Search Results for:

TINY GLOBAL PRODUCTIONS

David Lance Callahan

English Primitive I

    Uniquely of the many acts which came to public awareness through the lauded C86 compilation, David Lance Callahan has pursued a career of consistent brilliance and stark originality. After a run of fine albums with The Wolfhounds, outstanding work with Moonshake and collaborations with members of Stereolab and PJ Harvey (among others), Callahan has outdone himself on this long-awaited solo album, the results of which merit the sort of deep dive best explained with with ample time and a quality turntable. Whether English Primitive I is a product of the past year's isolation or of a long-simmering brew only now ready for dissemination is something Callahan has yet to reveal. Whatever its origins, English Primitive I is the work of a massive talent.

    Wolfhoundian riffage offered enough ramshackle charm to somewhat obscure Callahan's darker, more penetrating writing. Likewise, Moonshake's musically bi-polar approach disguised his underlying political impulse. Here Callahan's lyricism finally, indelibly, proves him to be among the finest British pop craftsmen. This is his masterwork, a mélange of what has been called "mutant Eastern, West African, folk, blues and post-punk influences" . . . an improbable cross-cultural gumbo, yet one which coalesced into a swirling, kaleidoscopic psychedelia of emotion unlike any other record in this era. As with any recording favouring the avant-garde –works like Balaklava, Brian Jones Presents The Pipes of Pan at Joujouka, and The Heart Of The Congos– one might expect that the impact of English Primitive I will be revealed slowly, over a much longer span of time than the the too-often workaday product of today's independent music scene. With this album, Callahan takes his place alongside cult heroes Robert Wyatt, Scott Walker and Cathal Coughlan as a prime example of seemingly limitless artistic expression.

    TRACK LISTING

    1. Born Of The Welfare State Was I 
    2. Goatman 
    3. Foxboy 
    4. She's The King Of My Life 
    5. She Passes Through The Night 
    6. One Rainy September 
    7. Always

    Blue Orchids

    Speed The Day

      Tim Burgess of The Charlatans hosts Tim's Twitter Listening Party on Saturday evenings, where he chooses an album in advance and the show's followers simultaneously click 'play', listening in tandem while sharing anecdotes, impressions and criticisms of that week's choice. It's not uncommon for the artists themselves to pop up and interact with fans, a welcome diversion while we're all bottled up at home. Tim's recent choice of Blue Orchids' The Greatest Hit (Money Mountain) was no random one - the album's influence on The Charlatans is palpable, though the album remains one of rock's greatest obscurities. So one week after Susanna Hoffs turned up to talk about The Bangles, it was no surprise to see Blue Orchids founder Martin Bramah arrive and announce himself, only to mysteriously disappear in seconds, for the duration of the show. And thus it has been with Blue Orchids.

      Tantalising, brilliant songs appearing out of nowhere, an album arriving, only for Martin to take unannounced leave for years, without explanation. So it's a miraculous turn of good fortune that Blue Orchids have released as much new material in the last five years than in the thirty-six (!) years before that, even if you include Blue Orchids-buy-any-other-name combos like Thirst and Factory Star into that equation. The sterling quality and wit of those releases remains undimmed since the beginnings of the band back in 1980. Speed The Day retains the classic line-up from the last two albums' line-up and adds electric ukulele player Tansy McNally, hailing from Australia and adding a different psychedelic lacquer to an impassioned set of nine new songs, pls an oddly paranoid cover of Chicago's 25 Or 6 To 4, which slyly mutates lyrics about late-night songwriting into a paean to speed. (Although your interpretation may vary!) An far darker and more energetic album than The Magical Record Of Blue Orchids, their album of obscure garage covers, Speed The Day is a sterling addition to the the canon of Martin Bramah masterpieces

      TRACK LISTING

      1. Deeper Than Sin 
      2. Lucky Speaks 
      3. Classy Fella 
      4. 25 Or 6 To 4 
      5. Street Of Flowers 
      6. What Lies Beneath 
      7. Like A Clockwork Orange 
      8. The Pebble 
      9. Meet The Maker 
      10. 22nd Century

      Band Of Holy Joy

      Dreams Take Flight

        The apotheosis of Band Of Holy Joy's bile toward today's pathetic state of affairs will be released shortly – a blistering remix of "The Devil Has A Hold On The Land" from their last album, Neon Primitives. Remixed by Youth (Killing Joke bassist, Paul McCartney collaborator, producer of Melanie C and U2!), who was so taken by the song as to remix it gratis, the remix will be part of a series of 23 discrete 7" 45s by Jon Langford of The Mekons and an assortment fellow travellers from around the globe. Dreams Take Flight transitions from political discourse into a post-virus rebirth of human relationship and the inevitable fumblings of the society's psychological reconstruction over the forthcoming year. Have you ever wondered what purpose your joy or my pain? All those moments shared together to be washed away by the rain . . . Have you ever doubted our super hipster being love-in at all? Just a pair of urbane fools passing through waiting for our call . . . Take a leap into the great unknown. Almost perversely heart-on-sleeve, Johny Brown and compatriots have never fitted well within a particular scene - nor have they ever seem to try.

        Although recorded under the existence of quarantine and a healthy amount of paranoia, in search of the joy of greatly hindered collaboration, the band has opted to turn over each song to a different visionary video artist for an exhibition which will take place for a week at London's Gallery 46 beginning at the end of February and open to the public. The video exhibition will subsequently be available online, before the album's release. While still featuring some of the band's strongest songs, Dreams Take Flight has a strange film-like ambience in parts, almost as if planned as a soundtrack, a thought mirrored in Inga Tillere's sublime, dream-like sleeve, best seen in real life. "A Leap Into The Great Unknown" and "Notes From A Gallery" will likely be heard as too disarmingly direct for radio, and the videos will likely never see the entry door to MTV, but Dreams Take Flight will ultimately be considered a masterwork of clarity in a confused, contentious time.

        TRACK LISTING

        1. This Is The Festival Scene 
        2. A Leap Into The Great Unknown 
        3. That Magic Thing 
        4. When Love Is Not Enough 
        5. On Set Romance 
        6. Notes From A Gallery 
        7. The Rhythm Of Life 
        8. A New Clear Vision 

        Rossall

        The Last Glam In Town

          Remember The Glitter Band? Original songwriter / leader John Rossall is back with his best album ever, abetted by glam-era friends, plus Nightingales and Membranes. Contrary to the old blather, it was The Glitter Band, and glam rock in general, that pointed to possibilities which exploded during punk, not - let's be honest! - the dirty beard-wearing post-hippie meanderings of pub rock. GLAM! Those outfits! The endless soaring choruses! Outer space futurism! At its best, it couldn't be topped. Even famed glam fans The Ramones couldn't match the perfect minimalism of The Glitter Band, adding a "ho!" where "hey!" was already perfection. But it's not quite remembered that way. Glam's audacity was gummed up by over-reliance on early rock covers, stingy recording budgets, endless tours eating up writing time, and the showbiz machinations of jealous stars - damaging enough to prevent The Glitter Band from seeing their records released in America. Despite further hits, the band stumbled when John Rossall left, after their second album, to start a solo career that never quite took off the way his many fans had hoped. A small but niggling rock 'n roll question is, what might have happened had Rossall and group been given the time, budget and freedom to record an album of their own creation? It's been nearly half a century since Rossall left the band he started, but - unbelievably - that question has now been answered by the release of the best start-to-finish album by The Glitter Band or any of its alumni. Recorded Simon "Ding" Archer and mixed by Dave Trumfio, Rossall's The Last Glam In Town is a near-perfect album of soaring tunes, energy and fun, capturing the spirit of The Glitter Band audaciously accurately. Though ably assisted by longtime collaborator Mark Standley, members of his touring band, as well as The Nightingales (whose leader, Robert Lloyd sings two songs), and arch-fan by John Robb of The Membranes (who also sings two), it's John Rossall front and centre, clearly having the time of his life. Bob Bradbury contributes the mighty Got My Groove, and tragically, Alan Merrill of The Arrows, writer of rock standard I Love Rock And Roll, gifted Rossall a potential hit in "Equalizer", shortly before his death due to COVID-19 complications. 2020 is the perfect year for the joyous rock abandon and soaring optimism of The Last Glam In Town.

          TRACK LISTING

          1. Fear Of A Glam Planet
          2. Never Say Forever Again
          3. Get Go Girl
          4. Got My Groove
          5. Have I The Right
          6. Equalizer
          7. Neon Lights
          8. Blackpool Rocks
          9. Glitterbomb
          10. Let's Get Together Again (Again)

          Nightingales

          Four Against Fate

            An air of the unsettled is a staple of Robert Lloyd’s career, from The Prefects’s dank dexterity and jittery paranoia of the first Nightingales’ release, Idiot Strength, onward through four decades of top-notch recordings. If the unique persona of Lloyd and crew always came across on their ten albums and countless line-ups, it was largely as an acquired taste of the musical cognoscenti. Labels good and bad seemed to feel, at one point or another, a public duty and a point of pride to release a Nightingales album before returning to the business of business. Four Against Fate is remarkable. It’s the work of what’s now the band’s longest-serving line-up. The instrumental precision of any version of Nightingales has been one of the band’s defining hallmarks, but the psychic interplay of a group can take a few albums to kick in with full majesty - here’s proof of that. The rhythm section of Fliss and Andi functions now on a purely intuitive level.

            Jim’s work now ranks with that of any guitarist in modern ‘rock’ music, not just in originality, but also across an egalitarian mass of inspiration. Each member sings. Although Robert’s voice functions as the band’s superego, Fliss takes lead in several songs. Few bands today sound as much like a single unit as do Nightingales, but this group has the bonus of a distinct and credible musical language, exemplified by The Desperate Quartet, which comes across as both a medieval war march and the anthem of looming apocalypse.

            When at the song’s halfway point, American classical musician Clara Kebabian’s violin and Mark Bedford’s (of Madness) double bass overtake the Robert, Fliss, Jim and Andi, it’s a jawdropper of such intense perversity that it alone defies the listener to not play the album again from the start. Not that this album lacks ‘hits’ - The Top Shelf, Everything Everywhere All Of The Time, Devil’s Due and The Other Side are stunners. Robert claims Four Against Fate is the first of his album on which he skips no tracks on playback! Finally, the world has awakened to one of British music’s last treasures. After forty years of new labels, this is the first time Nightingales have released an album on the same label as their last full-length.

            TRACK LISTING

            1. Thicko Rides Again 
            2. The Top Shelf 
            3. Neverender 
            4. Wicked Winter (Lost In Highland Park) 
            5. Then I Felt 
            6. The End Began Somewhere 
            7. Devil’s Due 
            8. Everything, Everywhere, All Of The Time 
            9. The Other Side / On The Make 
            10. Simple Soul 
            11. The Desperate Quartet

            Blue Orchids

            Skull Jam

              Hot on the heels of their recent album, "The Once And Future Thing," Blue Orchids are back with a surprising new 10" EP and an ongoing tour with the mighty Nightingales. This is their first EP in over twenty years and it spans every aspect of the band's sound and ideas. The title track, "Skull Jam" is a short slice of pop-noise which harkens back to the off-kilter scree of early songs like "Disney Boys." Their 1982 debut album had an embryonic recording of "Hanging Man," constantly revised through the years, including a nascent Brit-pop styled take performed with Craig Gannon of The Smith for Snub TV. This new version was recorded as a warm-up during the recording of their last album and mirrors recent live renditions, with a meteoric motorik vibe that the original never hinted at.

              Originally scheduled as the a-side and b-side of a 7" single, no one was happy with the necessity of editing "Hanging Man" down from its seven-minute length to meet the demands of the running time for a single, hence the decision to expand the single to an EP and include the song in its full glory. "The Devil's Answer" was a hit for Atomic Rooster back in the early '70s, and its inclusion here proves that Martin Bramah and crew can imprint their sound and vision even on the least likely tunes! But for many, the plum is "Work Before The Moon Falls." Written shortly before Bramah's original departure from The Fall, its lyrics were held back by Mark E Smith for a different tune, which became a standout track on the second Fall album, "Dragnet." The music, written entirely by Bramah, was given new words and released as the Blue Orchids' second single, "Work." "Work Before The Moon Falls" provides a hint of how The Fall might have sounded if Bramah had remained for their second album - much of which, uncredited (of course!) had music written by Bramah.


              Latest Pre-Sales

              197 NEW ITEMS

              Happy Sunday everyone 😎 Some Sunday Classics here from Ramones, Terry Callier, @djshadow and Cocteau Twins.… https://t.co/buAApmNiYd
              Sun 17th - 12:18
              Wow! Seems like they have a good teacher 😀 Thanks Anna, hope you had a good birthday and thank you for you posting… https://t.co/MUbKMnX1ZX
              Sun 17th - 12:15
              OPEN. Swing in and seek out some new sounds. https://t.co/KL1FeNcZ4F https://t.co/HC7zx1irXC
              Sat 16th - 10:06
              Happy New Music Friday everyone. Brand new banners up today from @sufjanstevens / Angelo De Augustine aka… https://t.co/BxHgWk7YrD
              Fri 15th - 11:42
              E-newsletter —
              Sign up
              Back to top