Presented here on limited edition gold vinyl, ‘Ogdens' Nut Gone Flake’ is the third studio album, and only concept album by the Small Faces. Originally released in May 1968, the LP peaked at number one on the UK Album Charts the following month, where it remained for six weeks and is the Small Faces' best-known and most successful album.

Including the hit tracks ‘Lazy Sunday’, ‘Ogdens Nut Gone Flake’ and ‘Rene’, side two of the LP is based on an original fairy tale concept about a boy called Happiness Stan - six songs interlinked with narration provided by comic performer Stanley Unwin in his unique, nonsensical private language.

It ultimately became the group's final studio album during their original incarnation. The album title and distinctive packaging design was a parody of Ogden's Nut-brown Flake, a brand of tinned loose tobacco that was produced in Liverpool from 1899 onwards by Thomas Ogden.

TRACK LISTING

SIDE A
1. Ogdens` Nut Gone Flake
2. Afterglow
3. Long Ago’s And Worlds Apart
4. Rene
5. Song Of A Baker
6. Lazy Sunday
SIDE B
1. Happiness Stan
2. Rollin` Over
3. The Hungry Intruder
4. The Journey
5. Mad John
6. Happydaystoytown

Presented here on solid white vinyl, Small Faces is the second studio album by Small Faces, released through Immediate Records on 23 June 1967. The Immediate album shares its name with their 1966 Decca debut album, which has led to some confusion regarding the titles and as a result, this album has been unofficially dubbed The First Immediate Album by fans.

Considered to be the artistic breakthrough for the group in terms of songwriting and composition, and marks their transition from a mod-influenced blue-eyed soul/R&B band to a psychedelic studio group. It was the band’s first LP to contain solely original compositions and includes ‘Green Circles’, ‘Talk To You’ and ‘(Tell Me) Have You Ever Seen Me’.

The album reached number 12 on the UK charts, becoming their only original studio album to chart outside the top-10, but is considered by many fans to be the groups best album.

TRACK LISTING

SIDE A
1. (Tell Me) Have You Ever Seen Me
2. Something I Want To Tell You
3. Feeling Lonely
4. Happy Boys Happy
5. Things Are Going To Get Better
6. My Way Of Giving
7. Green Circles
SIDE B
1. Become Like You
2. Get Yourself Together
3. All Of Our Yesterdays
4. Talk To You
5. Show Me The Way
6. Up The Wooden Hills To Bedfordshire
7. Eddie's Dreaming

Gil Scott-Heron was twenty-one years old when he was signed to Flying Dutchman by Bob Thiele to make an album of his poetry. The resultant “Small Talk at 125th and Lenox” was recorded before a small live audience and, released in 1970, sat perfectly in a world where the Last Poets had just tasted Top 10 success with their debut LP. “Small Talk at 125th and Lenox” opened with a spoken word version of ‘The Revolution Will Not Be Televised’ and also featured poems and musical pieces like ‘Omen’, ‘Brother’, ‘Plastic Pattern People’, ‘Paint It Black’ and ‘Everyday’ that reflected on the black community and its condition within America at this time.

The starkest of these sharp observational pieces from Scott-Heron was ‘Whitey On The Moon’, which recounts the US Government spending billions on landing a rocket on the moon at a time when, “a rat done bit my sister, Nell”.

Like its follow-up – “Pieces Of A Man” – “Small Talk at 125th and Lenox” is a classic album and we are delighted to serve it up again on vinyl in a gatefold sleeve with the original liner notes.

With current “Big Talk” of going back to the moon, whilst injustice still prevails for many black people in America, “Small Talk at 125th and Lenox” still conveys a message that resonates today.

TRACK LISTING

Side One
1. Introduction / The Revolution Will Not Be Televised
2. Omen
3. Brother
4. Comment # 1
5. Small Talk At 125th & Lenox
6. The Subject Was Faggots
7. Evolution (and Flashback)
Side Two
1. Plastic Pattern People
2. Whitey On The Moon
3. The Vulture
4. Enough
5. Paint It Black
6. Who’ll Pay Reparations On My Soul?
7. Everyday

Small’s “Don’t Leave Me In The Rain” is an infectious South African house-infused pop record from 1991 drawing on influences from some of the greats in the genre. Sounding like a long-lost Frankie Knuckles LP or something The Pasadena’s might have put out in the early 90s, it's an under-the-radar holy grail for all those seeking good time house music with an invigorating, life afirming vibe that'll slot into any party.

For all those that enjoyed the releases from Lucky Mereki or Bibbi this one is going to be right up your street. It's more of the same from the townships of S.As 1990’s pop, bubble gum, kwaito & house scene of the time. The sound was sweet, the message was positive, the clothes were loud and they seemed to be having the time of their lives. I guess much like our youth were doing over here as the global house phenomenon took hold. 

STAFF COMMENTS

Matt says: Uplifting and highly infectious bubble gum and house music from this barely known SA group. The only record they ever made and it's become highly collectable. A treasure of a reissue that house heads aren't gonna wanna be without.

TRACK LISTING

1. Don't Leave Me In The Rain
2. Make My Life
3. Takes Two To Tango
4. Happy Song
5. Let's Stop The Fire
6. Melody Of Love
7. Keep On Trying
8. Without You

Deadly Avenger - Your God Is Too Small - Released by Burning Witches Records More sonic electro infused speaker decimation from Deadly Avenger in a brand new follow up to 2018's I Am Godzilla You Are Japan. Your God Is Too Small picks up the DA Godzilla story from the very beggining in a prequel to IAGYAJ. Includes 3D artwork and glasses, Insert, and download card. UK Exclusive variant. Artwork by Luke Insect

Sitting midway between Deadly Avenger's earlier break-based work and the more shimmering 80's haze of his more recent release with Luke Insect, 'When Haro Met Sally', Your God Is Too Small provides a throroughly satisfying and hypnotic continuation of the legacy these two have built together. Tracks like 'A Promise For Kumiko' perfectly illustrate the mastery of sound, with the first half of the tune bing airy synths and sidechained saw-stacks before snapping into a fiery bunker redux, only to perfectly merge the two sounds together into a perfectly soaring juxtaposition of cosmic pulsing and distorted heft.

'Gunman Omega' is another brilliant example of the sound we've come to expect from Mr.Avenger, with throbbing off-pulse throbs forming the backdrop to a soaring, phased synth sweep and gated reverbed kick / snare combo.

'Your God Is Too Small' is further evidence of DA's mastery of sound, perfectly flitting between claustrphobic, hollow percussives and soaring, euphoric synthwork, proving once again a perfect release for the ever-reliable Burning Witches. 

TRACK LISTING

01] Your God Is Too Small
02] A Promise For Kumiko
03] Destroy All Humans
04] Skit_Legend Of Poison Cobra
05] Gunman Omega
06] The Mysterions
07] Skit_Legend Of Opal Moon
08] Tokyo S.O.S
09] Tears In A Demons Eye
10] Myuki My Love
11] Phantoms
12] Skit_Legend Of Heavenly Spheres
13] Theme For Hoshino
14] Second Death

Pronounced 'CLIT DRIP' for those confused or too shy to ask, CLT DRP have been turning heads since 2017. The genre-bending trio's non-apologetic and yet playful approach has seen them garner praise from The Line Of Best Fit, Gigwise, and plenty more. Their music gets you moving, invites you in with power, and makes you question your environment and yourself. In their time, CLT DRP have already supported Nova Twins, Warmduscher, among others, and performed at 2000 trees and ArcTanGent festivals.

TRACK LISTING

A1. Aftermath
B1. Aftermath (Big Moon Cover)

“The album is titled ‘Movements’ because it has changes in feeling and energy throughout. When I was first putting songs together for the album I had a lot of sad songs and I felt like an important part of me was missing from it. So I later added some songs to express that happy and fun side of myself. It makes a lot of sense to me, because emotions are not consistent, to at least have one album that goes through those movements, and I choose this to be that album.

I also went back to my roots a little during the pandemic and decided I really missed gymnastics – my childhood obsession. So I spent a lot of time stretching and exercising, hoping to go back to it once things were safe again. As it happened I took up dancing instead for something new, but that also influenced the title as I was working on the album throughout the pandemic.

I learnt so much making this album because it was the first time I wrote all of the arrangements myself, demoed out in full before entering the studio. It was a challenge I set myself and I also learnt a lot more about recording and mixing through this process – something I want to do more of as I continue writing. Another goal I set myself was to be able to write piano songs with vocals which I’d never done before, so there are quite a few of those on this album.

I recorded the album in Hastings with producer Martin Ruffin who I also worked with on my previous releases. It was mixed by Martin Ruffin and mastered by Aneek Thapar.” – Natalie Evans

TRACK LISTING

1.Driving Home Late
2. Between The Ground And Sky
3. Movie
4. Pencil Drawn
5. Interlude (Back Of My Mind)
6. Colours Fade
7. Sun Song
8. Under The Moon
9. When You Leave
10. To Go On
11. Five Positives
12. Guest Room

This summer sees the return of the unique cross-continental collaboration between Ghanain xylophonist Isaac Birituro and his band of live international musicians, The Rail Abandon. Having created something of a buzz back in 2019 with their debut albumKalba- gaining support along the way fromGilles Peterson,Cerys MatthewsandTom Ravenscroftto name but a few - and after something of a hiatus, the duo teased us earlier this spring with theLapaz EPin preparation for their new LP,Small Small.

Small Smallis a very Ghanaian saying, a direct translation to English, which is used in a wide variety of contexts to mean 'bit by bit,' 'one step at a time' or 'slow and steady'. Vocalist and musician Sonny Johns, from The Rail Abandon, was first introduced to the phrase on his initial trip to Ghana in 2016, when he met Isaac in Kalba, and the phrase has popped up over and over ever since.

"Any second album is a difficult process –how do you make something that follows on from the first but is different enough? It's particularly difficult when your first album was made under the unique conditions of having never played together, in unusual surroundings. It is also difficult when you live on different continents from each other. To add to those difficulties, we had to make a record in the middle of a pandemic. Fortunately, just before the world was locked down, we'd written and recorded the basis of the album over 3 days while on tour in Germany, October 2019. Then Isaac and the Rail Abandon went about adding their own musicians to the recordings in Ghana and the UK respectively, bringing everyone together via the internet instead of physically. Everyone involved had been hit dramatically during this period, some physically, some financially, all emotionally.

The rise of the BLM movement during this period also made a big impact on a project designed to unite people, bring equality and encourage mutual respect. The death of Tony Allen also hit us hard early in this period too -Tony (also of maternal Ghanaian heritage) was a person who united West African and European musics and cultures seamlessly and was instrumental in bringing together (indirectly) the music of Isaac Birituro & The Rail Abandon. So, we finished this albumSmall Smallover the intense year of 2020 influenced by the difficulties that we, and the world, have been through. The album is about loss, frustration and struggle, but it's also about the light at the end of the tunnel; about overcoming difficulties to find a brighter future and no matter what separates us, whether that be language, culture, continents or borders, when we listen to each other and learn from each other, there's really not much that can keep us apart. So from everyone involved, here's to a brighter future." Sonny Johns from The Rail Abandon.

The Rail Abandon is a play on the name Rail band - the short title ofThe Super Rail Band of the Buffet Hotel de la Gare, Bamako -a band from Bamako, Mali including such greats as Salif Keita and the more importantly the guitarist Dejimady Tounkara. Inspired by his playing the group were given the moniker The Rail Abandon as a way to release music without a face, specific name or singer. The line up is different depending on the music. Due to a joint love of African musics from across the continent, the core at the moment is Sonny Johns on vocals and guitar, Raph Clarkson on trombone and keyboards, and Israeli musician Yuval Wetlzer on drums and percussion, but it can incorporate any, all, none or more than these people.

As well as the core group, the album also features a number of special guests, including Ghanaian powerhouse vocalist Wiyaala; UK based Afrobeat Ambassador Dele Sosimi; the incredible Queen Ayesha and South African singer Nosihe.

TRACK LISTING

1. Dondomo
2. Senye (feat. Wiyaala)
3. Ta Soo Maa Yele
4. Told You So
5. Dooye
6. Fún Tony (feat. Dele Sosimi)
7. Doniyan (feat. Queen Ayesha)
8. Bawa
9. Sivukile (feat. Nosihe)
10. Kontomo

Samantha Crain's critically acclaimed 'A Small Death' is a record that brims with hope and a deft wryness, packed with the sort of melodies and stories that have been warming the hearts of those so familiar with and fond of her work over the years. After a series of accidents that left the artist without the use of her hands, this album was her first release after she worked tirelessly to recover from her injuries.

TRACK LISTING

An Echo
Pastime
Holding To The Edge Of Night
High Horse
Reunion
Joey
Constructive Eviction
Garden Dove
Tough For You
When We Remain
Little Bits

Metronomy’s new album Small World is a return to simple pleasures, nature, and an embracing in part of more pared down, songwriterly sonics, all while asking broader existential questions: which feels at least somewhat rooted in the period of time during which it was made – 2020. Finding appreciation in nature and our roots, while reappraising the things we value as we get older are all things that are part and parcel of the human experience: though it has all felt accelerated and emphasised in this past year or so. Through the tumultuous ebb and flow of the years, Metronomy continues to endure, and Joe Mount’s ability as a songwriter, arranger and producer shines through on Small World, evergreen.

STAFF COMMENTS

Barry says: Metronomy's uplifting brand of jangle-heavy synth pop hits a peak on the shimmering uplifting snap of 'Small World'. It's definitely got Disney montage vibes, and is as rich and satisfying as any of their previous offerings while being even more effervescent and dynamic.

TRACK LISTING

1. Life And Death
2. Things Will Be Fine
3. It’s Good To Be Back
4. Loneliness On The Run
5. Love Factory
6. I Lost My Mind
7. Right On Time
8. Hold Me Tonight
9. I Have Seen Enough

For the first time since her early beginnings, Clarke is flying solo. No label, no musical partner, no producer. Clarke is in complete control of her songwriting, arranging, producing, release schedule and musical direction. While the themes might feel familiar to her fans, the musical journey will not, with Clarke taking in a wide range of new and diverse influences across the album – from Adrianne Lenker’s ‘Hours Were The Birds’, IDLES’ ‘Colossus’, Radiohead’s ‘Airbag’ to Phoebe Bridgers ‘Garden Song’ and more, the album’s touchstones span a vast musical collage of anger and hope. Lead single, ‘Sit Out’ is frustration and defiance in sonic form. “All you stand for / Makes me want to sit out” she sings over thick, driving guitars and an almost Beastie Boys-esque drum beat.

STAFF COMMENTS

Barry says: Josienne Clarke's new album manages to take a diverse range of influences and seamlessly integrate them into a beautifully accomplished whole. The more cavernous percussion and distorted guitars perfectly offset Clarke's haunting vocals in the more meditative pieces here. A wonderful collection.

TRACK LISTING

Super Recogniser
Like This
Never Lie
Chains
If It’s Not
Sit Out
Sting My Heart
The Collector
Tiny Bit Of Life
A Letter On A Page
Deep Cut
Out Loud
Repaid
Unbound 

The Body and BIG|BRAVE are both bands possessed with an unequalled ability to convey overwhelming weight with simplicity, repetition and detailed sonic atmospheres; artists who continue to alter the definition of what it means to be a heavy band.

The Body are consistently prolific while increasingly ambitious as untethered producers and collaborators. BIG|BRAVE shape sound with dense waves of guitar and feedback, minimalist and hypnotic crashes and emotionally exacting vocal melodies. In collaboration, The Body and BIG|BRAVE shift the gravity of their compositions to woven layers of percussion and unspooling guitars that sprawl through stark frameworks of earthy folk.

Their debut collaborative album, ‘Leaving None But Small Birds’ distils the two ensembles’ pioneering approach to heavy music into psalms for the forgotten, threnodies of lost love and odes to vengeance.

Recorded, mixed and produced by Seth Manchester at Machines With Magnets (Liturgy, Battles, Mdou Moctar) and mastered by Heba Kadry (Björk, David Bowie).

“Emotionally coherent but tricky to categorize. BIG|BRAVE are the sound of the raw unconscious, turned up loud.” - Pitchfork

“The Body have become one of the most interesting and difficult to pin down groups in extreme music.” - Rolling Stone

TRACK LISTING

Blackest Crow
Oh Sinner
Hard Times
Once I Had A Sweetheart
Black Is The Colour
Polly Gosford
Babes In The Woods

MAT is proud to announce the forthcoming release of ‘The Side I Never See’, by Hugh Small & Brian Allen Simon. Hugh forms half of Scottish post-punk duo Vazz, whose work was the subject of a recent retrospective by Belgian label Stroom. Brian is known best for his solo project Anenon, under which name he has released four full length albums and multiple remixes for artists including Ryuichi Sakamoto.

An improvised recording of Brian playing over the Vazz piece ‘Kazimierz’ catalysed this long-distance collaboration; 2000 feet up a mountain in Andalucia, Hugh heard the recording on a broadcast of Brian’s dublab LA radio show. Immediately taken in by Brian’s playing, the pair soon established contact and began discussing the possibility of working to create something new together.

The rest, as they say, is history: the results are fully realised in ‘The Side I Never See’, a shimmering suite of ten compositions for piano, soprano saxophone, synthesizer and guitar. In Hughs words… ‘so, what is it? It’s Ambient-Punk, Abstract-Jazz, Disaffected-Classical, it’s whatever the fuck you want it to be!’ :-)

‘The Side I Never See’ will be released on Melody As Truth in early August 2021, as always on vinyl and digital. Mastered by Stephan Mathieu, Artwork by Michael Willis.

TRACK LISTING

Rocco
Observation Point
Myxomorphia
Source And Origin
Kazimierz
Related Objects
Palace
Cloudland
Viridians
Archangel

Bendik Giske (NO/DE) is an artist and saxophonist whose expressive use of physicality, vulnerability and endurance have already won him much critical acclaim. You can hear all of this in his debut album Surrender, released at the start of 2019 on Smalltown Supersound, which can be described as Giske stripped to the core: no overdubs, looping, or effects. Just his body, breath, the saxophone and a resonant physical space, plus lots of microphones.

The body is important for Giske, even more so than as an acoustic musician. Not just in the strength and muscle control required to accomplish circular breathing on the saxophone, the unusual technique he employs to mesmerizing effect. It’s also reflected in the tradition of dance he practiced as a child in Bali – where he split his time between Oslo with his artist parents – and enjoyed as part of an electronic music epiphany in his adopted hometown of Berlin. And body is implied in his sense of queerness, which has helped him create his own sound, blossoming luxuriantly not only on record but also in his striking, embodied performances.

As such, in the past Giske has likened his performance to transmuting electronic music through all of his human faults, akin to becoming a machine. And with second album Cracks he introduces a new set of parameters for the automated processes of his muscle memory to work against. His decision to collaborate with producer André Bratten and his extensive studio of electronic machines saw Giske play in the new ‘resonant’ space of Bratten’s reactive studio tuned to his original sounds.

In a sense, you could call it generative music – a term coined by Brian Eno to describe music made within a set of rules that can constantly evolve within that system. But here the only algorithms at work are responding to Giske’s self-imposed constraints (or parameters) – like the afore-mentioned circular breathing. As a practice, it induces in the player – and perhaps the listener, too – a kind of altered state, more open to discovery, and as a cycle of sound it defies time. This atemporality, or out-of-timeliness, hints at theorist José Muñoz’s notion of “queer time”, which is a chronology wholly other than the default.

If this new studio-as-an-instrument process has brought Giske one step closer to the manmachine, it’s also a way to bridge the separation – or crack – between the two. This kind of liminal space, according to Giske, is to be treasured: “The tracks wedge themselves into the cracks of our perceived reality to explore them for their beauty. A celebration of corporeal states and divergent behaviors,” he explains. He cheerfully admits to mining the thought universe of Muñoz – especially his book Cruising Utopia– as inspiration, and the resulting Cracks have a sensual, deeply-felt and lingering beauty with a touch of the superhuman.

TRACK LISTING

Side A
1. Flutter
2. Cruising

Side B
3. Void
4. Cracks
5. Matter (part 3)

Although love lives at the heart of her second album, it has little to do with romance. Small Mercies is absolutely not a heartbreak record, nor is it a celebration of new love, or sisterly call-to-arms or vengeful catharsis. Instead, it is a series of poetic examinations of love across the experiential spectrum, from the micro (self-love) to the macro (devotional faith-inspired love, love for this planet), set to a soundtrack that mixes electronic pop and grungy guitar rock with aplomb.

Small Mercies follows the 23 year-old’s debut album, The Age Of Anxiety (2017) – an unsettling synth-pop record fuelled by Pixx’s own debilitating experience of angst – and 2015’s forlorn and folk-edged Fall In EP. Co-produced by Simon Byrt (who worked on both her EP and debut album) and Dan Carey, it sees Pixx assuming different personas to examine the damage done by religion, gender-based power hierarchies and stereotypes, the tipping point of Earth’s destruction and love.

STAFF COMMENTS

Barry says: It genuinely surprised me that Pixx (nom-de-plume of London-based Hannah Rodgers) weren't from Australia because the sound is a perfect addition to the punky, snarling catalogue of artists like Courtney Barnett or Stella Donnelly, rich with attitude and brimming with superb songs, delivered with confidence and wit.

TRACK LISTING

Andean Condor
Bitch
Disgrace
Small Mercies
Peanuts Grow Underground
Funsize
Dirt Interlude Pt. 1
Mary Magdalene
Hysterical
Eruption 24
Dirt Interlude Pt. 2
Duck Out
Blowfish

‘Small Moon’: Originally released in 1999. A pulsing classic that takes you down to the nightclub and floats you home. Double vinyl in gatefold sleeve with bonus track ‘Small Moon Redux’ from 2018.

TRACK LISTING

Arcadia
Praxiz
Klypp'D
Non-Pop
Reazymn
Soho… 3am
Small Moon Redux

The Craig Brown Band is back with a dizzying new garage-country 7”, their first songs since the release of debut album The Lucky Ones Forget. Much has happened for the group since the album’s release, from touring with Dwight Yoakam (based solely on Dwight’s observance of the magnetism of their powerful live show) to opening for Jack White at the huge Little Caesars Arena concert in Detroit. And now, this new single will be accompanying Craig and the band on their first trip overseas to Europe, featuring new bassist and longtime Liquor Store co-conspirator Derek “Block” Warren.

“Big City Small Town” is a little country rock groover that depicts a very familiar scene for anyone who’s lived in a midsize city; word travels quickly, so own who you are and what you do 100%. “Tell Me” is a charmingly concise and heartfelt appeal for a little fulfillment, from answering life’s big questions to enjoying a good song with someone who cares.

Originally released by Andrew Loog Oldham’s Immediate Records on 24 May 1968 and soon hit the No.1 spot where it stayed for 6 weeks. Critically acclaimed and still featuring in albums-you-must-own-polls, it is by far and away the Small Faces’ best-known and most successful album. Includes ‘Lazy Sunday’, ‘Afterglow’ plus ‘Song Of A Baker’ and live favourite ‘Rollin’ Over’ - Newly remastered by Nick Robbins at Soundmastering with the full cooperation of surviving Small Faces member Kenney Jones. This is the best Ogdens’ has ever sounded!

50th Anniversary 3CD + DVD Earbook - 60-page hardback book edition contains 3CDs for mono and stereo versions of the album plus rare bonus material
DVD contains the Small Faces legendary TV performance of “Happiness Stan” for the BBC’s “Colour Me Pop” programme in June 1968, together with Peter Whitehead’s promotional film for ‘Lazy Sunday’.
In-depth sleeve notes by Small Faces authority and Mojo contributor Mark Paytress, interviews, rare photos and memorabilia.

50th Anniversary 3LP Box Set - Cut at half-speed by Matt Colton at Alchemy Studios to give a better dynamic response, more defined and accurate sound and extended low frequency and smooth high-frequency response. This is the best Ogdens’ has ever sounded!
For the first time ever, both mono and stereo versions of the album plus an LP of rare bonus material will be released together on one deluxe, limited edition box set, pressed on 180-gram audiophile red, white and blue vinyl.
Deluxe booklet loaded with material, including in-depth sleeve notes by Small Faces authority and Mojo contributor Mark Paytress, interviews, rare photos and memorabilia.

Ogdens' Nut Gone Flake is the third studio album and first concept album by the English rock band Small Faces. Released on 24 May 1968, the LP peaked at number one on the UK Album Charts on 29 June, where it remained for a total of six weeks. The title and the design of the distinctive packaging was a parody of Ogden's Nut-brown Flake, a brand of tobacco.

These deluxe, Art Of The Album versions celebrate this seminal records 50th anniversary.

Vinyl cut at half speed mastering for finest audio quality at Alchemy Mastering.
New liners notes by acclaimed music journalist Jon Savage.

TRACK LISTING

1. Ogden's Nut Gone Flake (Mono)
2. Afterglow (Of Your Love)
3. Long Agos And Worlds Apart
4. Rene
5. Song Of A Baker (Mono Version)
6. Lazy Sunday
7. Happiness Stan
8. Rollin' Over
9. The Hungry Intruder
10. The Journey
11. Mad John
12. HappyDaysToyTown (Mono)

The Sound Wizard behind the name The Small Crowd is Martin H. He's been remixing, producing, arranging for other artists in Sweden for some time now - This is his solo project where he blends his heavenly, mostly instrumental mix of dancey electronical music with a classical string quartet (Rosa Kvartetten).
Adventurous and beautiful. His influences are all over the map, but early listeners have tried to compare The Small Crowd to artists like: Nicolas Jaar, Jon Hopkins,Kornel Kovacz, Vitalic, James Holden and The Avalanches".. Album artwork by US artist Noah Lyon.

TRACK LISTING

A1. 7 Things
A2. Not Yet
A3. An Endless Line Of Connections Reveals Itself
A4. Sounds Like Another Day
B1. Life (As Some People Know It)
B2. Fast Wave
B3. Unsure
B4. TELLUSWHY

Small Faces debut USA LP released on Andrew Loog Oldham’s Immediate Records in 1968 has been newly remastered from the original master tapes for the first time ever!

TRACK LISTING

Itchycoo Park
Talk To You
Up The Wooden Hills To Bedfordshire
My Way Of Giving
I’m Only Dreaming
I Feel Much Better
Tin Soldier
Get Yourself Together
Show Me The Way
Here Come The Nice
Green Circles
(Tell Me) Have You Ever Seen Me?

Aidan Knight hails from Victoria, the biggest city on Vancouver Island, off the shore of British Columbia. Aidan’s been making music since his teens and has been putting out music since 2010. Although the name Aidan Knight belongs to the individual, the records have been a collaborative effort between himself and his band, a collection of classical music nerds, jazz aficionados, and experimental musical wizards.

Small Reveal was originally released by Outside Music in Canada back in 2013. Full Time Hobby now present this very limited 180g white vinyl edition.

TRACK LISTING

1. Dream Team
2. A Mirror
3. Singer-Songwriter
4. Figure I
5. You Will See Good In Everyone
6. The Master's Call
7. Skip
8. Figure II
9. Creatures Great & Small
10. Figure III
11. Margaret Downe 

At long last, Coalmine Records is pleased to release Guilty Simpson and Small Professor’s highly acclaimed collaborative LP, ‘Highway Robbery,’ in vinyl format. Weighing in at 11 tracks, which includes the vinyl-only bonus track of Zilla Rocca’s Remix of “Go,” the album places the listener in a seemingly post-apocalyptic Detroit where the mentality is feast or famine. The LP plays as one long narrative of Guilty’s day-to-day survival in Detroit’s concrete jungle, all set to the tone of Small Professor’s foreboding, percussion heavy production. Featuring guest appearances from Detroit’s Boldy James, AG (of DITC), Elucid, and Castle, with both Statik Selektah and DJ Revolution handling the Technic 1200s, the vinyl format of ‘Highway Robbery’ is limited to 500 Units in a two colour vinyl edition, equipped with a digital download card. 

TRACK LISTING

1. Take Your Power (Intro)
2. Get That Pay (Scooby Mix)
3. I’m The City (feat. Boldy James & Statik Selektah)
4. Blap (Interlude)
5. It’s Nuthin (feat. A.G.)
6. On The Run (feat. DJ Revolution)
7. Go (feat. Elucid & Castle)
8. Come Get Me (Outro)
9. Get That Pay (OG Mix)
10. The Easiest Way (Remix)
11. Go (Zilla Rocca Remix).

Small Black’s third full length release, written and recorded at their Brooklyn home studio, nicknamed 222, showcasing a band still evolving and embracing the unpredictable.

After a year of recording the band enlisted mixer Nicholas Vernhes (War On Drugs, Deerhunter) of Rare Book Room Studio to help complete the record.

‘Best Blues’ finds the band in their sweet spot: the smoky intersection of considered and vulnerable songwriting and loose, almost nonchalant ambience. The addition of piano flourishes, trumpet (Darby Cicci of The Antlers), hidden acoustic guitars and Kaede Ford’s ethereal vocals provide new dimensions to the band’s already expansive sonic palette.

Cut-to-the-chase rippers ‘Back At Belle’s’ and ‘Checkpoints’ embody and build on the group’s signature gritty yet focused electronic sound. While more pastoral tracks such as ‘Between Leos’ and ‘XX Century’ - skeletally based on recorded improvisations - find the band painting a more nuanced, assured aural portrait. The repeating of the line “twentieth century” on closer ‘XX Century’ serves as a coda for the album, offering a simple summation of what ‘Best Blues’ intent has been from the opening Casio stab: an attempt to re-examine the past but also one to let it go.

“Another sparkling gem of widescreen, starry-eyed synthpop from a band who’ve been crafting such gems for years.” - Stereogum

TRACK LISTING

Personal Best
No One Wants It To Happen To You
Boys Life
The Closer I Look
Big Ideas, Pt. 2
Back At Belle’s
Between Leos
Checkpoints
Smoke Around The Bend
XX Century

The songs that make up this unprecedented album were gathered and compiled by Austin based musician and record collector Jason Chronis. He visited countless small towns across Texas and beyond, in search of anything and everything that might be etched on vinyl.

From mountains of material, he chose these fourteen forgotten odes and put them in an order that tells a story. Like Harry Smith's visionary anthology of folk music, this selection of private press country music captures the joys and the sorrows of people who sang for themselves. These songs speak directly to the concerns of real people, our experiences and dreams, and the gap between them.

Of course, these musicians had also hoped to score on the charts, a desire that almost defines country music, but it didn't happen that way. Now, 30, 40, 50 years after these records were handed to friends and mailed to local radio stations, perhaps country music is in for some definition expansion. More than half of these raw and intimate songs came out of Texas, where there has always been a strong regional music tradition.

As history recedes and country music shakes off the commercial dominance of the Nashville hit machine, Texas country music, with its straightforward, 'take it or leave it' sentiment and rugged, stripped down sound, will be known for its influence on all types of musicians and songwriters. And perhaps the unknown country musicians that made the music on this LP were right when they pooled resources, asked favors, and poured their hearts out onto 45s...thinking they had a hit on their hands!

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Brand new and unreleased Sonics track! Limited to 1000 7'' on green splattered vinyl exclusive to Record Store Day 2014

‘Limits Of Desire’ is Small Black’s most accomplished album yet. It’s a crystalline realization of a sound they’ve been building toward since their self-titled EP in 2009.

Now a full-time four piece, the band have moved way beyond the hazy home recorded sound of their previous releases toward a full-fledged, but still self-produced, clear approach. Where 2010’s ‘New Chain’ was a lesson in maximalist pop, ‘Limits Of Desire’ finds the band trimming their sound to the essentials, yet hitting new and unexpected heights, with the addition of live drums, electric guitar and trumpet to the existing Small Black palette.

Tonally the songs sweep and glide over lush keys, bolstered by lyrics that illustrate the semi-abstract moments of lost opportunities and misread signs, hinted at by the cover image. The title track whirls softly, and channels luminaries Tears For Fears and The Blue Nile.

‘Free At Dawn’ and ‘No Stranger’ do what fans have come to love Small Black for, only better. They’re smart pop bangers tinged with a specific brand of melancholy that slowly build to night-affirming climaxes, while ‘Breathless’ ups the tempo, over synth stabs with lyrics that tackle apathy and uncertainty with catchy grace.

The band build on a rich history of synth pop by making a thoroughly modern album, on both the front and back end. One that seeks out cohesion, connection and calm in a world that won’t sit still. ‘Limits Of Desire’ doesn’t attempt to provide any solutions, but coming to terms with not finding the answers feels infinitely more fruitful.

Harvey Milk is a sludge/noise rock outfit formed in the early 1990's from Savannah, Georgia. Harvey Milk disbanded around 1997. Due to increased popularity while the group was no longer active, the band reformed (around 2008).
Harvey Milk's "A Small Turn of Human Kindness," is the difference between watching a movie like Irreversible vs. watching a movie like Independence Day Both good films, however the first stimulates a foreign mixture of emotions that require you to sleep it off, whereas the latter concludes with you feeling comfortable with the fact that you're a lazy, wasteful, culturally sequestered American who has sat through this fucking movie way too many times in his/her life!
So, I think you get the idea, "A Small Turn of Human Kindness," is as dense and as heavy temperamentally as it is musically. The seven songs so subtly bleed together that the listener has no choice, but to view the entire album as a linear orchestration with a singular ebb and flow. A rising and falling action, refined to hell and back..

The winter of 2008/2009 found old friends Ryan Heyner and Josh Kolenik holed up in the attic of Uncle Matt's Long Island home. Those cold weekend days saw Small Black drinking Crystal Light, watching Waterworld, and plugging away on their casios and samplers, while Kolenik's uncle shaped surfboards in the basement.

After months of thawing out, the band emerged with one of 2009's catchiest debut releases. "The Small Black EP", as it is called, melds strange beats, dreamy synths, tape hiss and laid-back melodies into pop jams. Teaming up with longtime collaborators Juan Pieczanski and Jeff Curtin, the band then fleshed out their bedroom sound, combining both live and sampled drums, live bass, keyboards and samplers for their live performance.

Described by Pitchfork as 'absurdly addictive' and 'soul-stirring', the band self released the EP via their own imprint CassClub in October 2009, along with a documentary-style music video for "Despicable Dogs", featuring Uncle Matt. They quickly followed it up with a UK single for "Despicable Dogs" (on Transparent) and a split 7-inch with like-minded artist Washed Out (on Lovepump United). Now 2010 sees Small Black teaming up with Jagjaguwar for a deluxe re-mastered release of their debut EP with two extra songs added, "Kings Of Animals" and "Baby Bird Pt. 2".

The suddenly prolific Resonant label delivers this charming debut album from Portland, Oregon-based music and film-making quartet Small Sails. Known for their frequent and startling live shows, whereby the interplay between the visuals (they number a 16mm film projectionist amongst their members) and the music comes into its own, their reputation in North America is solid. Best described as post-electronic, "Similar Anniversaries" features ten playful, whimsical, contemplative, organic compositions with hummed, half-audible vocals accentuating the guitar lines and sublime electronic melodies, in turn managing to achieve the rare feat of transporting the listener into a netherworld of imaginary fields, waterfalls, birds and the like. Ultimately, their music is warm and welcoming, unlike that of many of their contemporaries, and this is a truly delightful and thoroughly accomplished album, with songs that instantly seem familiar.

New Jersey crate digger DJ Small Change presents his phenomenal JA Soundsystem inspired mix CD that refreshes the parts other reggae mixes never reach. Boasting an eclectic tracklisting - there's classics from Sister Nancy, Ska sounds from The Specials and Madness, extreme noise terror of Soundmurder and plenty of hip hop remixes in-between - at nearly eighty minutes and over sixty tracks it hits the value for money spot too!

Singer Aimee Echo's voice is infectious, just think Debbie Harry or Polystyrene she sings in a classic old skool stylee definitely influenced by punk rock and new wave, but they're not a retro 'homage' band, they're good, and that's a fact.

A panegyric to the great god Stoner from three hombres that want to turn your brains into soup. Sergio, Gonzalo and Walter (!) transcended their third world origins and plunged straight into the murky world of the guitar underground. Four albums (most on Man's Ruin) later comes "Corsario Negro", their best creation yet. Produced by Billy Anderson the noise contained herein can only be described as 'Latino stoned psych'.

The Northumbrian Smallpipes have existed since the 17th century and are unique to the North East of England. This record traces the history of the instrument's music and features some of the finest players of this unique instrument including The High Level Ranters, Joe Hutton, Billy Pigg and the Cut and Dry Band. They play the whole range of sound and repertoire from solos to full band arrangements. The music is in turns exciting and beautiful expressing the full range of human emotions through the evocative sound of these pipes.