THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH 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 22ND.

Big tip!

Revised eight track re-issue of Maria Somerville's much lauded debut album. This new edition features an additional cut 'Lakes' - a 5+ minute blown out instrumental recorded live on tour in 2019. Building from a reputation of enthralling live shows, Dublin based singer and musician Maria Somerville delivers her debut LP, "All My People", a collection of works recorded across Dublin, Cornamona and Inis Óirr. 

Somerville draws on conventional folk forms alongside post-punk, traditional Irish motifs, starry eyed pop and hypnotic drones to create wholly original music that is a product of its environment. Channeling the wilderness of the Irish landscape through dense, ethereal soundscapes and bare boned percussion, Maria adds ghostly vocals that are ever present and all encompassing, like crystalline glints of sunshine peeking through dark stormy clouds. The duality of darkness and light is at play throughout the releases seven tracks, hinting at an uneasy optimism during difficult times. 

"Stirring and beautiful songs, with a consistent optimism underlying even the murkiest of moments."

Recorded in Connemara and Dublin. Mixed by Brendan Jenkinson. Mastered by The Bastard.

TRACK LISTING

Eyes Don't Say It
This Way
Undoing
Dreaming
All My People
All Too Much
Brighter Days
Lakes

222 Units Ltd as F*K.

Abstract wonky vibes from the mountain peaks with Luv*Jam & Maria Slovakova

++Plus++ Ridiculously advanced reversions from the one and only Ruf Dug

(as Ruffy himself says “Detroit going off in ya caravan for the weekend”)

++Plus++ A spaced out to the high hills take from sound pioneer Special Characters


3000.10 is the 10th instalment of 14 highly collectable records.

Carnedd Dafydd (David’s Cairn) - 3425ft (1044m).

OS grid SH6628 6305.

STAFF COMMENTS

Matt says: Everyone's favourite Welsh nipper, Luv Jam is joined by Manchester's No. 1 tropical cyberpunk for an exclusive mission into the mountains of Snowdonia. It's had a long hiatus, but the Legend Of Gelert series is back with a bang.

TRACK LISTING

A1. Mind Floating - Ruffys Pagan Renip
A2. Chcem Strongly - Ruffys Surf N’ Turf
B1. Mind Floating - Special Characters Peaky Renip
B2. Mind Floating - Original 2010 Secret Version

Maria is a trio from Holland and the Czech Republic, who have been producing their own unique post-religious cabaret since 2016. Lyckle, Katerina and Bjorn have amassed seven albums of outsider pop and improvised mayhem over the years. This collection of tracks were mostly made on a farm over a two year period and you can tell the fresh air had a conducive effect on their collective songwriting. A classic sound of drum machines, synth bass, and keyboards holds up Katerina and Lyckle’s vocal interplay alongside Bjorn’s guitars. When the three find their sweet spot, they can conjure up fine slices of whimsical, bleary-eyed pop music that isn’t afraid to smile once in a while and dream big.

STAFF COMMENTS

Barry says: Woozy electronica, shimmering guitars and swooning reverbed vocals, brittle melodies and chaotic lo-fi punk, in fact I could probably put at least one of the songs on Maria's brilliant and baffling Best Of in every genre in the shop. Superb, off-piste electronic indie business all round.

TRACK LISTING

Ghost In White Clothes Demo
Nine Nine Nine
Dream Of Bad Mood
Single Guy Dishwasher Song
Intermezzo
Small Question
Problem We Share
Spirit Of Money
Skyscraper
House Royal In Den Haag
Ghost In White Clothes
Memories In Cells
Humanity
No Need To Go There
Monday To Friday
Church Of Maria
Time To Get Smaller Quickly
Calling
Vampire

This debut album from previous Sink Ya Teeth member Maria Uzor treads softly upon opening, before charging headfirst into a cosmic landscape of electro, avant-pop, footwork and stark techno.
Nine tracks delivered as the building blocks for a world seen through Uzor’s eyes where there are no boundaries, there are no walls, just a gentle beckoning to be yourself. ‘Soft Cuts’ is a joyful and groove-led journey with unexpected twists through the darkness.

Eclectic and esoteric, the album revels in it’s own diversity. There are echos of Aphex Twin in there, of Zapp, Kate Bush and Drexciya. And yet for all it’s influences, Maria has created a body of work that’s beautifully seamless in it’s amalgamations. Play loud and lose yourself to find yourself.

This past year has seen Maria Uzor release the first single ‘Ventolin’ from the Soft Cuts album to praise and support from John Kennedy (Radio X), Amy Lame, Tom Ravenscroft, Deb Grant, and Jamz Supernova (BBC 6 Music). She has also played festivals including The Great Escape, Nox Orae (Switzerland) and Manchester Psych Fest, and collaborated with Acid Klaus, !!!, and A Certain Ratio.

STAFF COMMENTS

Barry says: As perfect as it is for home listening, there's no doubt that the endlessly talented Maria Uzor's music is courting the dancefloor, with shimmering arps and hefty percussives perfectly working beneath her haunting, perfectly produced vocals. A heady, dynamic mix of gothic wooze and dance-adjacent rhythm.

In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil.

Spike Field was recorded in the home of a family friend. The home featured an out-of-tune baby Steinway piano, complete with squeaky hammers and strange, sporadic sounds. The piano is sprinkled throughout the album, and features extensively on opener “Amber,” showcasing Maria BC’s looser, more extensive arrangements. The song flickers with electronic wonder, like a wave seeking out its station, before crashing into the angelic choral introduction of “Watcher”. Strings, plucked guitar and buzzing swells accompany their classically-trained mezzo- soprano voice on “Return to Sender,” a song that focuses on the frustrations and turmoil of being unable to reach a loved one––both physically and emotion-ally.

Spike Field reminds us that despite our best efforts to bury certain aspects of ourselves, they will always lurk beneath the surface. Instead of ignoring the seeds striving to break through, we can point to these places with a curious grace, concocting a language that transcends words to converse with our previous selves. Maria BC pieces together juxtaposing sonic landscapes and oscillating vocals to represent the thread of miscommunication, or the failure of words, that weaves throughout the album, transforming it into a distinct and ever-evolving sonic tongue. If we listen, we might find something new within ourselves

RiYL: Grouper, Big Thief, Marissa Nadler, Cat Power, Juliana Barwick, Mount Eerie, Espers, Diane Cluck, Six Organs, Steven R Smith, Linda Perhacs

TRACK LISTING

1 Amber (3:54)
2 Watcher (3:04)
3 [ A Backlit Door ] (0:52)
4 Haruspex (5:19)
5 Return To Sender (3:21)
6 Tire Iron (3:49)
7 Daydrinker (3:58)
8 Tied (ft. Issei Herr) (4:16)
9 Still (5:13)
10 Lacuna (4:16)
11 Mercury (4:08)
12 Spike Field (6:27) 

Electronic duo Pale Blue returns to Crosstown Rebels with their long-awaited sophomore album ‘Maria’, revealing a spellbinding eight-track trip across electronic spheres.

After forming their critically acclaimed Pale Blue project with their debut album ‘The Past We Leave Behind’ in 2015, Mike Simonetti (Italians Do It Better) and Elizabeth Wight (Silver Hands) have only furthered intrigue and interest in the years since, uniting for a series of expansive EPs on Simonetti’s own 2MR imprint exploring dancefloor-focused acid through to gripping electronica. Having already offered a first look and preview into their long-awaited album return via three singles on the label, with remixes provided by DJ Tennis, Kölsch, Fort Romeau and Perel, mid-May sees Simonetti, and Wight finally reveal their sophomore album ‘Maria’ on Damian Lazarus’ Crosstown Rebels - offering a uniquely raw yet seamlessly polished trip into their idiosyncratic world.

“‘Maria’ is an album of love songs - the good, the bad, and the ugly… The album is written entirely in Elizabeth’s voice. These are all her words - her thoughts, based on her personal experience. When writing this record I took inspiration from classic rock LP sequencing, and tried to dial in on a coherent concept, a natural flow. Although these are clearly techno tracks, one would argue they have more in common with rock music than dance music. I wanted to try make something a little different, verse/chorus/verse tracks but still heavy enough for the club, full of melody and emotion… poppy but not THAT kind of poppy. Pale Blue has been known to take on political subject matter in the past, but the politics of love is something we can all relate to.” - Mike Simonetti.

Opening with the slow-blooming and beautifully crafted dreamlike melodies of the aptly titled ‘Spells’, the eight-track long-player navigates and traverses the broader realms of electronica through to lighter pop-influenced touches and sonics for an absorbing and compelling dive. ‘Dive’, the first single from the project, provides a hazy but resonant web of polyrhythms and textures guided by Wight’s captivating vocals, while ‘Laura’ reaches for sparkling leads synths amongst sweeping tones and moments of bliss. Offering up change to the aesthetic ‘Ice Is Falling’ is a stripped-back and haunting production as Wight’s vocals carry eerie tones and pockets of space for a hair-raising effort.

The second half of the project welcomes second and third singles ‘No Words’ and ‘Together Alone’, with the playful tones of the former complementing the wistful and floaty soundscapes of the latter for two tracks to keep listeners in a trance. Closing out the package, ‘The New Year’ is a delightfully worked pop-leaning gem built on electronic foundations with a slinking acid-tinged bassline snaking through the mix, before shaping things up with the anthemic and rosy glow of final track ‘The Last Song’.

Further emphasising Simonetti and Wight’s innate connection and bond when creating and crafting music, ‘Maria’ is an exemplary display of the two at their best across a collection of eight productions straddling the electronic-pop border with poise and aplomb.

TRACK LISTING

A1. Spells 
A2. Dive 
B1. Laura 
B2. Ice Is Falling 
C1. No Words 
C2. The New Year
D1. Together Alone 
D2. The Last Song 

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

First time on vinyl for the gorgeous 'Late December', with a second LP featuring rare recordings from her Live Acoustic LA tour in 2006, the package includes new liner notes and a download of the studio album and live show. An album thatís broader than Broadway, a panoramic view of life, love and loss filled with drama and theatricality. Plus a live set thatís heart-on-sleeve time, bringing together songs from Lone Justice, plus covers of the traditional country anthem 'The World Is Not My Home', Richard Thompson's 'Has He Got A Friend For Me' and three songs that show the bittersweet beauty of her brother Bryan MacLeanís song writing. In total, it's Kurt Weill, Springsteen, itís the million-selling global hit 'A Good Heart' delivered by the songwriter herself in all its Phil Spector-like baroque beauty.

Formed in 2014 in Chicago by partners Joshua Condon and Eliza Weber, Glyders have kept busy, lighting up shows around town and country ever since then with their mystery sound, on the road when and where they could from here to Europe, taking time also to self-release a couple of EPs (‘DIM’ and ‘Lend a Hand’).

Fuelled by Josh’s spectral vocals and the liquidity created by his guitar and Eliza’s bass, Glyders’ mazy spacecraft takes to the air from the empty parking lot out back of the roadhouse and finds in its arc an anodyne of the trippy and the wiggy / ghostly places lost and found. Glyders have it both ways, rocking the white line with fervour but also stopping to soak up the fragrance of the purple sage and the queen of the night by the side of the road.

They’ve cut their records at home, with Josh delving deep in the pleasures of analogue recording, finding the embodiment of their subterranean fascinations with twists and turns of the dial in a space they’ve dubbed the Juicy Lagoon. Steeped in the pop and psychedelic enigmas of rock and roll yore, the buzzing of tubes and transients and uncontainable rumble, Glyders make it shake and live in front of the tape machine and real audiences alike with a flexible, expansive palette of sounds and a tight bunch of songs.

For their first vinyl full-length, the watchword, as ever, is ‘maximal minimal’. These kids are up around the bend and in it for the long haul. After a few line-up shifts over the years, they’re settled down with drummer Joe Seger and are fixing their sights on the far horizons. If you see Glyders choogling down the track, pull up and get set for ‘Maria’s Hunt’.

TRACK LISTING

High Time
Wrong Sometimes Right
Geneva Strangemod
Maria’s Hunt
Shoreline
Golden Hour
Smooth Walker
Can’t Beat The Heat
Inbound/Outbound
Shoreline (Reprise)

After eight albums, Maria Rodés' talent has been made absolutely clear on numerous occasions. But "Fuimos Los Dos" is a special album, and not just because it's her first solo album with Elefant Records (after that wonder she shared with La Estrella De David entitled "Contigo"). We are probably looking at her most intimate work, where she combines singer-songwriting, Latin American folklore and sonic experimentation to express her vision of the end of romantic relationships. It is an absolute delight, and her marvelous voice dances between minute, delicate, exquisite arrangements.

‘Hyaline’ is the debut album from Ohio-born, Oakland, CAbased artist and songwriter, Maria BC. Following last year’s debut EP, ‘Devil’s Rain’, which received critical praise from Pitchfork, BBC Radio 6 Music, KEXP and more, Maria recorded ‘Hyaline’ across their untreated Brooklyn apartment in Summer 2021, like a wandering spirit gaining energy from different spaces. Their classically trained mezzosoprano voice soars over raw, ethereal guitars; audio samples from Prospect Park - now almost unrecognizable - settle alongside tender, transformative harmonies.

Mixing together different sessions, tracks recorded directly into their phone and samples collected over the years, Maria BC likens ‘Hyaline’ to a ‘sonic collage’. It’s a project of patience and trusting the process.

‘Hyaline’, the album title, describes something that is clear and translucent like glass, especially a smooth sea. For Maria, songwriting is a stretched blank canvas awaiting the strokes of an exhale, and it’s this slow-moving process that rewards us the ease of a crystalline sky, without forgetting the clouds that may have come before it.

A knife's-edge balance of intimacy and ambiguity, ‘Hyaline’ accesses snapshots of grief, anxiety and wonder through a miscellany of spectres: these are ghost stories, but not as we know them.

TRACK LISTING

No Reason
April
The Only Thing
ROF
Keepsakes
Rerun
***
Betelgeuse
The Big Train
Good Before
Hyaline

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

Maria McKee has been out of the proverbial spotlight for some time, her creative talents re-engaging with her first love of acting, performance and the musical tapestries that accompany such activities.

Candid and passionate, she’s, quite simply, had a beatific awakening and in a crescendo of prose, her new album ‘La Vita Nuova’ unlocks her story, sketching out her journey that started many moons ago when she sang in her bedroom with her older brother, the late, great musical innovator Bryan MacLean. Along the way she retooled punk and country in Lone Justice, released a string of evocative and eclectic solo records, wrote chart topping hits and touched millions of people before seemingly disappearing…

Some of the new album sounds like modern show tunes for musical extravaganzas that are still to be penned.

‘Little Beast’ is almost Disney-esque and ‘I Should Have Looked Away’ has a real stagey feel to it. Title track ‘La Vita Nouva’ and ‘Let Me Forget’ are all beautifully written stories of relationships in various states of evolution or disrepair. And, ‘However Worn’ is like a slice of American gothic.

A homage to new life, the completion of ‘La Vita Nuova’ saw Maria’s life entirely change and illustrates an important period in the artist’s life.

“It’s a really personal record; all I can do is tell my story. People can find their own meaning in it, taking them deeper, perhaps, into something they need to experience, I think that’s what music and art does.”

TRACK LISTING

Side A:
A1 Effigy Of Salt
A2 Page Of Cups
A3 Let Me Forget
A4 I Should Have Looked Away

Side B:
B1 Right Down To The Heart Of London
B2 La Vita Nuova
B3 Little Beast

Side C:
C1 Courage
C2 Ceann Bró
C3 The Last Boy

Side D:
D1 I Never Asked
D2 I Just Want To Know That You're Alright
D3 Weatherspace
D4 However Worn

The third appearance in the Brazil 45 series for the mighty Sonia Santos, here with a relatively under-the-radar gem. ‘Marraio’ is a quirky sambafunk bomb with tripped out synths, wah-wah guitar, horn stabs and is one aimed straight for the dance-floor. Written by Hélio Matheus, it was released on a 7” and four track EP on Som Livre records in 1974 and 1975 respectively. Brazilian record digger and DJ hero DJ Nuts included ‘Marraio’ in his epic mixtape ‘Cultura Cópia’ back in 2004.

On the flip we keep the funk-vibes going but drop the tempo. The late-great Marcia Maria’s AOR/Rio-funk slow-jam ‘Oh! Man’ was only released on a 7” single on Odeon Records in 1979. It features the distinctive sounds of Robson Jorge & Lincoln Olivetti in the production team.

TRACK LISTING

Sonia Santos - Marraio
Marcia Maria - Oh! Man

Milton Nascimento’s "Maria Maria" was recorded in 1974 and was unreleased until almost thirty years later. The album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, "Maria Maria" reveals one of Brazil’s greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including "Os Escravos De Jó" and "Maria Maria".

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song "Can o do Sal (Sultry Song)" at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Milton’s religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

TRACK LISTING

LP 1:
Maria Maria
Cozinha
Pilar (Do Pila)
Trabalhos (Essa Voz)
Lilia
A Chamada
Era Rei E Sou Escravo
Os Escravos De Jo
Tema Dos Deuses

LP 2:
Santos Catholicos X Candomble
Pai Grande
Sedu O
Francisco
Maria Solid Ria
De Repente Maria Sumiu
Eu Sou Uma Preta Velha Aqui Sentada No Sol
Boca A Boca
Maria Maria

Blind Jack returns, embarking on another journey around secret cities. This time we drop into Wuppertal, capital of ‘Bergisches Land’ in Germany. Famous for the space-age Schwebebahn and the Lego Brücke. "No Rush" gets nipped and tweaked by Luv*Jam but first let's revel in the gloriously languid beauty of the original. Relaxed house beats, undulating pads and pitch bent synth lines all converge to create a mediative moment of deep house bliss. Luv*Jam's various 'nips' consist of him reducing the track to either the tantalizing synthline or fellow Wuppertal resident, Maria Basel's dreamy vox. It's a pure and radiant release from the Blind Jack's camp and certain keep its avid fan base more than happy. Super limited, no repress - move quick! 

TRACK LISTING

A1. Colkin - No Rush (Original)
A2. Colkin - No Rush (Colkin’s Dream Synth)
A3. Colkin - No Rush (Luv*Jam’s Dream Synths)
AA1. Colkin - No Rush (Luv*Jam Dream Nip Feat. Maria Basel)
AA2. Colkin - No Rush (Luv*Jam & Maria Basel Dream Vox)

Welcome to the parallel musical universe of Miss Maria Teresa Luciani, a landscape of sonic architecture and theoretical composition constructed by a family of engineers that reinvented the wheel before the vehicle even began the journey. Imagine, if you will, the musical equivalent of Peter Cook’s Archigram group or the soundtrack to Charles and Ray Eames’ private sketchbooks, hinting at a new municipal, utopian metropolis just hours before the blueprints are suspiciously misplaced by the courier. These 1972 constructions of progressive, cyclic, proto-industrial colour music were never intended for public habitation. These are the ‘Sounds Of The City’ in a galaxy far, far beneath our radar and above your expectations that was never built.
The story of Maria Teresa Luciani reads like an Alphaville caper full of foreign intrigue, low intensity identification fraud, secret codes, family bonds, mistrust and wanderlust. To say this rare Italian concept album is unbelievable is justified on multiple levels. This multi-storey storage facility of found sounds, radiophonic samples, tape loops, early electronic music experiments, mechanical folk, cinematic vision, sound design, educated music theory, political pop and high concept art-as-noise successfully layers more musical ideas within its unique structure than one would think possible for a solo artist within any musical genre.
This is why ‘Sounds Of The City’ presents us with a brand new genre defying compositional framework, pre-dating sampling culture, cut & paste plunderism and industrial music in the process. Pre-digital, indefinable and genuinely unbelievable.
Who is Maria Teresa Luciani? On hearing this record respected collectors and enthusiasts have suggested “the female answer to Basil Kirchin,” or “the Italian Daphne Oram.” Both with justified cause.

Banda Black Rio's 'Maria Fumaca' is one of the strongest Brazilian samba-disco-funk-soul-fusion albums of all time. It was voted No. 38 in the Top 100 Brazilian Albums Ever in Rolling Stone Magazine, Brazil. This official Mr Bongo re-issue comes complete with replica original artwork.

Banda Black Rio were formed in 1976 by the late Oberdan Magalhães in Rio de Janeiro. They revolutionised black instrumental music at the time with their Brazilian re-interpretation of soul, jazz, funk and disco grooves, inspired by the likes of Tim Maia and reminiscent of Kool & The Gang and Earth, Wind & Fire during their most on-point period of the 1970's. 'Maria Fumaca' is the groups first album, originally released by Atlantic in 1977 and a record that bought the group worldwide fame.

The title track is a real stand-out for us and a long term firm favourite. 'Miss Cheryll', more of a disco / AOR jam, was released by RCA UK in 1980 as the track become popular within several London scenes.

Following several low run self-releases, this is Swiss group Bliscappen Van Maria’s debut album proper, comprising of two side-long pieces merging all from frazzled electronic swirl, drones, ethereal hums, guitars, percussion, banjo and the overall hue of the imaginary psychedelic western movie soundtrack these improvisations actually had in mind from their outset.

Lavishly packaged in reversed card sleeve and limited to 500 only, this comes highly recommended to those who enjoyed the Zsolt Sores Ahad 2CD on Fourth Dimension/AudioTONG or for all lovers of interstellar minimalism and the likes of Circle, early Pink Floyd, Ash Ra Tempel, Taj Mahal Travellers et al. A blissful debut by this group with roots in a number of others to have emanated from Switzerland’s ‘90s post-hardcore punk/noise/post-rock scene (Equus, Montevideo, Forceed, Knut, etc.)