie rockers like “Number One Record” (a tribute to Alex Chilton and Big Star) to atmospheric, genre-defying songs such as “V.U.” (check out the unpeeled banana!). Fred wrote the lyrics and sings the songs, while Cordoba provides most of the instruments, production and mixing skills.

                        Fred refers to this record as “a distillation of 20 years thinking about music and the kind of record I really wanted to make. Now I feel I really have something to say and the musicians to give it life”.

                        Originally released in 1994, the album turns 20 this year and can be considered to be one of the defining albums of the Britpop era, making the end of year lists in Melody Maker, NME, and Select that year. It is home to the hit singles ‘Insomniac’, ‘Close... But’, and the anthemic ‘I Can’t Imagine The World Without Me.’

                        EGO is the album that saw Echobelly land a major label deal, tour the world, sell out gigs from Japan to the US, build up fervent fanbases and famous followers including Morrissey, REM (who asked them to be their support band) and Madonna (who wanted to sign them to her label).

                        The bonus material includes the “Bellyache EP” from 1993, plus the b-sides from the singles and a previously unreleased Steve Lamacq BBC Radio 1 session from 1994.

                        The set is packaged with brand new sleeve-notes by Sonya Madan and unseen and rare photographs.

                        TRACK LISTING

                        1: Today Tomorrow Sometimes Never
                        2: Father, Ruler, King, Computer
                        3: Give Her A Gun
                        4: I Can't Imagine The World Without Me
                        5: Bellyache
                        6: Taste Of You
                        7: Insomniac
                        8: Call Me Names
                        9: Close...But
                        10: Cold Feet Warm Heart
                        11: Scream
                        12: Bellyache
                        13: Sleeping Hitler
                        14: Give Her A Gun
                        15: I Don't Belong Here
                        16: Centipede
                        17: Talent
                        18: Sober
                        19: Venus Wheel
                        20: So La Di Da
                        21: I Can't Imagine A World Without Me (Live)
                        22: Cold Feet Warm Heart (Live)
                        23: Father Ruler King Computer
                        24: Call Me Names
                        25: Taste Of You
                        26: Give Her A Gun


                        On - Expanded Edition

                          On is Echobelly’s second album and followed hot on the heels of their debut, Everyone’s Got One, to become their most successful album. It is now re-issued as a 2CD set with B-sides and unreleased tracks compiled by the band.

                          The album, produced by Slade and Kolderie (Radiohead, Hole, Pixies), is home to the hit singles ‘Dark Therapy’, ‘King Of The Kerb’ and their defining track, ‘Great Things.’ On its release in 1995, the band hit the road with their sensationally energetic live shows and no shortage of critical acclaim saw it peak at No.4 in the UK Charts.

                          Beth Orton

                          Central Reservation - Expanded Edition

                            It was released in 1999 as a follow up to the acclaimed Trailer Park and received a Mercury Music Prize nomination and helped Beth earn a BRIT Award in 2000 for Best British Female. The album also features in the book, 1001 Albums You Must Hear Before You Die.

                            The album featured the hit singles Stolen Car and Central Reservation and is now re-issued with a second disc of material compiled by Beth. It features key b-sides, including the Spiritual Life Ibadon remix of title track Central Reservation plus unreleased live recordings and demos.

                            The expanded packaging features brand new sleevenotes including a new interview with Beth.

                            Rolling Stone – “A space cowgirl with a stolen car heart”

                            Beth remembers: “Listening back to the record now, I enjoy hearing the melodies and how I played with them and the words. The making of records is often a period of redemption for me and the recording of Central Reservation was the actualizing of all my most positive

                            The Auteurs

                            How I Learned To Love The Bootboys - Expanded Edition

                            The Auteurs fourth and ultimately final album, How I Learned To Love The Bootboys was released in July 1999, a 3-year gap since their previous release, After Murder Park, a period during which Luke Haines released albums as part of Black Box Recorder and under the guise of Baader Meinhof.

                            This expanded edition, compiled by Luke Haines, features 40 tracks including key b-sides and rarities plus 5 previously unreleased tracks. The second disc features the band’s final gig recorded at London School Of Economics in November 1999. This is the first time it’s been on CD, having been briefly available as a download previously.

                            “On listening to '...Bootboys' again, I'm actually surprised how focussed it sounds. There's a straightforward 'pop side' and an unstraightforward 'experimental' side. My only regret is not putting more on the album – really stretching it out and making it a sprawling double, songs like 'Breaking Up' and 'Get Wrecked At Home' were far too good for B-sides.” Luke Haines 2014

                            TRACK LISTING

                            1: THE RUBETTES
                            2: 1967
                            3: HOW I LEARNED TO LOVE THE BOOTBOYS
                            4: YOUR GANG, OUR GANG
                            5: SOME CHANGES
                            6: SCHOOL
                            7: JOHNNY AND THE HURRICANES
                            8: THE SOUTH WILL RISE AGAIN
                            9: ASTI SPUMANTE
                            10: SICK OF HARI KRISNA
                            11: LIGHTS OUT
                            12: FUTURE GENERATION
                            13: GET WRECKED AT HOME
                            14: BREAKING UP
                            15: POLITIC
                            16: ESP KIDS
                            17: JOHNNY AND THE HURRICANES
                            18: FUTURE GENERATION
                            19: SCHOOL
                            20: ESSEX BOOTBOYS
                            21: THE RUBETTES (ACOUSTIC)
                            22: 1967 (ACOUSTIC)
                            23: SOME CHANGES (ACOUSTIC)
                            24: LIGHTS OUT (ACOUSTIC)
                            25: BAADER MEINHOF
                            26: MEET ME AT THE AIRPORT
                            27: BURN WAREHOUSE BURN / THERE'S GONNA BE AN ACCIDENT
                            28: BACK ON THE FARM
                            29: BAADER MEINHOF 2
                            30: UNSOLVED CHILD MURDER
                            31: 1967
                            32: THE RUBETTES
                            33: HOW I LEARNED TO LOVE THE BOOTBOYS
                            34: YOUR GANG, OUR GANG
                            35: HOW COULD I BE WRONG
                            36: BUDDHA
                            37: AFTER MURDER PARK
                            38: LIGHT AIRCRAFT ON FIRE
                            39: LENNY VALENTINO
                            40: FUTURE GENERATION


                            Leave The Straight Life Behind

                              Legend has it that a chance meeting with John Peel in the Rough Trade record shop set Bob on the road to becoming a true indie favourite in the late 80s and early 90s, with Peel championing the band throughout their career.

                              Starting life in 1986, the band released a series of acclaimed singles, and with each single release, they toured and promised an album. Eventually they got enough money together to release Leave The Straight Life Behind on their own House Of Teeth label in 1991.

                              The album met with rave reviews but due to the collapse of Rough Trade Distribution it was frustratingly difficult to find. Now available again for the first time in many years, the album has been expanded to 2CDs, with a second disc including all four of their Radio 1 sessions, 3 for John Peel and 1 for Simon Mayo.

                              Following the various pieces of bad luck that befell the band, they became disillusioned with the industry and finally split in 1995, leaving a legacy of eight singles, one compilation of early singles, the album and a legion of happy fans who had been lucky enough to see them live.

                              The single ‘Convenience’ graced the John Peel Festive Fifty in 1989.

                              Baader Meinhof

                              Baader Meinhof

                                Taking its name from two renowned members of The Red Army Faction, the album tells the story of the organisation and was recorded by Haines between Auteurs albums.

                                Long unavailable, the album has been remastered and expanded with five bonus tracks, including four previously unreleased tracks taken from a remix EP that was never commercially released.

                                The album comes with brand new sleeve-notes by Luke Haines.

                                TRACK LISTING

                                1. BAADER MEINHOF
                                2. MEET ME AT THE AIRPORT
                                3. THER'S GONNA BE AN ACCIDENT
                                4. MOGADISHU
                                5. THEME FROM BURN, WAREHOUSE, BURN
                                6. GSG-29
                                7. ...IT'S A MORAL ISSUE
                                8. BACK ON THE FARM
                                9. KILL RAMIREZ
                                10. BAADER MEINHOF
                                11. I'VE BEEN A FOOL FOR YOU - LP BONUS 7"
                                12. BAADER MEINHOF (CONFRONTATION REMIX)
                                13. THERE'S GONNA BE AN ACCIDENT (FUSE REMIX) *
                                14. THERE'S GONNA BE AN ACCIDENT(MUZIQ REMIX)
                                15. GOD IS WAR- DALAI LLAMA

                                Kitchens Of Distinction


                                  Kitchens of Distinction were formed in London in 1986 and started and ended their career with a Single of the Week in the UK music press. In between they put out four albums and won the hearts and minds of a generation. Hit singles generally eluded them (the band’s third single “The 3rd Time We Opened The Capsule” did however make it into the ‘NME Writers 100 Best Indie Singles Ever’ list in 1992) but they fared better in the US with “Drive That Fast” hitting number one on the college radio charts over there.

                                  A compact trio comprising of Patrick Fitzgerald (Vocals, Bass), Julian Swales (Guitars) and Dan Goodwin (Drums, Percussion) they were known for their swirling maelstrom of guitar effects - coined in the press as like being a ‘sonic cathedral’ – and Patrick’s introspective and unabashed lyrics that often dealt with his own homosexuality. They were tagged with the genre ‘shoegaze’ (UK) and ‘dreampop’ (US) although, like many of their peers similarly defined, they never felt comfortable with either term. Their sound was inspired largely by their love of Joy Division, Cocteau Twins, Siouxsie and the Banshees, Echo and the Bunnymen and peers A R Kane and it went on to be heard in a new generation of bands like Interpol, Bloc Party, Editors and British Sea Power.

                                  • The songs were recorded in Patrick’s studio in Derbyshire and at Julian’s studio in Brighton.

                                  “I can listen to a British Sea Power record and think: ‘You know what? Kitchens Of Distinction were ahead of their time.” STEVE LAMACQ / BBC RADIO / 2013

                                  “I love them to death. Long may they burn.” GRAHAM LINEHAN / writer Father Ted, Black Books, The IT Crowd

                                  “Kitchens of Distinction are one of my favourite bands” CHRIS PACKHAM / Springwatch BBC2

                                  Mega City Four

                                  Sebastapol Rd - Expanded Edition

                                    Sebastopol Rd was Mega City Four’s first album for their new major label home, Big Life. With the success of debut album “Tranzphobia”, follow up “Who Cares Wins”, and a constant touring schedule around the UK, Europe and the US they built up a solid, devoted fanbase easily identifiable in one of the many MC4 t-shirts. By this time, the band were appearing on the front covers of the NME and Melody Maker and the crossover to a major label was no great surprise.

                                    Teaming up with producer Jessica Corcoran (Senseless Things, Ned’s Atomic Dustbin, Shed Seven and The Wonder Stuff) gave the album a pop-punk crunch and more emphasis on the pop than previous material. It features the Top 40 hit ‘Stop’, ‘Prague’, covered by Muse in 2010 on the Resistance single as a tribute to the band who had influenced them, and CD1 now includes the two singles (plus their attendant b-sides) Words That Say and Shivering Sand, their highest charting release.

                                    This 2CD set, 21 years after the initial release, gathers together all the studio material from this period and adds 10 previously unreleased tracks, including demos and the John Peel Session from September 1993. It includes all the b-sides and demos taken from the box loads of cassettes and DATs in guitarist Gerry’s shed.

                                    The Family Cat

                                    Five Lives Left: The Anthology

                                      Sonic Youth once claimed that The Family Cat was their favourite UK rock band, so it is about time that there was a collection of their finest tracks.

                                      The band, based in London, but from across the South Coast, signed to independent Bad Girl Records following their trademark, blistering live shows. They released acclaimed singles – debut single Tom Verlaine was NME Single Of The Week – and mini-LP Tell ‘Em We’re Surfin’ clawed its way up the indie charts. Major labels came knocking and the five piece signed to Dedicated Records, releasing two albums, Furthest From The Sun and Magic Happens.

                                      Five Lives Left, compiled by lead singer Paul Frederick (aka Fred) and bassist John Graves, is a 2CD set tracking the band’s career from Tom Verlaine through to previously unreleased tracks from the album abandoned when the band split in January 1995.

                                      Fred said “We chose all the singles and some alternative versions of a lot of the LP tracks, plus unreleased songs from the sessions which would have become the third full LP if the band had carried on after Magic Happens. It’s strange to listen to this music after so many years, but it’s good to hear that unique mixture of power-pop, psychedelic grooves and heads down, no nonsense, guitar grinding!”

                                      John added “For me, this brings back a world when Snooker was popular, bands had to starve for their art, and CDs were quite a novelty. Looks like in 2012 we have come full circle.”

                                      The 36 track set includes all the singles including the classic Steamroller, Colour Me Grey and River Of Diamonds, both featuring PJ Harvey on backing vocals and the controversy causing Bring Me The Head Of Michael Portillo. There are key album tracks and b-sides, plus 10 previously unreleased recordings featuring BBC sessions, demos and previously unheard songs.


                                      Heaven's End

                                        Remastered from the original analogue sources, the first two releases, "Heaven's End" and "Fade Out" are released as double discs and housed in a mini vinyl style card sleeve, reproducing the original artwork. Both are released with re-mastered extra material from the relevant chronological time frame as the main album: The album in its entirety on CD 1, with the bonus tracks (including relevant Peel session material from the time) on CD 2, the bonus material will be available on CD formats only. Remastered by Robert Hampson at Sound Masters with Kevin Metlcalfe, "Heaven's End" originally came out on the Head label in 1987, they recorded their first Peel session that year (on the bonus disc) and the album draws heavily from the likes of the Velvets, Stooges, and the MC5. So, for the reissue, a two CD set will be issued with "Heaven's End" on CD 1, CD 2 will feature the only true outtake from the H E sessions, "Rocket USA". Also found from the archive are two different mixes of "Soundhead" and "Head On" which have never been released in any form before, two for the collectors there and rounded up with the first John Peel Session - "Soundhead", "Straight To Your Heart" and "Rocket USA".


                                        Fade Out

                                          "Fade Out" was originally released on Chapter 22 Records in late 88, the Peel session was recorded at that time too: Loop were loosely influenced by bands such as The Velvet Underground, The Stooges, The MC5, but retaining an avant-garde and experimental edge from Can, Faust, Neu!, Rhys Chatham, Glenn Branca and minimalist systems music, to name but a few.

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