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Pop Will Eat Itself

Now For A Feast

    In 1986, Pop Will Eat Itself burst onto the UK and European independent scene with a fl urry of energetic, punk infused singles, including their self pressed and distributed debut, Poppies Say GRRrrr! and others released by Chapter 22. During that year they became mainstays of the UK music press and blazed a trail towards the hip-hop tinged direction they would take with their debut album, Box Frenzy . Repackaged in an orange and black sleeve this 23 track version replicates the tracklisting of the 2003 Castle CD release and contains 6 top ten indie singles including Def Con One, Beaver Patrol and There Is No Love Between Us Anymore.

    NUMBERED LIMITED EDITION OF 500 COLOURED VINYL COPIES (ORANGE) GATEFOLD SLEEVE. PRESENTED IN CLEAR PVC OUTER SLEEVE WITH INSERT.

    House Of Love

    Shine On

      The debut single from the House Of Love is reissued on 7” for the very first time and contains all three tracks that were on the original 12”. Although a newly recorded version of Shine on was released in 1990 and became a massive hit, this is the first time that the original version has appeared in this format.

      FORMAT INFORMATION

      7" Info: Limited to 1000 copies Colour Vinyl Includes postcard and poster

      The Pooh Sticks

      The Pooh Sticks 7" Box Set

        The Pooh Sticks 7” Box Set. Five different coloured vinyl 7” singles + 24 page booklet.

        This release includes the original five tracks, and for the first time, five tracks on the flipsides. All of the B sides were recorded in 1988 and four of them have never been available before, the other track “Hard On Love”, was released in 1989 on a flexi-disc and has never been available in any other format.

        Originally released in 1988 on Fierce Recordings as a collection of five one- sided singles in a 7” cardboard box (etched on B-sides), with information insert, and hand-drawn designs on the box and labels. It now sells for £250 if you are lucky enough to find a copy. 


        BOB

        Convenience

          Originally released in 1989 on The House Of Teeth label, this indie classic which made John Peels Festive fty of that year, gets a 30th anniversary reissue as part of our Optic Sevens 2.0 reissue series. It is backed with the Previously unreleased ‘Coquette’, which was recorded in 1992 , remixed in 2017 and only available on this release of the 7 inch In November BOB play their last ever tour. 6 dates commencing in Birmingham and ending in Hamburg. Their last ever ever UK date wiill be the 100 Club in London with support from The Popinjays

          FORMAT INFORMATION

          Ltd 7" Info: Limited to 800 copies 3 choices of colour vinyl Green, Amber or Red (randomly packed) Includes postcard, sticker and poster

          McCarthy

          Red Sleeping Beauty

            Part of The Optic Sevens Reissue Series

            Originally released in 1986 on Pink Records. This was arguably McCarthy’s finest moment. This issue has a different B side to the original “The Fall” .

            By the time McCarthy appeared on the NME’s C86 cassette they had already been playing together for a couple of years and released two excellent singles.Their debut “In Purgatory” and the indie masterpiece “Red Sleeping Beauty” The following year McCarthy released the brilliant “Frans Hals” before unleashing their debut album “I Am A Wallet”

            Now recognised as an indiepop masterpiece it has gone on to achieve cult status, receiving praise from the likes of Nicky Wire (Manic Street Preachers) . Known by todays indie accolites as the band that spawned Tim Gane and Leititia Sadier (who of course went on to form Stereolab).


            FORMAT INFORMATION

            Ltd 7" Info: Limited to 500 copies on Red Vinyl Includes Poster & Postcard.

            Tess Parks

            Blood Hot

              Long overdue vinyl issue of Tess Parks 2013 Mazzy Star-esque debut. 

              A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music. Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music.

              Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her “gauzy psychedelic sound” and “smouldering voice”. Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet ... her most beautiful quality is her lack of ego. Tess is an amazing lady”.

              June 2015 saw the spine-tingling collaboration between Tess Parks and Anton Newcombe (Brian Jonestown Massacre) and the resultuing LP ‘I Declare Nothing’ released to critical acclaim on ‘A’ Recordings. 

              FORMAT INFORMATION

              Coloured LP Info: Repress on white vinyl.

              The Wedding Present

              Go Out And Get 'Em Boy!

                Part of The Optic Sevens Reissue Series. 
                Limited White Vinyl Includes Poster & Postcard. 

                Originally released in 1985 on Reception Records. The debut single by The Wedding Present is reissued here on white vinyl using the original (Reception Records) artwork. 


                The Wake

                Pale Spectre / Plastic Flowers

                  Part of The Optic Sevens Reissue Series. 
                  Limited to 500 copies on splatter vinyl Includes Poster & Postcard.

                  Originally released on Factory Records in 1987 on a 4 track 12” EP entitled “Something That No One Else Could Bring” These 2 tracks make their first appearance as a 7” single. 


                  “Dub Sex’s music is a stark but galvanising post-punk surge – reverberant drums and cheese-wire guitar plus a what-it-says-on-the-tin dub-edge to the bass. But it’s Hoyle’s voice that dominates the recordings – a hugely expressive thing without obvious parallel” - Roy Wilkinson, Mojo ‘Buried Treasures’ 2014. 

                  Dub Sex release ‘Search For The Right Words’ – a complete 23 track compilation of their studio works brought together for the first time. CD digipack with 24 page booklet.

                  Originally released on a series of EPs and mini-albums between 1987-89, most of these recordings are long-deleted and several have never previously been made available in a digital format. The package also includes unreleased John Peel session tracks and an Edward Barton cover recorded for a compilation tribute album.

                  The band reformed in 2014 playing a handful of festival dates and low-key headline shows in Manchester and London. With core members Mark Hoyle (vocals/guitar), Cathy Brooks (bass) and former guitarist Chris Bridgett (guitar), Dub Sex will be playing more dates in 2019.

                  “Dub Sex are one of the great lost Manchester bands; they made an unsettling yet hypnotic grinding music with these great loping bass lines, and were fronted by the charismatically awkward Mark Hoyle whose twitching presence, unique hollering and impassioned vocal style de ned the band” John Robb, Louder Than War 2014.

                  “What makes you really want to take the next train to Manchester is the way (they) assimilate two music’s that always left you feeling dwarfed and abandoned; one is Joy Division’s black marble, the other white pop’s meeting with dub (PIL etc.).” Paul Oldfield, Melody Maker 1989. 

                  “Dub Sex are a great raging awkward intensity ... (they) come from right inside the skull. Guitar and drums latch onto an idea and dive deep, ever more knotted and resonant as Hoyle howls pained words. This compilation - dark, devious and deviant - is genuinely capable of taking my breath away.” Ian Gittins, Melody Maker ‘Splintered Faith’ review 1989. 

                  “Dub Sex, one of my very favourites” John Peel BBC Radio 1 1988.

                  STAFF COMMENTS

                  Barry says: If you know anything about Manchester music, you already know Dub Sex, but for those of you that don't, one of John Peel's favourite bands are a shadowy, rawkous, simmering burst of chaos and fire, and thoroughly essential listening.

                  Folk Devils

                  Beautiful Monsters (Singles And Demo Recordings 1984-1986)

                  First time ever on CD. Digitally restored audio. The complete Folk Devils singles collection plus bonus unreleased demo recordings. Limited edition 180 gram double vinyl. 

                  Initially managed by Ray Gange, star of The Clash's film Rude Boy, the Folk Devils first single "Hank Turns Blue" recorded for £180 (allegedly the bands combined dole money) and released on the label Ganges Records and distributed through Rough Trade resided at number three in the indie charts for six weeks being kept off the top spot only by New Order and Depeche Mode.

                  Luminaries such as Jason Pierce of Spiritualized still regard the Folk Devils as a highly influential musical force.

                  Named after Stanley Cohen’s book on youth subcultures “Folk Devils and Moral Panics”, this highly underrated British band was as far as one could get from ‘folk music’ at the time. They were formed by Co. Durham native Ian Lowery (formerly of The Wall and Ski Patrol) in late 1983 with a line up that consisted of Whiteley (Bass), Kris Jozajtis (Guitar) and Alan Cole (Drums). Throughout their short lifespan, the band released several acclaimed independent singles including “Hank Turns Blue”, “Beautiful Monster”, 1985’s intense “Fire And Chrome” EP, and recorded three sessions for BBC Radio’s John Peel Show.

                  By early 1984, their heady brew of swampy rock on a bed of bastardized blues had created a vehicle for Lowery’s increasingly misanthropic worldview. A well-honed gutter poet since the early days of punk, Ian developed an idiosyncratic style, fusing a natural gift for sly wordplay and a well-turned snarky phrase with his often vitriolic and poignant lyrics channeled through an explosive onstage persona.

                  By 1985, their sound was becoming sharp, ominous, brooding and urgent, and had taken shape with the help of producer Richard Mazda, with whom they collaborated several times. The band moved label and management duties to Nick Jones’ KARBON operation, gigging constantly, most memorably opening for the likes of The Fall, Nick Cave and the Bad Seeds, The Gun Club and Spacemen 3. They also toured extensively throughout Europe and were featured prominently in the UK music press. Sadly, by early 1986 frustration within their ranks had created a point of no return, and the band imploded.

                  These newly digitally re-mastered recordings have been painstakingly restored from the original master tapes, which had spent 30 years languishing in Nick Jones’ archives Never before released on CD, the re-mastered sound captures the ragged fury and adrenalized energy that uniquely characterized the Folk Devils oeuvre. Also included here are eight demo recordings that feature some of their best unreleased material, both musically and lyrically.

                  Listening again to the ferocious sonic snarl of Whiteley’s Rickenbacker, Kris Joz’s rhythmic wall of sound and sparse, blues-inflected guitar figures, Al’s crisp, metronomic drumming, and Ian’s artful, grimy tales of love, loss, loathing and libation, one can’t help but think it was becoming a sound unto itself, an insatiable and yes, beautiful, monster. We hope you enjoy these resurrected gems, and in doing so, join us in honouring the band’s legacy and paying tribute to the twisted genius of Ian Lowery, who died in 2001, age 45.



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