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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.

    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 clear vinyl with red marble.

      Medium Medium

      The Glitterhouse

        Medium Medium’s debut album, The Glitterhouse, was originally released on Cherry Red in October 1981. This reissue also features the “Hungry, So Angry,” single version which was produced by Adrian Sherwood at Berry Street Studio in London.

        In Sound International magazine Dave Henderson wrote prophetically, “It could be one of the most important records of the type to emerge this year and will doubtlessly be revered as a classic after the group have long since departed.”

        Also included is a selection of tracks from Cherry Red’s 2001 Hungry, So Angry retrospective compilation album, the B-side of the band’s debut single on Apt and a previously unreleased demo version of a song from the 1982 Sound-Products EP. It includes a bonus EP featuring previously unreleased tracks from the 2008 Village recording session. All of the various lineups of Medium Medium are represented.

        Formed at the end of 1978 Medium Medium’s self-described “extreme dance music” had reviewers scrambling to draw comparisons with the band’s contemporaries and find a label for its post punk sound.

        Medium Medium’s solid dance rhythms and chaotic, chiming guitar were superficially reminiscent of the Gang of Four and Talking Heads, but Rees’s tangential sax playing and Graham’s tape and keyboard interjections from the front-of-house mixing desk took Medium Medium in another direction.

        ”They weren’t as hip as The Au Pairs, The Higsons or the Factory-sponsored A Certain Ratio, but Nottingham quintet Medium Medium were still among the best of the myriad bands blending austere post-punk with funk during the early 80s.

        This lavishly-packaged triple LP reprises the cream of their catalogue, with both sides of the band’s hard-to-source 1979 debut Them Or Me/Freeze showcased alongside the Adrian Sherwood-produced 7” version of their signature song Hungry, So Angry plus all three tracks from the mainstream-inclined 1982 EP Splendid Isolation.

        The main attraction, though, is surely the band’s lone LP, The Glitterhouse. Originally issued by Cherry Red in 1981, it encompasses everything from the tense, dub-filigreed Serbian Village to the sweaty, club-friendly Mice Or Monsters and the jagged, James Chance-esque Further Than Funkdream and it remains a stark and highly compelling listen.

        Medium Medium attracted an enviable ream of positive press, but they struggled commercially and by 1983 they were history. However, they’ve regrouped sporadically since they were cited as an influence by early 00s punk-funk practitioners including The Rapture and Radio 4 and this set’s inclusion of three edgy, previously unreleased tracks from a 2008 studio session shows that they’ve retained a contemporary relevance.” : 4/5 REVIEW IN RECORD COLLECTOR.

        FORMAT INFORMATION

        3xLtd LP Info: Deluxe triple vinyl gatefold edition pressed on colour vinyl with printed inners.

        Medium Medium

        The Glitterhouse - Deluxe Vinyl Edition

          Medium Medium’s debut album, The Glitterhouse, was originally released on Cherry Red in October 1981. This reissue also features the “Hungry, So Angry,” single version which was produced by Adrian Sherwood at Berry Street Studio in London.

          In Sound International magazine Dave Henderson wrote prophetically, “It could be one of the most important records of the type to emerge this year and will doubtlessly be revered as a classic after the group have long since departed.”

          Also included is a selection of tracks from Cherry Red’s 2001 Hungry, So Angry retrospective compilation album, the B-side of the band’s debut single on Apt and a previously unreleased demo version of a song from the 1982 Sound-Products EP. It includes a bonus EP featuring previously unreleased tracks from the 2008 Village recording session. All of the various lineups of Medium Medium are represented.

          Formed at the end of 1978 Medium Medium’s self-described “extreme dance music” had reviewers scrambling to draw comparisons with the band’s contemporaries and find a label for its post punk sound.

          Medium Medium’s solid dance rhythms and chaotic, chiming guitar were superficially reminiscent of the Gang of Four and Talking Heads, but Rees’s tangential sax playing and Graham’s tape and keyboard interjections from the front-of-house mixing desk took Medium Medium in another direction.

          “Free-blown dubbed-up white funk” was how Max Bell described the sound in England’s New Musical Express (NME). “At the forefront of the post punk funk movement,” raved Cashbox in the U.S. Billboard magazine opined that this was “post punk and post disco dance music.”


          FORMAT INFORMATION

          2xDeluxe LP Info: Deluxe triple vinyl (2xLP + 12") gatefold edition pressed on colour vinyl with printed inners.

          Jane And Barton

          Jane And Barton

            Originally released in 1983 this album is probably best known for the inclusion of the track “It’s A Fine Day” A poem written by Edward Barton that was originally sung unaccompanied by, and credited to, Jane - that is, Jane Lancaster.

            Recorded and released independently, it was played by ,amongst others, Radio 1 DJ John Peel. It was heard by Iain McNay of Cherry Red Records, who released it in 1983. Reaching number 5 on the UK Indie Chart, becoming the highest ever chart placing of an unaccompanied poem in U.K. history.

            Later appearing credited to Jane and Barton, on this, their eponymous mini-album. It has been covered and sampled many times since. Becoming major Worldwide dance hits for both OPUS III and Miss Jane (No relation)

            The album itself is almost impossible to categorize. all tracks (bar one) feature Jane’s hauntingly beautiful voice singing accapella or with minimal accompaniment .Musicians incude Martin Moscrop and Andrew Connell of A Certain Ratio.

            10 things you need to know about Edward Barton
            1. Edward invented and patented a knitted woollen radiator cover that is designed to stop radiators looking cold.
            2. Edward wrote “It’s a Fine Day” (which long before it charted at number 4 for Opus 3 and subsequentlhatched a hundred versions) was an indie hit in 1983 Incidentally it still holds the record for the highest ever chart placing of an unaccompanied poem. The last line “we will have salad” is the only unsampled line left.
            3. Edward co-wrote Kylie Minogues “Confide in Me”.
            4. Edward has a room containing over 300 teddy bears: non of them worth anything, other than love. They were rescued from kerbs, skips and back alleys in the 1980’s when it seems the whole of Manchester chucked out it’s childhood. He also has a large collection of childrens shoes, babies dummies and over a thousand mugs which he re-arranges instead of being a Buddhist.
            5. Edward appeared twice on “The Tube”. If you say the words “I’ve Got No Chickens but I’ve Got Five Wooden Chairs” to a boy over 40 there is a strong chance of a big smile. Despite the lack of swearing or sexy stuff his performances attracted more complaints from the public than any other act. He refused to appear a third time after being asked to emerge from a cake with Samantha Fox.
            6.Edward was arrested for displaying his installation “Stolen”, a large cage containing household objects shop-lifted from various supermarkets. As a result he is probably the only person to appear ( topless or otherwise) on page 3 of “The Sun”, and “The Star” and page 5 of “The Mirror”.The Sun described him amusingly as ‘Manchesters very own Leonardo Da Pinchi.’ Sadly his “Oblong Art Gallery” on the top floor of “Afflecks Palace” in Manchester was, also at the police’s request, shut down.
            7.In the 90’s Edward was the unofficial “trance laureate” he wrote 6 top 30 tracks and many dance chart hits with among others Norman Cook as “Pizza Man”, Paul Oakenfold, ATB, LOST WITNESS, Justin Robertson, Way Out West and Orbital.
            8.Edward played guitar on “Sowing the Seeds of Love” for Tears for Fears on the Wogan Show. It’s on you -Tube
            9. Probably because he was cheap, polite and didn’t mind sleeping the night in the back of a van parked on a hill, Edward was the tour support for many bands in the 80’s.He particularly enjoyed the company of Stump, Microdisney and James. Less fun were the The Proclaimers who refused to share a dressing room
            10.Edward was strangely prominent during Manchester’s early rave years. He wrote “Born in the North” by a Guy Called Gerald which was one of the Hacienda’s biggest floor undulators.


            FORMAT INFORMATION

            Coloured LP Info: 10” LP pressed on white vinyl with CD of complete album containing 2 non LP bonus tracks, comes with 8 page colour booklet. Includes the singles “It’s A Fine Day” and “I Want To Be With You”.

            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.


            McCarthy

            I Am A Wallet - Vinyl Edition

              This limited edition double album set contains the original LP plus 13 bonus tracks taken from their first four singles and the re-recorded version of In Purgatory which originally appeared on the PINK compilation E.P “It sells or it smells”

              Pressed on Red vinyl

              Extras include:
              Bonus LP containing 13 Bonus tracks 20 page 12”x12” full colour booklet containing all the lyrics and packed full with photo’s, many previously unpublished.
              Press clippings and other memorobilia.
              Introduction by Nicky Wire of the Manic Street Preachers and track by track commentry by Malcolm Eden
              A reproduction copy of McCarthy’s first 7” “InPurgatory” All three tracks have been remastered from the original master tape and presented in a wraparound sleeve, just like the incredibly rare “Wall Of Salmon” original.
              8 x 10 Black & White press photo
              Reproduction European Tour poster
              “The Well Of Loneliness” Promo poster
              Giant Poster of Georg Grosz’ cover art
              McCarthy sticker

              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” (both included on this release). 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) as one of the most important albums of the 80s. Known by todays indie accolites as the band that spawned Tim Gane and Leititia Sadier (who of course went on to form Stereolab).

              It’s a seamless album reminiscent of the Byrds. Wonderful, if slightly twee, jangly guitars with complex and rarely rhyming lyrics, Malcolm Eden’s strident left wing political views are manifest on I Am A Wallet. Cloaked in pretty guitar and propulsive drums, Eden sets about attacking the pillars of the day, MPs, Prince Charles, Fleet Street, religion, the response to AIDS and on almost every song capitalism. The horrors and inequalities of the capitalist system are laid bare for all the see. The system which enables some to get rich at the expense of others is reviled and attacked. 


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