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MARS

Suzi Ronson

Me And Mr Jones : My Life With David Bowie And The Spiders From Mars

    From the stylist behind David Bowie's Ziggy Stardust look, an electrifying peek behind the curtains during a legendary chapter of pop culture history. 'Suzi Ronson was there as Bowie transitioned from suburban folkie to world superstar and genius. Few can offer such insight, and tell this fascinating story with such verve.' HANIF KUREISHISuzi Ronson was working in a Beckenham hair salon in the early seventies when Mrs Jones came in for her weekly shampoo and set.

    After being introduced to her son David and his wife Angie, Suzi finds herself at the Bowies' bohemian apartment and is soon embroiled in their raucous world. Having crafted his iconic Ziggy Stardust hairstyle, Suzi becomes the only working woman in David's touring party and joins the Spiders from Mars as they perform around the globe. Amid the costume blunders, parties and groupies she meets her husband-to-be, Mick Ronson, and together they traverse the absurdities of life in show business, falling in with the likes of Iggy Pop, Bob Dylan and Lou Reed along the way.

    Dazzling and intimate, Me and Mr Jones provides not only a unique perspective on one of the most beguiling stars of our time but also a world on the cusp of cultural transformation, charting the highs and lows of life as one of the only women in the room as it happened.

    David Bowie

    Ziggy Stardust And The Spiders From Mars: The Motion Picture Soundtrack (50th Anniversary Edition)

      David Bowie retired Ziggy Stardust, his most famous alter-ego, in front of 5000 stunned fans at London’s Hammersmith Odeon. Now, the fully restored film and soundtrack will be released for the first time for the 50th anniversary of the show. Renowned filmmaker D.A. Pennebaker (Monterey Pop, Bob Dylan - Don’t Look Back, Depeche Mode - 101) captured the momentous event by filming Bowie and The Spiders From Mars backstage and onstage.

      Although filmed 50 years ago, the film was not widely seen for over a decade. However, the film and its soundtrack have been newly remastered with the medley of ‘The Jean Genie/Love Me Do’ medley and ‘Round And Round’ featuring the late legendary Jeff Beck reinstated - the latter track making its very first appearance anywhere. Both performances were newly mixed by long-time Bowie collaborator Tony Visconti.

      The show featured Bowie’s famous speech just before the final encore, ‘Rock ‘n’ Roll Suicide’, where he revealed that he was retiring the Ziggy Stardust persona. The shocking announcement came as a surprise to all in attendance – including members of his band and was the first proclamation of its kind in rock and roll.


      TRACK LISTING

      Side 1
      Introduction
      Hang On To Yourself
      Ziggy Stardust
      Watch That Man
      Wild Eyed Boy From Freecloud
      All The Young Dudes
      Oh! You Pretty Things
      Moonage Daydream
      Side 2
      Changes
      Space Oddity
      My Death
      Cracked Actor
      Time
      Side 3
      The Width Of A Circle
      Let’s Spend The Night Together
      Suffragette City
      Side 4
      White Light/White Heat
      Medley: The Jean Genie / Love Me Do / The Jean Genie (feat. Jeff Beck)
      Round And Round (feat. Jeff Beck)
      Farewell Speech
      Rock ‘n’ Roll Suicide

      The Mars Volta

      QueDios Te Maldiga Mi Corazon

        The Mars Volta - Que Dios TeMaldiga Mi Corazon (acoustic album of The Mars Volta) After the successful worldwide release of the studio album "The Mars Volta", the band also releases the album as an acoustic album. The harmonic album "Que Dios TeMaldiga Mi Corazon".

        The Mars Volta plays a similar game: it is subtly subversive – end- lessly inventive, but never at the cost of the song. Many of the same val- ues that made The Mars Volta’s previous albums so ground-breaking, so acclaimed, are still present here, but they are employed in different, adroit ways. The Caribbean rhythms that powered their blistering earlier records still flourish across The Mars Volta – they aren’t the foreground now, but they ripple underneath each of these tracks.

        Similarly, the big rock moves and proggy complexities of their landmark releases have given way for more sonic subtlety, for immediacy and directness. But while The Mars Volta shies away from Grand Guignol flourishes, it remains a dark, power- ful and affecting listen, mature and deeply satisfying in its restraint.


        TRACK LISTING

        1. Blacklight Shine  (acoustic)
        2. Graveyard Love (acoustic)
        3. Shore Story (acoustic)
        4. Blank Condolences  (acoustic)
        5. Vigil (acoustic)
        6. Que Dios TeMaldiga Mi Corazon (acoustic)
        7. Cerulea (acoustic)
        8. Flash Burns From Flashbacks (acoustic)
        9. Palm Full Of Crux (acoustic)
        10. NoCaseGain (acoustic)
        11. Tourmaline (acoustic)
        12. Equus 3 (acoustic)
        13. Collapsible Shoulders (acoustic)
        14. The Requisition (acoustic)


        ESP Summer

        Mars Is A Ten - 2023 Reissue

          First vinyl edition of the mythical first ESP Summer album, recorded in 1994 in Livonia, Michigan by 4AD labelmates Ian Masters (Pale Saints) and Warren Defever (His Name Is Alive).

          Remastered from the original tapes at Third Man Mastering. Clear vinyl with no banding between tracks.

          Double-sided fold out A2 poster with liner notes, lyrics and archival photos, plus download card.

          TRACK LISTING

          Side 1

          1 Sticky Sun 3:40
          2 Web Of Dream 3:02
          3 Simple Eye 4:32
          4 More Water 2:19
          5 Golden Heart Of The Year 3:40
          6 Land Of 102° 4:21

          Side 2

          1 Your Hands 5:01
          2 On You 2:10
          3 Splinters 5:05
          4 Last Time Hand 4:03
          5 When Leaves Are Gone

          The Mars Volta

          The Mars Volta

            Breaking a decade of omertà, The Mars Volta reawaken from their lengthy hiatus with an eponymous track that radically reshapes their paradigm. Formed by guitarist/composer Omar Rodríguez-López and singer/lyricist Cedric Bixler-Zavala, The Mars Volta rose from the ashes of El Paso punk-rock firebrands At The Drive-In in 2001.

            On a mission to “honour our roots and honour our dead”, The Mars Volta made music that fused the Latin sounds Rodríguez-López was raised on with the punk and underground noise he and Bixler-Zavala had immersed themselves in for years, and the futuristic visions they were tapping into.

            The albums that followed were one-of-a-kind masterpieces, their songs of breath-taking complexity also possessing powerful emotional immediacy. After the group fell silent, a legion of devotees (including Kanye West) kept up an insistent drum-beat for their return. Now – a year after La Realidad De Los Sueños, a luxurious 18-LP box-set compiling their back catalogue, sold out its 5,000 print run in under 24 hours – the duo are back, accompanied this time by founder bassist Eva Gardner, drummer Willy Rodriguez Quiñones and keyboard-player Marcel Rodríguez-López.

            This song shakes loose some of The Mars Volta’s long-standing shibboleths and the dizzying, abrasive prog stylings of earlier albums absent. Instead, The Mars Volta pulses with subtle brilliance, Caribbean rhythms underpinning sophisticated, turbulent songcraft.

            This is The Mars Volta at their most mature, most concise, most focused. Their sound and fury channelled to greatest effect, The Mars Volta finds Rodríguez-López’s subterranean pop melodies driving Bixler-Zavala’s dark sci-fi tales of the occult and malevolent governments. Distilling all the passion, poetry and power at their fingertips, The Mars Volta is the most accessible music the group have ever recorded.

            TRACK LISTING

            1. Blacklight Shine 
            2. Graveyard Love 
            3. Shore Story 
            4. Blank Condolences 
            5. Vigil 
            6. Que Dios Te Maldiga Mi Corazon
            7. Cerulea 
            8. Flash Burns From Flashbacks 
            9. Palm Full Of Crux 
            10. No Case Gain 
            11. Tourmaline 
            12. Equus 3 
            13. Collapsible Shoulders 
            14. The Requisition

            Mouse On Mars

            Radical Connector - Reissue

              Mouse on Mars are recognised as one of Germany’s most defining and versatile electronic music projects. With their anarchic mixture of sound that oscillates between uncontrollable chaos and meticulously arranged structures, Jan St. Werner and Andi Toma have forged a unique musical language which is readily decomposed by the unpredictability of its myriad mutations. Free from schools of thought, genre conventions andfrom the constraints of the music establishment, they have worked under the Mouse On Mars alias for 24 years, mapping their own idiosyncratic trajectory through a no man’s land between pop, art, club music and the avant-garde.

              TRACK LISTING

              Mine Is In Yours
              Wipe That Sound
              Spaceship
              Send Me Shivers
              Blood Comes
              The End
              Detected Beats
              All The Old Powers
              Evoke An Object

              David Bowie

              The Rise And Fall Of Ziggy Stardust And The Spiders From Mars - 50th Anniversary Edition

                28th April 2022 marks the 50th anniversary of the release of David Bowie’s STARMAN, the first single from THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS. To celebrate, Parlophone Records is proud to announce release details to mark the album’s Golden Jubilee.

                On 17th June 2022, 50 years and one day after the original U.K. release date, THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS will be issued as a limited edition 50th anniversary picture disc, featuring a half-speed master and a replica promotional poster for the album.

                THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS is the breakthrough album that catapulted David Bowie into the international spotlight. Over the past 50 years it has remained a touchstone record, growing in stature with each passing year. It is now ingrained in popular culture, its undeniable influence spanning musicians from Arcade Fire to Lady Gaga, to Harry Styles’s androgynous fashion sense to Noel Fielding’s shirts on The Great British Bake-Off to Ziggy make-up challenges on Tik-Tok.

                David Bowie laid to rest the Ziggy Stardust persona in July 1973 at his infamous last show with the Spiders From Mars at London’s Hammersmith Odeon, but Ziggy’s impact reverberates to this day.


                TRACK LISTING

                SIDE ONE
                Five Years – 4:42
                Soul Love – 3:34
                Moonage Daydream – 4:40
                Starman – 4:10 It Ain’t Easy – 2:58
                SIDE TWO
                Lady Stardust – 3:22
                Star – 2:47
                Hang On To Yourself – 2:40
                Ziggy Stardust – 3:13
                Suffragette City – 3:25
                Rock ’n’ Roll Suicide - 2.58

                The Mars Volta

                Landscape Tantrums - Unfinished Original Recordings Of De-Loused In The Comatorium

                  Landscape Tantrums Lost for two decades, the recent rediscovery of Landscape Tantrums the first attempt at recording the music that would become The Mars Volta’s De-Loused In The Comatorium revealed an important and hitherto missing chapter in the group’s evolution. Selfrecorded by Omar (assisted by Jon DeBaun) at Burbank’s Mad Dog Studios within a head spinning four days, Landscape Tantrums captures De-Loused in somewhat embryonic form, though much of what would make The Mars Volta’s debut album such an electrifying, sublime experience was already in place: the fearless invention, the fusion of futurist rock elements and traditions from outside of the rock orthodoxy, the sense of virtuosity working in service of emotional effect. From a distance, The Mars Volta must have seemed as if they were on a high when they walked into the studio to record what they expected to be their debut album (“I didn’t think of it as demos or a dry run,” Omar says). The group had recently played the Coachella festival to rave reviews, a vindication of the quixotic risk Omar and Cedric had taken, quitting At The Drive In to lead such an uncompromising musical proposition.

                  Their debut EP, Tremulant, had similarly signalled their singular vision, and been rewarded with similarly positive feedback. But the truth was that The Mars Volta entered Mad Dog in tatters, scarcely believing anything other than failure lay within their reach. They’d recently lost their bassist, Eva Gardner, and parted ways with keyboard play Ikey Owens. Tensions were brewing with drummer Jon Theodore, too himself a replacement for founding drummer Blake Fleming Omar questioning Theodore’s commitment to the group. And sound manipulator Jeremy Michael Ward’s drug problem had gotten so far out of hand that he’d been sent to rehab, and wouldn’t return until two days into the Landscape Tantrums. The pressure upon Omar was intense, and it began to manifest in the form of physical and emotional breakdowns. His art was his life, but now he began to wonder if it was actually going to kill him. Under such heavy manners, miracles occurred at Mad Dog. Surely that’s the only way to describe the music contained on Landscape Tantrums, as Omar fashioned early versions of Inertiatic ESP, Drunkship Of Lanterns and Eriatarka that rivalled the Rick Rubin produced versions that ended up on De- Loused for intensity, precision and immediacy, as Cedric delivered a powerfully intimate reading of Televators, and as a bare bones version of the group sketched out the peaks of what would become their debut masterpiece in barely half a week, on a shoestring, and believing they wouldn’t last long enough to see it hit the shelves. Listening to Landscape Tantrums now, with the benefit of hindsight and the knowledge of what these songs will become, one notices Cedric has yet to fully find the voice that will lend The Mars Volta their devastating authority, that Eriatarka will evolve even further under Rick Rubin’s watch, and that the lyrics to De-Loused’s climactic chapter, Take The Veil Cerpin Taxt, have yet to be penned. But one also notices how lithe the group sound here, how hungry, and one appreciates the raw edge that Rubin would later polish to a venomous sharpness. More than mere historical curiosity, Landscape Tantrums is an essential text for the dedicated Mars Volta aficionado, and a breathtaking album in its own right.

                  TRACK LISTING

                  Side A
                  1. Roulette Dares (The Haunt Of) [Unfinished Original Recordings Of De-Loused In The Comatorium]
                  2. Son Et Lumière (Unfinished Original Recordings Of De-Loused In The Comatorium)
                  3. Inertiatic ESP (Unfinished Original Recordings Of De-Loused In The Comatorium)
                  4. Drunkship Of Lanterns (Unfinished Original Recordings Of De-Loused In The Comatorium)
                  5. Eriatarka (Unfinished Original Recordings Of De-Loused In The Comatorium)

                  Side B
                  1. This Apparatus Must Be Unearthed (Unfinished Original Recordings Of De-Loused In The Comatorium) 
                  2. Televators (Unfinished Original Recordings Of De-Loused In The Comatorium)
                  3. Take The Veil Cerpin Taxt (Unfinished Original Recordings Of De-Loused In The Comatorium)

                  The Mars Volta

                  The Bedlam In Goliath - 2022 Reissue

                    The Bedlam In Goliath Received wisdom has it that to toy with the occult is to enter into a Faustian pact that will bite you on the ass somewhere down the line. Magic, myth and sorcery had been recurrent themes within The Mars Volta’s output for some time and served as the dominant motifs for their previous full length, Amputechture.

                    So it was almost inevitable that, at some point, luck, kismet, karma, serendipity whatever you want to call the metaphysical forces that exert hidden influence upon our mortal world would visit the group and enact some kind of payback. Whatever debts the group had accrued came due with The Bedlam In Goliath, the group’s fourth full length, and an album whose creation was, in every sense of the word, cursed. The production of the album was regularly scuppered by technical problems that erased whole takes from their computer hard drives, a phenomenon Omar’s in studio right hand man Rich Costey an experienced producer/engineer in his own right found impossible to explain.

                    Meanwhile, Omar’s home studio flooded and was plagued by severe electrical problems, and at least one member of the engineering staff working on the album quit the sessions after suffering a psychotic episode. At the time, all this accumulating bad juju was ascribed, by the more superstitious members of The Mars Volta, to a ouija board Omar had reputedly pur chased while travelling in Jerusalem and gifted to Cedric upon his return. What is certain is that Omar returned from his travels with tapes of field recordings he’d made in Jerusalem, from his wanderings around the city’s Jewish, Muslim and Christian quarters, which were later mixed into the track Soothsayer, a mystical epic elevated by strings.


                    The Mars Volta

                    Amputechture - 2022 Reissue

                      Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.”

                      But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality.

                      TRACK LISTING

                      Vicarious Atonement
                      Tetragrammaton
                      Vermicide
                      Meccamputechture
                      Asilos Magdalena
                      Viscera Eyes
                      Day Of The Baphomets
                      El Ciervo Vulnerado

                      The Mars Volta

                      Frances The Mute - 2021 Reissue

                        Frances The Mute was no De-Loused Part Two. For one thing, the band’s configuration had changed, in the most painful way. Shortly before the release of De- Loused, sound manipulator and founder member Jeremy Michael Ward passed away, a wound Omar says the group never recovered from. But even though his inspired fucking- with-the-sonic-parameters is absent from Frances The Mute, his spirit and influence can still be determined, the album’s concept derived from a diary Ward had encountered in his day-job in repossession.

                        “Jeremy picked up lots of interesting stuff when he was a repo man,” remembers Cedric. “Weird things, including this diary, He let us read it a bunch of times. It was by a guy who’d been adopted and was searching to find his real parents. It was very surreal, it didn’t make much sense – the guy might’ve been schizophrenic – but it was very inspiring. It felt like how certain music helps you escape your boring every-day life. The names and scenes in the diary directly inspired these songs.” Some of the tracks pre-dated De-Loused, having their origins in early demos Omar recorded at the duo’s Long Beach home Anikulapo, songs such as The Widow and Miranda The Ghost Just Isn’t Holy Anymore. Cedric had heard these jams in their embryonic state and began working in his mind on what he could bring to them. “I was attracted to The Widow like you would be to a lover, right?” Cedric remembers. “I sang over it with Omar while we were touring De-Loused in Australia on the Big Day Out, like, ‘Okay, I’ve got something for this.’” A potent ballad, laden with emotional crescendos and evoking the epic drama of Ennio Morricone – an effect aided by an elegiac trumpet part performed by Flea – The Widow would become The Mars Volta’s first song to chart on the Billboard Top 100, capturing the album’s potent sorrow and widescreen sprawl in miniature. Indeed, the lush sound of the album, the depth of detail and breadth of instrumentation, belies its grungy roots. Having tasted the luxury of Rick Rubin’s mansion, Omar veered in the opposite direction when recording Frances, cutting the album in what he describes as “a shithole... Basically a warehouse with one little air conditioner on its last legs, awful wiring and a console you couldn’t rely on. We were there night and day – I would literally lock engineer Jon DeBaun in there. He slept on a mattress in the vocal booth.”

                        A considerably more complex and ambitious album than its predecessor – four of its five tracks lasted over ten minutes in length, with its closing epic Cassandra Gemini spanning over half an hour – Frances The Mute wasn’t recorded “live” by an ensemble, but with the individual musicians coming into the “shithole” and recording the parts Omar had scripted for them separately. “They had to have absolute trust in me,” Omar remembers, “Like actors trust their director.” In addition to the core band – now fleshed out with incoming bassist Juan Alderete, and Omar’s brother Marcel on keyboards and percussion – the album featured guitar solos from John Frusciante, saxophone and flute by future member Adrian Terrazas-Gonzales, a full string section, and piano played by Omar’s hero, salsa legend Larry Harlow. “It was a childhood dream come true,” Omar says. “We recorded with him in my hometown in Puerto Rico, and my father flew in to watch the session. Larry was a perfect gentleman, and a very lively spirit.” The album’s fevered intensity infected even the staid string section, Cedric remembers. “When they performed the part on Cassandra Gemini, ’25 wives in the lake tonight’, one of the guys in the orchestra played so hard he broke his bow, this real old, antique bow. And you could see his ‘classical’ side come out – like, ‘I broke this playing a fuckin’ rock song??’ He was pissed off. But I was like, ‘Fuck yeah, man, that’s on the record! You’ve got to realise things like that are cool.’” The album also features field recordings of “the coqui of Puerto Rico” during the opening minutes of Miranda That Ghost Just Isn’t Holy Anymore. “We took a page out of the Grateful Dead’s book there,” laughs Cedric. “They recorded air. We recorded fuckin’ frogs in Puerto Rico.”

                        Bruno Mars, Anderson .Paak & Silk Sonic

                        An Evening With Silk Sonic

                          Most recently, Silk Sonic graced the cover of Rolling Stone’s September issue, where fans got an inside look at Mars and .Paak’s deep friendship and quest for the perfect “feel good” record. The duo coasted into the release of “Skate” on the wave of success from their debut single “Leave the Door Open,” which earned them Best Group at the 2021 BET Awards. It became the group’s first #1 single on the Billboard Hot 100, spending two non-consecutive weeks at #1 and 18 consecutive weeks in the top 10. They released the live version “Leave The Door Open (Live)” and serenaded audiences three times over at the GRAMMY® Awards, iHeartRadio Music Awards, and the BET Awards.

                          Silk Sonic introduced “Leave The Door Open” alongside an official music video directed by Mars and Florent Déchard with over 346 million views and counting. The track was followed by a hugely popular social media campaign, #LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. “What’s new, smooth as silk on the ears, and features two stars of R&B?” wrote Billboard, praising Silk Sonic as “a groovy duo” and the single as “lounge at its heart.” Consequence of Sound enthused, “Mars has a voice like a liquid whip, while .Paak raps and sings through a foggy haze. They sound like smoke on the water.”

                          ABOUT SILK SONIC:

                          The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.

                          Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 1.2 billion streams with over 346 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.

                          TRACK LISTING

                          1. Silk Sonic Intro
                          2. Leave The Door Open
                          3. Track 3
                          4. Track 4
                          5. Track 5
                          6. Track 6
                          7. Track 7
                          8. Skate
                          9. Track 9

                          The Mars Volta

                          La Realidad De Los Sueños

                            La Realidad De Los Sueños means “the reality of dreams” – and there is no title more fitting for this unbelievable box-set. This represents a dream come true for the many, many loyal fans of progressive alternative rock giants, The Mars Volta, across the world.

                            Working intensely with Omar Rodríguez-Lopéz, Clouds Hill has brought out an all-encompassing and wonderfully designed vinyl box-set.

                            The box-set, limited to 5000 copies worldwide, includes 18 LPs (180 grams, black vinyl). 

                            The vinyl only set, (there are no CDs, downloads, or streaming) contains the following albums (remastered specifically for vinyl) and products: - Tremulant EP - De-Loused In The Comatorium - Frances The Mute - Amputechture - The Bedlam In Goliath - Octahedron - Noctourniquet - Landscape Tantrums (Unfinished Original Recordings Of De-Loused In The Comatorium) - A Plague Upon A Hissing Children & Eunuch Provocateur (Unreleased Version From The De-Loused In The Comatorium Session) on double etched vinyl - A book of exclusive behind the scenes photography - 2 pins

                            TRACK LISTING

                            Disc 1 - Side A 1. Cut That City / 2. Concertina

                            Disc 1 - Side B 1. Eunuch Provocateur

                            Disc 2 - Side A 1. Roulette Dares (The Haunt Of) [Unfinished Original Recordings Of De-Loused In The Comatorium] / 2. Son Et Lumière (Unfinished Original Recordings Of De-Loused In The Comatorium) / 3. Inertiatic ESP (Unfinished Original Recordings Of De-Loused In The Comatorium) / 4. Drunkship Of Lanterns (Unfinished Original Recordings Of De-Loused In The Comatorium) / 5. Eriatarka (Unfinished Original Recordings Of De-Loused In The Comatorium) / 6. Take The Veil Cerpin Taxt (Unfinished Original Recordings Of De-Loused In The Comatorium)

                            Disc 2 - Side B 1. This Apparatus Must Be Unearthed (Unfinished Original Recordings Of De-Loused In The Comatorium) / 2. Televators (Unfinished Original Recordings Of De-Loused In The Comatorium)

                            Disc 3 - Side A 1. Son Et Lumière / 2. Inertiatic ESP / 3. Roulette Dares (The Haunt Of)

                            Disc 3 - Side B 1. Tira Me A Las Arañas / 2. Drunkship Of Lanterns / 3. Eriatarka

                            Disc 4 - Side A 1. Cicatriz ESP / 2. This Apparatus Must Be Unearthed

                            Disc 4 - Side B 1. Televators / 2. Take The Veil Cerpin Taxt

                            Disc 5 - Side A 1. Cygnus....Vismund Cygnus / 2. The Widow

                            Disc 5 - Side B 1. L' Via L' Viaquez

                            Disc 6 - Side A 1. Miranda That Ghost Just Isn't Holy Anymore

                            Disc 6 - Side B 1. Cassandra Gemini

                            Disc 7 - Side A 1. Tarantism

                            Disc 8 - Side A 1. Vicarious Atonement / 2. Tetragrammaton

                            Disc 8 - Side B 1. Vermicide / 2. Meccamputechture

                            Disc 9 - Side A 1. Asilos Magdalena / 2. Viscera Eyes

                            Disc 9 - Side B 1. Day Of The Baphomets / 2. El Ciervo Vulnerado

                            Disc 10 - Side A1. Aberinkula / 2. Metatron / 3. Ilyena

                            Disc 10 - Side B 1. Wax Simulacra / 2. Goliath / 3. Tourniquet Man / 4. Cavalettas



                            Disc 11 - Side A 1. Agadez / 2. Askepios / 3. Ouroborous

                            Disc 11 - Side B 1. Soothsayer / 2. Conjugal Burns

                            Disc 12 - Side A 1. Since We've Been Wrong / 2. Teflon

                            Disc 12 - Side B 1. Halo Of Nembutals / 2. With Twilight As My Guide

                            Disc 13 - Side A 1. Cotopaxi / 2. Desperate Graves

                            Disc 13 - Side B 1. Copernicus / 2. Luciforms

                            Disc 14 - Side A 1. The Whip Hand / 2. Aegis / 3. Dyslexicon

                            Disc 14 - Side B 1. Empty Vessels Make The Loudest Sound / 2. The Malkin Jewel / 3. Lapochka

                            Disc 15 - Side A 1. In Absentia / 2. Imago / 3. Molochwalker / 4. Trinkets Pale Of Moon / 5. Zed And Two Naughts

                            Disc 15 - Side B 1. Vedamalady / 2. Noctourniquet

                            Disc 16 - Side A 1. Eunuch Provocateur

                            Disc 17 - Side A 1. A Plague Upon Your Hissing Children

                            Disc 18 - Side A 1. Mr. Muggs

                            Disc 18 - Side B 1. Mr. Muggs

                            Mouse On Mars

                            AAI

                              Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.

                              Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.

                              Working with AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech instrument they could control and play as they would a synthesizer.

                              The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date.

                              Original artwork by Casey Reas, inventor of the computer graphics language Processing.

                              Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.

                              Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.

                              TRACK LISTING

                              Engineering Systems
                              The Latent Space
                              Speech And Ambulation
                              Thousand To One
                              Walking And Talking
                              Youmachine
                              Doublekeyrock
                              Machine Rights
                              Go Tick
                              The Fear Of Machines
                              Artificial Authentic
                              Machine Perspective
                              Cut That Fishernet
                              Tools Use Tools
                              Loose Tools
                              Seven Months
                              Paymig
                              Borrow Signs
                              New Definitions
                              New Life Always Announces Itself Through Sound

                              Stereolab's 7 album reissue campaign kicks off with 1993's 'Transient Random Noise-Bursts With Announcements' and 1994's 'Mars Audiac Quintet', reissued via Warp Records and Duophonic UHF Disks, as expanded and re-mastered editions on vinyl and compact disc.

                              Each album has been re-mastered from the original 1/2" tapes by Bo Kondren at Calyx Mastering and overseen by Tim Gane. Bonus material includes alternate takes, 4 track demos and unreleased mixes.

                              STAFF COMMENTS

                              Martin says: The more accessible end of their output perfected their assault on space age pop, blending complex and layered lounge experimentation with their trademark kraut influences to gorgeous effect.

                              TRACK LISTING

                              VINYL
                              A1. Three-Dee Melodie
                              A2. Wow And Flutter
                              A3. Transona Five
                              A4. Des Etoiles Electroniques
                              B1. Ping Pong
                              B2. Anamorphose
                              B3. Three Longers Later
                              C1. Nihilist Assault Group
                              C2. International Colouring Contest
                              C3. The Stars Our Destination
                              C4. Transporte Sans Bouger
                              D1. L’Enfer Des Formes
                              D2. Outer Accelerator
                              D3. New Orthophony
                              D4. Fiery Yellow
                              E1. Ulan Bator
                              E2. Klang Tone
                              E3. Melochord Seventy-Five [Original Pulse Version]
                              E4. Outer Accelerator - [Original Mix]
                              F1. Nihilist Assault Group - Part 6
                              F2. Wow And Flutter [7"/EP Version - Alternative Mix]
                              F3. Des Etoile Electroniques - Demo
                              F4. Ping Pong- Demo
                              F5. The Stars Our Destination - Demo
                              F6. Three Longers Later - Demo
                              F7. Transona Five - Demo
                              F8. Transporté Sans Bouger - Demo

                              CD
                              Disk 1
                              01. Three-Dee Melodie
                              02. Wow And Flutter
                              03. Transona Five
                              04. Des Etoiles Electroniques
                              05. Ping Pong
                              06. Anamorphose
                              07. Three Longers Later
                              08. Nihilist Assault Group
                              09. International Colouring Contest
                              10. The Stars Our Destination
                              11. Transporte Sans Bouger
                              12. L’Enfer Des Formes
                              13. Outer Accelerator
                              14. New Orthophony
                              15. Fiery Yellow
                              Disk 2
                              01. Ulan Bator
                              02. Klang Tone
                              03. Melochord Seventy-Five [Original Pulse Version]
                              04. Outer Accelerator - [Original Mix]
                              05. Nihilist Assault Group - Part 6
                              06. Wow And Flutter [7"/EP Version - Alternative Mix]
                              07. Des Etoile Electroniques - Demo
                              08. Ping Pong- Demo
                              09. The Stars Our Destination - Demo
                              10. Three Longers Later - Demo
                              11. Transona Five - Demo
                              12. Transporté Sans Bouger - Demo

                              Ash

                              Live On Mars: London Astoria 1997

                              To coincide with the 20th Anniversary of their number one debut 1977, Ash have announced the release of a live album called Live On Mars: London Astoria 1997. Recorded over the band's record breaking five night run at the London Astoria from the 28th February to the 4th March. The album includes their hit singles ‘Girl From Mars’, ‘Goldfinger’ and ‘Kung Fu’, as well as a covers of Abba’s 'Does Your Mother Know’ and Dusty Springfield’s 'I Only Want To Be With You’.

                              The set captures the raw energy of the band on their homecoming celebration to wrap up the epic year of touring for 1977, which was released the previous year.

                              The album will be released as a limited edition numbered and coloured vinyl, CD and download via the band’s website, the live shows and select retailers.

                              The band said "The Ashtoria Five Night Stand was one of the most memorable run of shows for us. It really was the icing on the cake of a manic year since 1977 was released. We'd achieved a number one album followed by a world tour that came close to breaking us. These shows allowed us to look back and celebrate with everyone involved. And it was one hell of an aftershow!"

                              “These five nights at The Astoria, from February 28th to March 4th 1997, sound and feel like a party. An exuberant, irresistible celebration of a band who, transcending the faddishness of concurrent Britpop, succeeded on that rarest of commodities: raw talent.” - Ian Fortnam, Classic Rock


                              TRACK LISTING

                              Side A
                              1. Lose Control
                              2. Season
                              3. Goldfinger
                              4. Girl From Mars

                              Side B
                              5. I’d Give You Anything
                              6. Lost In You
                              7. I Only Want To Be With You
                              8. Innocent Smile

                              Side C
                              9. Oh Yeah
                              10. T-Rex
                              11. Uncle Pat
                              12. Petrol
                              13. Let It Flow
                              14. Jack Names The Planets

                              Side D
                              15. Darkside Lightside
                              16. Gone The Dream
                              17. Does Your Mother Know?
                              18. Kung Fu

                              David Bowie

                              The Rise And Fall Of Ziggy Stardust And The Spiders From Mars - 180 Gram Vinyl Edition

                                Originally released through RCA Victor on 6th June 1972, Ziggy Stardust was David Bowie’s fifth album, co-produced by Bowie and Ken Scott. Incredibly, the album was written whilst Bowie was recording 1971’s Hunky Dory album, with recording beginning a couple of months before that album’s release. It was recorded at Trident Studios, London between 8th November 1971 and 4th February 1972, with the line up: Mick Ronson (guitar, piano, backing vocals, string arrangements), Trevor Bolder (bass), Mick Woodmansey (drums), Rick Wakeman (keyboards) and backing vocals on ‘It Ain’t Easy’ by Dana Gillespie. As well as performing vocals, Bowie also played acoustic guitar, saxophone and harpsichord on the album and was involved in the arrangements too.

                                The album eventually peaked at #5 on the UK Album Chart on 22nd July having entered the chart at #15 on 1st July. Key to the album’s rise in the UK were the two TV performances of “Starman” on Granada TV’s Lift Off With Ayshea and nationally on the BBC’s Top Of The Pops. The album’s influence is immeasurable – it converted legions of fans, becoming the zeitgeist and a major influence on the next generation, particular those who were involved in the punk movement – musicians, artists, designers – and the subsequent re-birth of rock and pop.

                                Famously Bowie killed Ziggy at his peak at London’s Hammersmith Odeon, on July 3rd, 1973, though Ziggy Stardust’s influence was to redefine popular culture forever: pop music was never the same again.

                                Following the lead single 'Dancing Star' co-produced with Tom Furse of The Horrors, described by Thump as "the perfect cosmic jam", Lilies on Mars announce their full length album '∆GO'. Born and raised in Sardinia, a magical island in the middle of the Mediterranean Sea, a place that recalls mystical legends and the strength of a population that has fought throughout history to keep traditions alive and never be fully conquered, Lisa and Marina moved to London 13 years ago. Some time later Lilies on Mars emerged, the result of many long nights spent listening to music and jamming with every imaginable instrument at their home studio in Hackney, from guitars to vintage organs, synthesizers, effects and drum machines.

                                The contrast of living between these two places has had a profound effect on Lilies on Mars' music. It became a way to navigate their experience, gently incorporating all the information that inspired them, becoming notes and melodies but more precisely a sound. Delicate, surreal and sometimes disturbing, like a lily growing on a red planet. This is the imagery within which they are suspended, where time does not exist. Collaborations with Italian pop experimentalist Franco Battiato also dramatically influenced and inspired the project in its early stages.

                                Lisa and Marina began writing '∆GO' immediately after returning from an extensive tour of Europe and America. Filled with inspiration, excitement and with overwhelming changes in their lives post tour, they searched for shelter at Lisa's beach house in Sardinia. Here they set up a studio and found the perfect space and freedom needed to create and experiment with new sounds. All songs on '∆GO' were written from edited improvisations and immediately recorded, whilst post production is also a key element in the whole creative process. Retro-futurist, psychedelic and cosmic pop elements are accentuated on this record. At times uplifting, at times drone- and Kraut-like.

                                They are strongly influenced by primitive electronic experimentalists and pioneers such as Delia Derbyshire and Daphne Oram of The BBC Radiophonic Workshop. The title '∆GO' symbolises the retro-futurist concept; without context the word becomes abstract and helps to weave together the past and future (AGO also means needle in Italian). It can be read as AGO as used in story telling of times 'long ago' or as A GO, as if giving a go at something new in the future. Equally, the lines of Lisa and Marina's distorted silhouettes on both album cover artwork and 'Dancing Star' video, inspired by Rutt-Etra-Izer, provides a visual representation.

                                "'Dancing Star' is a pulsing, sensual piece of ethereal synth pop with dreamy, trippy textures created with vintage analogue equipment including space echo (just like King Tubby!), ancient, dusty organs and the duo's lysergic vocal tones..." – Louder Than War.

                                "Lilies on Mars' 'Dancing Star' Is the Perfect Cosmic Pop Jam..." – Thump .

                                'Dancing Star' is a blissfully kissed slice of cruise controlling Kosmiche über-pop, sending forth love notes from an unspecified solar outpost through the galactic slipstreams on vapour trailing ice cream vans." – God Is In The TV.

                                "Lilies on Mars are two very talented girls, I really love this song." – Lauren Laverne on 'Dancing Star' (selected for 6 Music Recommends 30/06/2015).


                                TRACK LISTING

                                1. Stealing
                                2. Dancing Star
                                3. It Might Be
                                4. It Was Only Smoke
                                5. From The Earth To Above
                                6. Midnight Fall
                                7. Sympathize
                                8. Rachel Walks By The Sea
                                9. I've Got You

                                While "Parastrophics", Mouse on Mars' 10th studio album, was recorded over a period of 5 years, "WOW" is of much more spontaneous nature. Right after "Parastrophics" was released in February 2012, Mouse on Mars started collecting the ideas for "WOW", a bass heavy club orientated album. The final assemblage took about 5 weeks and was finished by the end of July. "WOW" is based on immediacy. A bass drama of three letter words. Intuition, Punch, Massiveness.

                                The host who leads through the entire album is Dao Anh Khanh whom the band met during their Asia tour 2011. Dao is a performer and sculptor from Vietnam, who invented a fantasy language which the band recorded together with him in an arcane Hanoi studio.

                                Further voice contributions are from the Argentinian girl punk band Las Kellies and Eric D. Clarke. All together it makes a story which is epic, abstract, intense and ridiculous at the same time. Mouse on Mars gone theatrical.

                                TRACK LISTING

                                1. SOS
                                2. DOG
                                3. HYM
                                4. VAX
                                5. PUN
                                6. BSD
                                7. ACD
                                8. APE
                                9. CAN
                                10. ESO
                                11. SUN
                                12. WOC
                                13. CAT

                                Side D Is ETCHED

                                Dissolving is pleased to present our latest missive from the sonic margins, Jesus on Mars. Filtering the visionary musings of 20th Century Science-Fiction, arcane pulp visions of shallow canals running over parched desert to hazy red horizons, stars visible in the day through thin atmospheres… Space percolating, ebbing and flowing… Strange vistas of unfamiliar landscapes, alien edifices, temporal concatenations and slippages. Through the hazy lens of analogical tape meditations, informed by the side-long fuzz outs of the 70s French rock underground, maverick figures of the UK progressive fringe, German pioneers of planetary sonics, jerry-rigged nests of wires and plugs wrapped in multicoloured sleeves, potent transcendental devices awaiting the engagement of an active imagination, spreading out below a bird’s-eye viewer, clouds of dust, petrified ripples, gleams of water, crumbling cities, strange figures… the Martian deserts of the Mind.

                                Kaleidoscope

                                Beacon From Mars And Other Psychedelic Side Trips

                                  This is the USA Kaleidoscope, not to be confused with the UK band of the same name. They combined Middle Eastern exotica with West Coast psyche.

                                  The Mars Volta

                                  Frances The Mute

                                    "Frances The Mute" is the second and already widely acclaimed album from the bio-epic Mars Volta. "Frances" relays a story, inspired by a diary that their late band mate, Jeremy Ward, found in the backseat of a car and the similarity of the anonymous author's life to his own. The album includes guest appearances from old friends, Flea and John Frusciante from The Chili Peppers on trumpet and guitar.

                                    The Mars Volta

                                    De-Loused In The Comatorium

                                      "De-Loused In The Comatorium" is an iridescent, fearless, brain-busting hour of music, a fictionalized celebration of lead singer Cedric Zavala's close friend Julio Venegas' life. Based on a story written by Cedric, it is a concept album in which the hero tries to commit suicide by overdosing on morphine. Instead of dying, he falls into a coma for a week, and experiences fantastic adventures in his dreams, elemental battles between the good and bad aspects of his conscience. At the end, he emerges from the coma, but chooses to die. A genre defying album from two ex-members of At The Drive In, encompassing hardcore, prog, free jazz and psychedelic elements.

                                      Mouse On Mars

                                      Glam

                                        Originally released on vinyl-only on the Sonig label in Europe, This LP finally gets a proper UK issue on Domino. It sees MOM at their most melodic (in an abstract electronic kinda way!).


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