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Bill Withers

Who Is He (Henrik Schwarz Remix)

Back in 2012 when I met the love of my life, I was playing records upstairs at Oddbar. As I spun this seminal, micro-house mix up of Bill Withers' sad and sexy tale of jealousy, I saw a beautiful barmaid strolling through the wreckage of a boozy NQ weekend, collecting glasses and singing along. Laded with irresistible hooks, a propulsive groove and percussive power, not to mention an overload of soul, Henrik's version is the definitive dance floor mix of this classic, better even than Creative Source's psychedelic funk odyssey. Six years later and we're still all over this bomb, and as happy as the day we met.


Patrick says: Out of press for years, Henrik Schwarz storming micro house mix of this Bill Withers classic is probably the highlight of his career. If you don't own it, you need it, coz it will tear any dance floor a new one...



    Anyone left with a gaping hole in their heart since "For Emma..." by Bon Iver (or Elliot Smith for that matter...) needs to pay attention now! Recorded at Greenmount Studio's in Wakefield, this debut album from Tercelvoice is a beautifully sparse indie-folk record. The wholesome and thought provoking lyrical style, coupled with the simple acoustic guitar work evokes memories of open roads, log cabin nights and fire-side conversation. From the haunting ending of "Shattered Friends" to the simplicity and brutal vulnerability of "Bad To The Bone", this album was made the old way, stripped down to the bare emotion of music.

    Behind Tercelvoice is singer / songwriter Andy Squires. On the album he plays acoustic and electric guitar, drums, bass, Rhodes, Hammond, and all vocals. Considering the overdubbed process it has a natural ebb and flow which could easily pass off as a full live band recording. His vocal style is unique and beguiling, a fragile falsetto laden with heavy emotion.

    The album was recorded to tape and mastered by Adam Gonsalves at Telegraph Mastering, Portland, USA.

    BBC Introducing has aired 5 tracks from the album, and has booked Tercelvoice for a session in February while he (they?) play The Islington in London on the 20th of January. 

    Inga Copeland adopts her Inga Copeland alias for another wicked not-on-label release, this time pressed hard onto a limited 10". The titular "Lolita" opens the EP with grime-style percussion, bleeping beats and disrupted bars, sounding like a futuristic mash up of DJ Hype and MIA. Next up, "Keep It Movin'" twists clanging electronics and cheap synth riffs into a completely nutso fusion of baroque pop, eerie indie and Whitey style shuffle. Last but not least the abstract "Plot Twist" whirrs and swirls through fucked up beeps and batshit bleeps, rounding off another uncompromising outing from this sonic outlier.

    Kim Deal

    Biker Gone / Beautiful Moon

      In her own words: "I recorded the guitars and the bass guitar on the choruses. Kelley played the verse bass guitar. Britt Walford (Slint) played the drums. We all went to Albini's and Steve recorded us at his studio, Electrical Audio, in Chicago.
      Ryan Smith at Sterling Sound in NYC mastered this DMM" I recorded this at my house in Ohio on my Tascam 16 track (1/2"). I got a CD mix of it and Ryan made a 1/2" from it and mastered it DMM.
      Chris Bigg did the artwork. He used to work at 4AD with Vaughan Oliver.

      Kim Deal

      The Root / Range On Castle

      "The Root"
      This song was written by me and a woman named Morgan Nagler. Her band, Whispertown 2000, opened for the Breeders. I am singing this and playing all the instruments. Morgan is singing harmony. We recorded this in LA in different places and I took it to Electrical Audio in Chicago and Greg Norman mixed it down. This song was recorded and mixed analog and mastered DMM.

      "Range On Castle"
      This song is also written by me and Morgan. Morgan takes the lead and sings this one. I sing the harmony. I play all the instruments except the drums. Lindsey Glover played the drums on this one. We recorded it in LA.
      Now we mixed this one to a CD and used the CD to make a 1/2" tape. Then we gave the 1/2" to Ryan at Sterling and he mastered DMM. Vaughan Oliver/v23 designed this cover.

      Kim Deal

      Are You Mine? / Wish I Was

        "Are You Mine?"
        I sang and play guitar. Lindsay Glover played drums and Armando Lopez is on Bass. We recorded this onto a Tascam 388. It's a 1/4" 8 track machine. What a bitch. It was always breaking down. We had to get Billy Zoom from the rock band, X, to fix the machine. We had like 4 of these 388 machines around the house. They sound great but they are "consumer grade" man. But I digress. I ended up transferring it to 2". Then I added a harmony vocal with Steve at Electrical and he mixed it down.

        "Wish I Was"
        I recorded everything on this one in a studio in LA. Kelley played one of the keyboards. Matt Ward (do you know who he is?) played the guitar that appears on the right side of the speakers and the solo in the pretty solo in the middle. I had some nice words but Kelley HATED my melody so I just put it out as an instrumental. Mixed by Albini at Electrical.

        All recorded analog and mastered DMM at Sterling by Ryan.
        This artwork was done by Vaughan Oliver/v23
        There is also an insert image glossy sheet that have the credits on it.

        Kim Deal

        Hot Shot / Likkle More

          Hot Shot:
          "I played electric guitars, bass guitar and vocals. Jose Medeles (a previous Breeders drummer) played drums. This was recorded at Type Foundry and with Steve at Electrical. And Greg Norman mixed it at Electrical, in Chicago.

          All recorded in the analog domain. All mastered by Ryan Smith at Sterling Sound in NYC using Direct Metal Mastering.
          I played the guitars and vocals and Steve Kille (Dead Meadow) recorded it for me in the cellar of the house I was renting out in Los Angeles. It was recorded on my Tascam 1/2" - 16 track machine. Likkle More is "see you later" in patois, btw. Likkle More:

          This was mixed by Greg Norman at Electrical in Chicago. All analog, all mastered DMM.

          Artwork by Chris Bigg using photograph by Ed Deal, 1958, of Fred Deal (Kim's other grandaddy), Chief Deputy of Wyoming County, West Virginia Sheriff's Office.

          The 7" package has an insert. It's a glossy print card that has a picture of my crazy face. It looks like a Polaroid. Because it was a Polaroid of me. And we made copies of the Polaroid and we stick them into each record. And I sign some of them"...

          Kim Deal

          Walking With A Killer / Dirty Hessians

          "Walking With A Killer"
          Recorded with Lindsay Glover on drums, Jeff Cairns on the creepy moaning guitar panned left, Dan Elkan on the lead guitar panned right. I played the other stuff…bass guitar, rhythm guitar, crazy lead section. Carrie Bradley who played on Pod and Last Splash is playing violin. We recorded this in Los Angeles at 5 Star Studio with Bryce Gonzales. Then I took the 2" tape to Steve Albini and he mixed it for me at his place in Chicago at Electrical Audio. I went up to Sterling Sound in NYC and mastered it with Ryan Smith. The lacquer was cut using analog playback to vinyl master. So this track stayed in the dimension of time, baby. And that's why I put that little guitar thing-y with the words Recorded All Wave. I am a geek.

          "Dirty Hessians"
          I recorded everything on this at Type Foundry in Portland. Recorded in the analogue domain. This was also mixed by Steve in Chicago with me and then mastered from analog tape using Direct Metal Mastering. The artwork was done by Chris Biggs and features a photograph of Kim's grandaddy on a mantrip working a mine near Bluefield, West, by God, Virginia, 1945.

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