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Bob

You Can Stop That For A Start

    The album is accompanied by a selection of some of the band’s favourite demo recordings made between 1988 and 1994.

    The long awaited and eagerly anticipated new album by BOB captures the band at their peak and includes some of their best material ever committed to vinyl and CD. A 12-track vinyl record is available in coloured and black vinyl and includes digital download of all 28 tracks contained on the double CD version. ‘You Can Stop That For A Start’ is an exclusive album of previously unheard material written and recorded by BOB over a five day period in 1992. The almost legendary archive of unreleased professional and demo recordings by BOB is a rich one, and this release showcases some of the band’s best work.

    All the recordings in the set have been newly mixed by songwriters Simon Armstrong and Richard Blackborow, and come packaged in artwork conceived by the band and accompanied by period images and new sleeve notes. 

    Potted BOB History:
    BOB’s initial line-up was Richard Blackborow (vocals, keyboards, guitar), Simon Armstrong (guitar, vocals).
    Jem Morris (bass guitar), joined the duo in 1986 and, augmented with a drum machine, they recorded the band’s first release, a flexi disc, released in 1986 on their own House Of Teeth label, and containing three short songs: “Prune (Your Tree)”, “Groove” and “Brian Wilson’s Bed”. The band gave a copy to John Peel in a fortuitous encounter in the Rough Trade record shop, and he played it many times.
    The drum machine was replaced by drummer Gary Connors in 1987, and this line-up recorded 1987’s What a Performance single and the first of three John Peel sessions. The band were now able to take to the UK’s motorway network in their newly acquired ‘vintage’ Transit van, and begin a series of tours that eventually saw them play hundreds of gigs the length of the country and beyond.

    Early in 1988, Gary Connors was replaced by former Jamie Wednesday drummer Dean Leggett, and the band recorded their second single, Kirsty, a session for BBC Radio One’s Simon Mayo, and their second John Peel session. Both singles received heavy play by John Peel. The two singles were brought together with the earlier flexi disc as the compilation LP Swag Sack, which was their final release on the Sombrero label. All later records were on their own House Of Teeth label.

    In 1989, the band released a single Convenience, which charted well in the NME and Melody Maker indie charts and, more importantly, reached no.31 in John Peel’s Festive Fifty at the end of the year. This was followed by a limited edition/fan club release containing three songs: “Esmerelda Brooklyn”, “I Don’t Know” and “Sink”. After their third and final John Peel session, Morris was replaced by ex-Caretaker Race bassist Stephen ‘Henry’ Hersom, and this final line-up recorded the Stride Up EP in 1990, an LP Leave The Straight Life Behind, the single Tired in 1991, and one last 12”, the Nothing For Something EP in 1992.
    BOB became one of the victims of the demise of Rough Trade’s distribution arm, which limited sales of the album and forced the band to tour for an extended period to recoup the album’s costs. A feeling of disillusionment with the ‘business’ side of the music caused a drop in morale, and despite having produced a large body of unreleased work, they disbanded early in 1995.

    In February 2014, “Leave the Straight Life Behind” was re-released by British independent label 3 Loop Music as a 2CD expanded edition which included the remastered album plus a bonus CD of all the John Peel and BBC sessions, as well as extra tracks.

    In 2015, “The Singles and EPs” was released by 3 Loop Music as a 2CD compilation of remastered tracks from Swag Sack and all vinyl Sombrero and House of Teeth releases.

    In 2019, the band announced six final concerts in England and Germany featuring Blackborow, Armstrong, and Leggett with newly recruited old friend Arthur Tapp on bass. A limited edition 7” of Convenience with an unreleased B-side from 1992 was released on Optic Nerve. The single reached number 18 on the official UK vinyl sales chart.

    BOB on the new album You Can Stop That For A Start:
    “The tracks that make up You Can Stop That For A Start were recorded over a five day period in our final years, as the hectic touring schedule that had kept us financially viable began to tail off. What funds the band could glean from occasional publishing deals were spent on studio time, with the hope of creating work that would eventually attract more substantial financial investment. As this never materialised, the songs have largely remained unheard since the early nineties. 


    FORMAT INFORMATION

    Coloured LP Info: Indies only white vinyl lp (200 copies) includes MP3 download of all 28 tracks on the double CD & poster.

    Folk Devils

    Forever EP

      The 3-track “Forever” E.P. on Transluscent Red 10” Vinyl is limited to 250 copies and features two new compositions, the title track “Forever” and “My Slum Soul”, plus an incendiary new version of an old live favourite “Ink Runs Dry”. FOLK DEVILS, the London group that took their name from a well-known academic text on social scapegoating, and who blazed a trail across the UK’s independent music scene of the mid-80s with their unique brand of post-punk energy, have returned with their first new music in 35 years.

      Recorded at London’s famous Konk Studios in North London and mixed and co- produced by Grammy Award-winning engineer Rik Simpson, the re-born Folk Devils drew inspiration from the release of their 2016 career retrospective “Beautiful Monsters” and the reactions at subsequent live shows around the UK with kindred spirits Membranes, Inca Babies and The Cravats. Founder members, guitarist Kris Jozajtis and bassist Mark Whiteley, reformed the group by recruiting members of a short-lived 1987 version of Folk Devils; guitarist Nick Clift and drummer John Hamilton. Together with singer Dave Hodgson they soon discovered they had created a well-oiled twin-guitar juggernaut that brimmed with the same restless, twisted blues that characterized the first and second iterations of the band from 1983-87 when they were fronted by the highly underrated and now sadlydeparted singer/songwriter Ian Lowery.

      Hodgson, a fellow transplant from the North-East, had known Lowery in the early 80s prior to Folk Devils, when the two were in their respective post-punk bands Ski Patrol and Parting Shots. On the re-recording of “Ink Runs Dry” Kris Jozajtis notes...”It’s a classic Folk Devils song with a brilliant lyric by Ian. So it’s an acknowledgment of the debt we owe him, a nod of respect to one of the great unsung talents of rock’n’roll. It always felt like a ‘BIG’ tune to us; Yet despite there being two pretty decent radio session versions of it available, there’s always been a sense of unfinished business because “Ink” had never received the full studio treatment the song deserved.

      I think the new, turbo-charged twin guitar version puts that right.” ”the songs will hopefully still speak to malcontents like ourselves, who are both fascinated and appalled by what we might encapsulate as ‘the human condition’. The dark humour and mordant wit that characterized Lowery’s lyrics is still intact I think, and despite the inevitable encroachments of age we haven’t really lost the dissatisfaction and anger that we tried to articulate in words and music back in the ‘80s. So we’re likely to continue making a mighty and righteous racket, both live and on record, as long as anyone cares to listen.”

      The Wee Cherubs

      The Merry Makers

        Before The Bachelor Pad, there was The Wee Cherubs.
        A collection of lost recordings made in Glasgow between 1982 & 1985. Restored and remastered especially for this release.

        Formed in 1982 by Martin Cotter, Christine Gibson and Graham Adam & part of the Glasgow indie scene of the early 80’s.

        The Wee Cherubs only released one single. The recently reissued Dreaming, (which is included in this set) before calling it a day in 1985. Their range of influences are on show here, and although some tracks are redolent of Orange Juice and Aztec Camera there is no definitive Wee Cherubs sound, which makes this collection an exciting and rewarding discovery

        Cotter went on to The Bachelor Pad a psyche fuelled head on collision between The Buzzcocks & Syd Barrett. 


        FORMAT INFORMATION

        Coloured LP Info: Green vinyl LP with printed lyric inner.

        McCarthy

        The Enraged Will Inherit The Earth

          Originally released in 1989. The Enraged Will Inherit the Earth is a musical molotov cocktail that’s a mixture of power chords and virile, virtuous lyrics.

          The songwriting is tightly forged and their knack for producing raw pop is at its finest here. The Enraged Will Inherit The Earth is a powerful weapon that didn’t get enough of a user base to make its intended impact. If the question was ever proposed, “can art be a weapon?” I think this album answers with a bold and resounding “yes.”

          Including the singles Boy Meets Girl, So What; Should The Bible Be Banned; Keep An Open Mind Or Else & This Nelson Rockerfeller. 

          FORMAT INFORMATION

          2xColoured LP Info: This limited edition set contains the original LP plus a 10 track bonus LP and a bonus 7” with 2 previously unreleased tracks.
          Remastered and pressed on colour vinyl with a reworked sleeve by original designer Andy Royston.

          The Wee Cherubs

          Dreaming

            Impossibly rare 1984 UK 7” vinyl single, written by a pre- Bachelor Pad’s Martin Cotter. One of only three releases by the short-lived Glasgow based indie label Bogaten, although redolant of early Orange Juice in the sound of the A-side, also looks forward to Shoegaze, with a reverb-drenched cover of The Velvet Underground’s Waiting For My Man on the B-side.

            FORMAT INFORMATION

            Ltd 7" Info: Limited to 800 copies Colour Vinyl.
            Includes postcard and poster.

            The Wedding Present

            Once More

              Exceptional second single from The Wedding Present that was originally released on Reception Records in 1985. Reissued here on White Vinyl.

              FORMAT INFORMATION

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

              Meat Whiplash

              Don't Slip Up

                Their one and only single was originally released in 1985 on Creation and spent 19 weeks in the independent chart. From East Kilbride in Scotland, they morphed into Motorcycle Boy.


                FORMAT INFORMATION

                Ltd 7" Info: Limited to 800 copies Colour Vinyl.
                Includes postcard and poster.

                The Revolving Paint Dream

                Flowers In The Sky

                  Part of The Optic Sevens 2.0 Reissue Series.
                  Limited to 800 copies Colour Vinyl. 
                  Includes postcard and poster. 
                  Released in 1984 and the second release on Creation Records.
                  Flowers In The Sky Is a perfect piece of 80’s psychedelic pop.

                  The band was formed in 1983 by Andrew Innes, who had previously played guitar for Alan McGee’s band The Laughing Apple, and also contributed to McGee’s later band, Biff Bang Pow!
                  The band also featured Innes’s girlfriend Christine Wanless on vocals, Ken Popple (also of Biff bang Pow!) on drums, and part-time contributions on guitar from Alan McGee. 


                  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. 


                    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 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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