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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.


    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. 

        The Servants

        The Sun, A Small Star

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

          The Servants second single, Originally released on Head Records in 1986 as a 12” EP . This is it’s rst appearance as a 7” single.

          In 1986 The Servants recorded a John Peel session, got a full page feature in the New Year’s edition of the 1986 ‘NME’ hailing them as the next big thing, appeared on their C86 cassette and played shows with amongst others the Jesus And Mary Chain, Felt, Primal Scream, the Go Betweens, the Pale Fountains and the Wedding Present.

          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. 


            Coloured LP Info: Repress on white vinyl.

            “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.

            The Pooh Sticks

            On Tape

              Part of The Optic Sevens Reissue Series.
              Limited to 250 copies on Pink Vinyl . Includes 2 postcards and poster.

              Originally released on Fierce Recordings in 1988 as a single side pressing of 100 copies, 50 in a pink sleeve and 50 in a blue sleeve and is one of the most collectable indie 7” singles.

              The B side is an instrumental which you can dub your own lyrics to, send an mp3 to the Pooh Sticks and they will put it on their Facebook page. 

              The Pale Fountains

              (There's Always) Something On My Mind

                Originally released on 7” in 1982 on Operation Twilight, this reissue uses the Benoît Hennebert cover art that was used for the Les Disques du Crépuscule 12” release. The songs on this, the band’s debut single are the equal of anything Postcard, Rough Trade and the like were putting out at the time. Prime songwriting dressed up in carefree acoustically-minded pop, what’s not to like?

                At the end of 1982 the group signed to Virgin and went on to release the acclaimed albums Paci c Street and From Across the Kitchen Table. Praised as “our greatest songwriter” by NME, Michael Head went on to form Shack in 1987 with brother John. 

                FORMAT INFORMATION

                7" Info: Limited edition white and pink splatter vinyl.

                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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                Thanks for posting about it. It’s here until next Friday May 3rd btw.
                Wed 24th - 8:58
                Yes! Thanks @NME for the feature. Come and visit @ianbrown
                Tue 23rd - 9:48
                It’s great isn’t it?! Glad you liked it and hope your wish comes true.🤞🏻
                Mon 22nd - 5:55
                Thank you. Come back soon.
                Mon 22nd - 3:49
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