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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.

    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.

        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.


        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. 

          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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