“In a way, all relationships are simply conversations. Some are brief flashes, sparks, which may extinguish as quickly as they began. Others last longer, or pause for years - only to pick up again where they left off. Some maybe never end. Years ago our band Girls Against Boys had one of those - once in a lifetime dream-like shows in Athens, Greece which for me epitomized a moment in time. Later, I decided to go back and make a record there - inthis place which holds an almost mythological meaning to me. To record music in a city which is more or less a dream is affecting. One is out of place - a visitor-time traveler. Visiting scenes. Alienating and yet comforting. These songs are about memories -romances - ideas - which remain alive and ever changing. The reality of experience itself blurred by time. Music is of course also a conversation-between riffs, motifs- questions and answers. And more questions. Jokes, language, flirtations. Atmosphere. Ultimately, the longest conversation we may ever have is with ourselves. Sitting with a notebook, watching the street life - mopeds & graffiti. The memories we carry become treasures - worlds to revisit which are still alive. And like cities and songs they don’t stop living. The biggest part of who we are is perhaps what we remember.”
Scott McCloud

The album was recorded by Dimitris Dimitriades at Zero Gravity studios in Athens, Greece and initially conceived as an experiment and time capsule, stripped down raw recordings on acoustic guitar and voice with minimal adornment. Over time, and several visits to Athens, the song sketches were fleshed out with a variety of musical guests with the intent of maintaining the vulnerable and minimal atmosphere of the original sessions.

Starting in the late Eighties, Scott was the guitarist for Washington DC’s post-hardcore band Soulside (Dischord) before moving to NYC and co-founding Girls Against Boys (Touch & Go, DGC) in the Nineties.

TRACK LISTING

1. Make It To Forever
2. Down Thru The Stars
3. Moonlight Stagedive
4. Abandoned In Flames
5. Come Round
6. (I Got) Devotion
7. Spaceship
8. Skin Of My Teeth
9. Hold Me Tight
10. Somewhereness
11. Staring At Yourself

'Chemistry' is the platinum, hit packed, third studio album from Girls Aloud. Released in December 2005, the album features some of the band's most loved tracks including ‘Biology’, ‘Whole Lotta History’, ‘Long Hot Summer’ and ‘See The Day’.

TRACK LISTING

LP Tracklisting:
1. Intro
2. Models
3. Biology
4. Wild Horses
5. See The Day
6. Watch Me Go
7. Waiting
8. Whole Lotta History
9. Long Hot Summer
10. Swinging London Town
11. It's Magic
12. No Regrets
13. Racy Lacey

CD Tracklisting:

CD1 - Chemistry + Bonus Tracks:
1. Intro
2. Models
3. Biology
4. Wild Horses
5. See The Day
6. Watch Me Go
7. Waiting
8. Whole Lotta History
9. Long Hot Summer
10. Swinging London Town
11. It's Magic
12. No Regrets
13. Racy Lacey
14. Singapore (Definitive Remix)
15. Something Kinda Ooooh
16. I Think We're Alone Now
17. Money

CD2 - B-Sides / Rarities:
1. Naked In The Shower 
2. You Go Too Fast (Demo) 
3. Watch Me Go (We’re Disco)
4. Nobody But You
5. I Don’t Really Hate You
6. Crazy Fool
7. The Crazy Life
8. Why Do It
9. Singapore
10. Long Hot Summer (Alternative Version 1)
11. Whole Lotta History (Video Version)
12. Long Hot Summer (Alternative Version 2)
13. Something Kinda Ooooh (Original Demo)
14. Whole Lotta History (Acoustic)
15. Long Hot Summer (GAY Live)
16. Love Machine (Live At The Hammersmith Apollo)
17. Real Life (Live At The Hammersmith Apollo)
18. Teenage Dirtbag (Live At The Carling Academy)
19. Biology (Live At Wembley)
20. I Predict A Riot (Live At Wembley)
21. I Think We’re Alone Now (The Sound Of Girls Aloud Version)

CD3 – Remixes:
1. Singapore (Jon Shave 2025 Mix)
2. Long Hot Summer (Tony Lamezma Rides Again)
3. Biology (Tony Lamezma Remix)
4. Something Kinda Ooooh (Tony Lamezma Mix)
5. I Think We're Alone Now (Uniting Nations Remix)
6. Whole Lotta History (Whole Lotta Lamezma Mix)
7. Something Kinda Ooooh (Freezr Remix)
8. Long Hot Summer (Benitez Beats Remix)
9. I Think We're Alone Now (Tony Lamezma Baubletastic Remix)
10. Biology (Benitez Beats Remix)
11. Something Kinda Oooh (Co-Stars Remix)
12. I Think We're Alone Now (Alternative Mix)
13. See The Day (SOUNDHOUSE Masterblaster Mix)
14. I Think We're Alone Now (Co-Stars Epic Club Mix)

Co-written with Edwin de Goeji, ‘Bookends’ is the heart of 'Scratch It'. The sprawling ballad pays tribute to Remy’s late friend and former Power Trip frontman Riley Gale, through the lens of Remy’s own reading of John Carey’s Eyewitness To History, a historical collection of 300+ eyewitness accounts spanning twenty-four centuries. In consuming these first-hand accounts of human history, she began to ponder the thought, “there is not a hierarchy to suffering, and death is the great equaliser.”

Remy was asked to play a festival in Hot Springs, Arkansas — over one thousand miles away from her Toronto home — it was instinct that led her to enlist guitarist friend Dillon Watson (D. Watusi, Savoy Motel, Jack Name) to assemble a one-time Nashville-based band for the occasion. The performance went so well that she decided to ride that energy right back to where the impromptu band had initially rehearsed, in Music City itself, kickstarting the journey toward 'Scratch It'.

In just ten days, Remy and the band — Watson on guitar, Jack Lawrence (The Dead Weather, The Raconteurs, Loretta Lynn) on bass, Domo Donoho on drums, and both Jo Schornikow and Tina Norwood on keys, as well as harmonica legend Charlie McCoy (Elvis, Bob Dylan, Roy Orbison) — recorded Scratch It live off the floor with minimal overdubs, mixed to tape. Closeness and ease emanate from this core band with Remy’s singular voice sparkling on top of every tune, the most relaxed it has ever been.

'Scratch It' weaves together country, gospel, garage rock, soul, disco, folk balladry, and more, with Remy’s masterful songwriting threaded throughout. Her choice to discard the computer-based production of previous albums in favour of two-inch tape serves the songs well, introducing an element of sonic shapeshifting expected from an artist nearly twenty years into making records. If instinct was an instrument, Remy would be a virtuoso. 'Scratch It' and see.

STAFF COMMENTS

Barry says: Deeply funky, country flavoured soul music that rides happily into off-kilter janky pop and garage rock. Rippling with surprising turns and beautifully sequenced, 'Scratch It' is a knowingly bizarre triumph.

TRACK LISTING

1. Like James Said
2. Dear Patti
3. Firefly On The 4th Of July
4. The Clearing
5. Walking Song
6. Bookends
7. Emptying The Jimador
8. Pay Streak
9. No Fruit

The album opens with “Hypnagogia,” an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band’s choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden’s melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark.

The portentous simmer of the opening track yields to the ecstatic rocker “Hold My Hand,” where verses reminiscent of Velvet Underground’s “I’m Waiting For The Man” explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children’s choir chanting the album’s primary mantra “under the spell of joy / under the spell of love.”

Death Valley Girls have always vacillated between lightness and darkness, and on “Bliss Out” they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on “The Universe,” where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you’re looking for transcendental rock music, look no further.

“Death Valley Girls are a gift to the world.” Iggy Pop.

“If Charlie Spahn Ranch girls had formed a band that was part-Stooges, part-Bikini Kill, all groove, then they’d have sounded like this.” Classic Rock Magazine.

“A striking record, all brazen fury and bratty beats, something resembling hard rock before Sabbath” Noisey.

STAFF COMMENTS

Barry says: A ruthless, but melodic jaunt through snarling punk riffs, snapping percussion and fists-in-the-air groove from Death Valley Girls here. Expertly toeing the line between distorted drive and more thoughtful, slow numbers. Utterly essential, and a superb early morning blast.

TRACK LISTING

1. Hypnagogia
2. Hold My Hand
3. Under The Spell Of Joy
4. Bliss Out
5. Hey Dena
6. The Universe
7. It All Washes Away
8. Little Things
9. 10 Day Miracle Challenge
10. I’d Rather Be Dreaming
11. Dream Cleaver

Break-outs of individual LPs from the half-speed master boxset “Studio Albums Vinyl Collection 1971-2016”.

Packaging has been simplified from the originals in the box set.

Every album was remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

Each album is pressed on heavyweight 180-gram black vinyl.

Originally released in 1980, now remastered & cut at revelatory Half-Speed at Abbey Road Studios from vinyl specific original tape transfers designed to get the very best possible sound from the format.

Heavy Light is the highly anticipated seventh album by U.S. Girls, the protean musical enterprise of multi-disciplinary artist Meg Remy. While Remy has been widely acclaimed for a panoply of closely observed character studies, on Heavy Light she turns inward, recounting personal narratives to create a deeply introspective about-face. The songs are an inquest into the melancholy flavour of hindsight, both personal and cultural. Remy makes this notion formally explicit with the inclusion of three re-worked, previously released songs: ‘Statehouse (It’s A Man’s World)’, ‘Red Ford Radio’, and ‘Overtime’, the latter of which is released today as Heavy Light’s lead single. Its companion video, which stars Andrea Nann of the Dreamwalker Dance Company, was created by Remy.

Heavy Light follows 2018’s internationally critically-acclaimed breakout album In A Poem Unlimited. Recently named one of the best albums of the decade by Pitchfork, it was lauded across the pond by the likes of The Guardian, The Sunday Times, Crack and Q magazine for being Remy’s most accessible record in her then decade-long career. Heavy Light is produced by Remy and was recorded live with 20 session musicians - including E Street Band saxophonist Jake Clemons - in Montreal’s acclaimed Hotel 2 Tango studio. Remy worked with co-writers Basia Bulat and Rich Morel to develop the core of Heavy Light, a set of songs conceived as a balance between orchestral percussion (as richly arranged by percussionist Ed Squires) and the human voice (conducted by Kritty Uranowski). The resulting album finds Remy casting herself as lead voice among a harmonious multitude, the singers of which lend not only their voices, but also share reflections on childhood experiences that are collaged into moving spoken word interludes throughout the album. The album is mixed by long-time collaborators Maximilian ‘Twig’ Turnbull, Steve Chahley and Tony Price.

STAFF COMMENTS

Barry says: Grooving, psychedelic riffs clash headfirst with Remy's singular vocal brilliance, soaring wonderfully atop thumping percussion and flickering synths. 'Heavy Light' tackles political matters and worldly experiences in a moving and enthralling way. Brilliant stuff.

TRACK LISTING

1. 4 American Dollars
2. Overtime
3. IOU
4. Advice To Teenage Self
5. State House (It’s A Man’s World)
6. Born To Lose
7. And Yet It Moves / Y Se Mueve
8. The Most Hurtful Thing
9. Denise, Don’t Wait
10. Woodstock ‘99
11. The Color Of Your Childhood Bedroom
12. The Quiver To The Bomb
13. Red Ford Radio

Terry's second seven inch with three new songs exploring themes of patriarchy in politics, mass consumption versus lifestyle choices and the dating scene.

'8 Girls' is a pop nugget that references female politicians including German Chancellor Angela Merkel, the Australian Minister for Foreign Affairs Julie Bishop, controversial leader of the One Nation party Pauline Hanson and Senators Penny Wong and Jacqui Lambie, who on the cover looks to be dressed as a sumo wrestler.

Divide Terry into four and you get Al Montfort (UV Race, Total Control, Dick Diver), Amy Hill (Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band) and Zephyr Pavey (Eastlink, Total Control, Russell Street Bombings).

Originally released on a short run by Aarght records in Australia, this version on transparent vinyl housed in a reverse board sleeve, limited to 400 copies!

2017 marks a decade of U.S. Girls, the protean musical enterprise of multi-disciplinary artist, Meg Remy. Today, Remy announces details of her sixth studio album In a Poem Unlimited, which will be released on 16th February 2018, plus the official video for a new U.S. Girls song, ‘Velvet 4 Sale’.

Remy’s second release for 4AD, which also includes her recently released single, ‘Mad As Hell’ – a clarion call for pacifism – was tracked in collaboration with Toronto-based instrumental collective the Cosmic Range, and features arrangements by long-time contributors Maxmilian Turnball and Louis Percival. The dizzying buffet of live grooves on In a Poem Unlimited represents an inversion of the dusty, sample-based minimal textures of Half Free, Remy’s euphoric 4AD debut. Steered into focus by Remy and mixer/co-producer Steve Chahley, Poem features disco employed as a protest vernacular (‘Mad As Hell’), as well as an unrelenting assault (‘Time’); moody, slow-burning funk (‘Velvet 4 Sale’ & ‘L-Over’) and earnest synth anthems ‘Rosebud’ and ‘Poem’, which form the album’s emotional core.

Poem features dark meditations reflecting charged atmospheres that directly precede and follow acts of violence. Many of the songs are character studies of women grappling with power; how to gain and exert it spiritually, as well as desperate strategies to mitigate its infliction. Remy also rallies against the public lies told by political and religious leaders, and more crucially, questions the lies we tell ourselves in order to survive. While U.S. Girls, denoting the plural, is no longer a misnomer, In A Poem Unlimited may be Remy’s most individually distilled protest to date.

Following ‘Mad As Hell’, Poem album opener ‘Velvet 4 Sale’ is released today. The song concerns a female narrator imploring another to buy a gun for protection, impressing that the only way to change men is for women to use violence. Remy says, “Men are lucky women (and children) have yet to take up arms. And although I hope this never happens and I completely disagree that violence is ever effective, this very idea was ripe for a song.”

The accompanying video explores the idea of acknowledgement as a form of retribution, a counterbalance more powerful than violence itself. Remy plays a police officer who discovers that a fellow cop who has beaten his wife will be left off the hook as a “professional courtesy”. By the power of her unrelenting gaze she banishes the abuser in the final images of this powerful and provocative video. This striking tableau representing the power of bearing witness ties back into the album’s underlying theme; that truth and acknowledgement are our most potent and corrosive weapons in the fight against repressive inequality. Remy’s work with this video (which she co-directed with Alex Kingsmill) and the album as a whole, illustrate and seek to inspire the taking up of these moral arms.

STAFF COMMENTS

Barry says: This superb new outing from Meg Remy in her U.S Girls moniker sees snappy guitar falling under a landslide of heavy-rock power chords and scattered electronic elements, whilst still retaining all of it's cohesion and grace. More percussive numbers sit happily alongside the more folky, quiet pieces without skipping a beat.

TRACK LISTING

1. Velvet 4 Sale
2. Rage Of Plastics
3. Mad As Hell
4. Why Do I Lose My Voice When I Have Something To Say
5. Rosebud
6. Incidental Boogie
7. L-Over
8. Pearly Gates
9. Poem
10. Traviata
11. Time

U.S. Girls is Illinois-born, Toronto-based artist Meghan Remy. A captivating musical force, Meg has evolved from the raw, corrosive 4-track fidelity found on her early records to the more unabashed art-pop of recent works ‘U.S. Girls’ on KRAAK (2011) and ‘Gem’ (2012); the latter managing to “widen and universalise her music without losing a drop of what previously made it so special and personal” - Pitchfork.

‘Half Free’ is the next step in this impressive transformation, an honest and lyrically jarring exploration of emotions, drenched in a bath of raw beats and loops that have become the hallmark of her work with producer and frequent collaborator Onakabazien.

Other album guests include Slim Twig (DFA), Ben Cook (Fucked Up, Young Guv), Amanda Crist (Ice Cream) and Tony Price.

Featuring recent singles ‘Damn That Valley’ and ‘Woman’s Work’, ‘Half Free’ is Meg’s first album for 4AD. Again emerging as a vital voice among the noise, ‘Half Free’ is an enchanting document of life at the point when it feels most on its knife-edge.

“She’s the fast-rising exponent of luscious lo-fi DIY pop.” - The Guardian

“With each successive release, you’re never quite sure which Girl you’re going to get: the avant-pop deconstructionist, the 1960s traditionalist, the basement R&B diva.” - Pitchfork

Inspired by countless arguments with the other half about Playstations, football and expanding record collections "Girls Grow Up Faster Than Boys" deals with an undeniable fact in life. Uptempo acoustic guitar, maracas and a storytelling, tuneful vocal start things off. Catchy ear tickling guitar licks, sweet harmonies, glockenspiel and economic drumming create a vibe that underpins the message of the song. When the bright plucked bass opens the choruses you're most certainly hooked. Cheerful and breezy.

New LP on Canadian label Sonic Unyon. One for fans of Get Up Kids, Promise Ring, Knapsack etc.