THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

This is a live performance of the "Ragged Glory" album, recorded at a club in Toronto in 2023

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

Special new 25th anniversary edition of this most popular and highly-acclaimed of all Soul Jazz Records' Dynamite! series - 300% Dynamite is jam-packed with reggae tunes that crossedover to become dancefloor hits and are 100% guaranteed to rock any party.

Out of print for the last 15 years, this new edition is being released in a one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing + download code exclusively for Record Store Day 2024.

This album is fully remastered, relicensed and with new tracks exclusively for RSD 24.

Wayne Smith's booming anthem ‘Sleng Teng’, Althea & Donna's worldwide hit 'Uptown Top Ranking', Sister Nancy's classic ‘Bam Bam’, Augustus Pablo, Lee Perry - it's all here as ‘300% Dynamite’ joins the dots between reggae, jazz, funk, dub and soul.

Experience the rebirth Of Jim Spencer’s musical vision through Piya Malik’s captivating rendition in say she she’s limited 45 rpm edition of ‘Wrap Myself Up’. Malik’s artistry infuses fierce elegance into the original tune, honoring spencer’s legacy, with spencer himself featured on the B-side.

TRACK LISTING

1. Say She She - Wrap Myself Up In Your Love
2. Jim Spencer - Wrap Myself Up In Your Love

“It's a new lineup,” landlord of the avant-garage Kid Congo Powers exclaims of the Pink Monkey Birds edition responsible for the fifth studio full-length of their 19 year recording career, That Delicious Vice.

“We've gone from a four piece to a three piece,” continues Kid, whose unique guitar style has been at the center of some of the most forward-thinking bands in punk and garage: The Gun Club, The Cramps, Nick Cave and the Bad Seeds, and Knoxville Girls, to name a handful.

“I'm not sure if living in the desert is making me want more space in music or not,” laughs Kid, a Tucson resident for a few years now. “Maybe I’m turning into a desert stoner rocker. But I'm not a stoner, so that's not happening.”

No, the former Brian Tristan is most decidedly not unleashing a Kyuss tribute album. But you hear the desert all over That Delicious Vice, beginning with opening instrumental “East Of East,” its Duane Eddy/Rowland S. Howard guitar twanging through some malicious reverb. You feel it in the slide guitar-drenched theme from an imaginary western, “Silver For My Sister,” which echoes the pioneering Los Angeles blues punk band Kid formed with Jeffrey Lee Pierce, The Gun Club. There’s also such unique pieces as the acid/garage cumbia title track, translated into Spanish at least for its name, “Ese Vicio Delicioso.” As he tells the tale of his musical journey over the Pink Monkey Birds’ cowbell-thumping Latinate rhythms, Kid’s thickly distorted guitar groans and screams with feedback, likely a conscious sonic homage to Jimi Hendrix, name checked in the lyrics.

But the album’s major hallmark has to be its extended collaboration with Alice Bag, the face of and voice of early LA punk titans The Bags. How and why these two took this long to unite creatively is a dense mystery, considering both graduated with honors from early Hollywood punk palace The Masque, and their photos had to have stared at one another from opposite pages of a few issues of Slash or fLiPSiDe.

This led to “Wicked World,” a full-on Kid Congo/Alice Bag duet that’s That Delicious Vice’s second track and major fulcrum. Over rat-a-tat “Big Bad John” drums, a blast of fuzz bass, and Kid’s siren-like slide guitar, the co-composers recount in tandem the tale of a child “born into trouble from a devil seed/Every fork in the road led her here.” It’s a short drive from there through a poor childhood and bad decisions to turning tricks and seeking kicks, amid an atmosphere heady with the scent of sex. The action stops, and Alice chants, “One two three four five six seven — you’re going to Hell, and I’M GOING TO HEAVEN!!” It’s a pulp paperback reincarnated as primal rock ‘n’ roll.

That Delicious Vice is produced by Kid Congo & The Pink Monkey Birds, recorded and mixed by Jim Waters [Jon Spencer Blues Explosion, Sonic Youth] at his Waterworks Studios facility in Tucson. It features nine new original tracks that are the band’s strongest to date. The band will be touring Australia in April with more touring to follow.

STAFF COMMENTS

Barry says: Fuzzed-out breakdowns and soaring psychedelic freakouts are the bedrock of Kind Congo's sound, but on 'that Delicious Vice' the band are on peak form, effortlessly moving between walls of sound freakout drone and tender slide-guitar balladry. There 's groove and rhythm too, never eschewing the feel for needless heft, it's a beatifully balanced maelstrom.

UK jazz ensemble The Jazz Defenders release their third album "Memory In Motion" in April on Haggis Records (home of The Haggis Horns and Malcolm Strachan). The Bristol jazz boppers deliver another quality release of original material that takes in their usual diverse mix of influences and genres, from timeless acoustic jazz referencing the classic sounds of Blue Note Records, to a more contemporary fusion where jazz meets soul, funk and hip-hop.

Although they love to mix things up, their roots are in the classic acoustic jazz quintet sound of the late 1950s/early 1960s, back when hard bop and modal jazz ruled. They have already explored this musical path well on their previous albums but they still deliver a couple of classic inspired jazz cuts here. "Chasing Fantasies" and "Fuffle Kerfuffle" both give the band some space to cut loose on solos over swing jazz beats that will keep their original jazz audience happy. The latter bubbles away with a jazz shuffle beat that would make drum legend Art Blakey smile.

"Meanderthal" and "Snakebite Playfight" bring soul to this jazz party. Exactly like jazz legends Lee Morgan/Herbie Hancock/Freddie Hubbard etc did back in the early-mid 1960s. The first is a feel-good, toe-tapping gem that's heavy on the backbeat and short and snappy on the solos, the exact reasons that made it the perfect opening single from the album. "Snakebite Playfight" comes with a jaunty New Orleans shuffle before transforming into a heavy psychedelic soul jazz burner, flipping back with ease to the NOLA shuffle for the Mardi Gras meets bebop piano solo by band leader George Cooper.

"Rolling On A High" is a hip-hop/jazz banger that sees the band continue their collaborations with UK rapper Doc Brown, a perfect combination that began on their second album "King Phoenix''. This time, the Doc spits some old-school block party-style bars over a bouncy uptempo funky beat with the band cooking up some soul stew behind him. Definitely dancefloor material.

Another uptempo jam is the heavy jazz fusion jam "Net Zero". It kicks off with some live broken beat kit playing and piano/bass staccato vamping before taking off into Headhunters territory on the solos, sounding both contemporary and classic at the same time. This is The Jazz Defenders at their fiercest and toughest and delivering a track that will have jazz dancers worldwide in an utter frenzy.

It's not all uptempo numbers or dancefloor-oriented compositions on this album. Two tracks take the musical dynamics right down to give a temporary break from the high-energy numbers. "Take A Minute" has a rolling double bass line locked into the groove while the horns play a lazy and laid-back theme with vibes embellishment, sounding like some trippy independent film soundtrack. Another recurring musical reference point for this band over the years.

The album finishes on a poignant and introspective note with a beautiful piano and double bass feature for George Cooper and bassist Will Harris. It's called "Enigma", it was recorded live in Paris and it closes the album on a peaceful note evoking the music and playing of Bill Evans. The perfect way to close this brilliant third album from The Jazz Defenders.

With Memory In Motion, pianist George Cooper and his band undoubtedly pay great homage to a golden era of jazz music that they love, but also elaborate on this influence with a wealth of modern musical experience, to create their own raw and vibrant compositions. The result is an enthrallingly unique sound that is as danceable as it is listenable.

STAFF COMMENTS

Matt says: More treats from the UK jazz landscape. Bristol's The Jazz Defenders are the full package - continuing the lineage and traditions of the genre authentically and with their own unique style. The playing is fabulous throughout, as is the arrangements and production. Seriously, modern jazz has never been in such great shape!

TRACK LISTING

1. Meanderthal
2. The Long Haul
3. Chasing Fantasies
4. Rolling On A High (feat. Doc Brown)
5. Take A Minute
6. Fuffle Kershuffle
7. Snakebite Playfight
8. Net Zero
9. Enigma (Live In Paris)

Norwegian artist girl in red started sharing her home-recorded songs as a teenager in 2017. Noted for her candid lyrics about the frustrations of everyday life and relationships, she emerged with catchy, guitar-based indie pop on early tracks, including her viral debut, "I Wanna Be Your Girlfriend," and 2018's "We Fell in Love in October." In 2021, she released her first full-length and studio effort, if i could make it go quiet, hitting number two in Norway and charting on the Billboard 200. A sequel to her earlier October-themed anthem, "October Passed Me By," arrived in 2022.

Kaiserdisco share their first Drumcode EP in eight years. With a knack for clever vocal hooks and crisp production, Kaiserdisco are never far from Adam Beyer’s thinking when it comes scheduling Drumcode releases. With this in mind, it feels almost unbelievable to think ‘Error in the System’ will be the duo’s first EP on Drumcode since 2016.
In recent times the pair has contributed tracks to the label, highlighted last year’s ‘Get on the Dancefloor’ on A – Sides Vol.12 and their popular single ‘Together One Time’ from 2022. ‘Error in the System’ marks their return to the EP format and is an absolute treat. Lead track ‘In the Music’ is a trippy roller that lures you into a dancefloor trance via an addictive vocal hook, before morphing into an acid - drenched stomper in the second half. The title track is a peak - time head spinner, characterised by muted tones and industrial effects, it’s an eerie and powerful slice of club machinery crafted for maximum impact.

STAFF COMMENTS

Barry says: A pumping duo of snapping 808's and 16th drum fills, both pieces here are rich in the techno tradition and come on a label that's probably one of the most well known in the game. If you're a fan of the uptempo electronic business (Rusty), this one's for you.

TRACK LISTING

A1. In The Music
B1. Error In The System

Ponyland are a psychedelic punk, force of nature, a multi-limbed monster of scuzzed-out riffs and thunderous ritualistic grooves. Combining the grinding onslaught of Lightning Bolt, the ecstatic spectacle of Sun Ra and the irreverent spirit of System of a Down, this unhinged, masked menagerie have to be seen to be believed. Intoxicating rhythms meet hook driven waves of riffage, with ecstatic energy that will make your legs rattle uncontrollably.

Following on from their debut album Mora Mora, this new full length LP HARE BRAINS sees Ponyland embrace a new edge to their visionary sound world. Keeping the trademark, pulverising double drum kit engine and fuzz-drenched psychedelic soundscapes, the band have supercharged their songwriting with focused riff-based hooks and driving punk-edged vigour. Prominent female vocals channel Bikini Kill and Warpaint, whilst gritty, melted electronics flow around a classic thrashing guitar sound. Hare Brains is a celebration of dysfunction, a call to arms against human apathy, a psychotropic odyssey of eroded power structures, post-apocalyptic landscapes and mutant pigeons.

The anarchic pagan ecology of Ponyland’s vision grabs the listener and catapults them into a visceral NOW, full of defiant life, movement, and human connection.

TRACK LISTING

A SIDE
1. The Zone
2. Giant Mutant Pigeon
3. Happy Hare Core
4. Ritual

B SIDE
5. Chum
6. Do It All Again
7. Washer Spacer
8. Dysfunctional

"She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station . It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate. The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft- covered traditional jazz ballad " Black is the Color of My True Love's Hair " This was a favorite of the recently deceased Nina Simone, and also of the avant- jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's " Venus in Furs ". It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

Could this be Steven Stapleton 's tribute to Timbaland and Missy Elliott's incomparable use of musique concrete techniques on their major label hip- hop anthems? Hard to say, but I like to think so. Side B ends with the hyper-sexualized "Gusset Typing", in which a mutated woman's voice describes her masturbation and orgasm in in- timate, anatomical detail. Her monologue is set against an intense rhythmic throbbing that builds as she reaches her climax. At the end, she blows her load and the record ends. This certainly qualifies as an active listening experience, and it's also a great make-out rec

TRACK LISTING

1. She And Me Fall Together Like Free Death
2. Black Is The Color Of My True Loves Hair
3. Chicken Concret 
4. Gusset Typing
5.She And Me Fall Together Like Free Death (Phosphorous Mix) 
6. Chicken Korma
7. Fine Writin'
8. She And Me Fall Together In Free Death (Funereal Mix)
9. Yellowed
10. Seeting Red
11. Black

Recalibrating her singular journey in the British musical landscape with her most open-hearted, direct and intimate collection of material yet. Love In Constant Spectacle evokes spectacular imagery and distills the artists’ vision in its purest form, elevating her inimitable sound and poetic vision to new heights.

Recapturing the melancholy of her early work whilst propelling it forward, she sketches scenes as we watch new colours, shapes and languages emerge and fill the frame. Love In Constant Spectacle sees her take measured steps towards a vivid, dreamlike record, that offers resolve in the face of life’s inevitability.

The foundations of Weaver’s sound are still evident – lush motorik drums, pulsating bass, custom modded synths and exotic fuzz pedals - but the stream is awash with scrabble piece poetry and Letraset lullabies leading to lush escapism, the free abandon that you’d associate with free jazz and the avant-garde. But, as determined and visionary as Weaver might be, Love In Constant Spectacle wasn’t executed without assistance. Here we find a long mooted unison with Jane’s first ever producer, John Parish (PJ Harvey, Aldous Harding), who has shared Weaver’s process in the surrounds of Rockfield Studios and Geoff Barrow’s Invada studio.

Love In Constant Spectacle is otherworldly, it is both intimate yet distant, a surrealist interpretation of the foundations that make us human – the stories and landscapes it paints are habitats of their own. A voyage into undisclosed pastures, it’s a heartfelt manifesto from an artist that continues to boundlessly evolve with each chapter in her career.

STAFF COMMENTS

Barry says: We're big fans of Jane & co. here at Piccadilly, and 'Love In Constant Spectacle' takes everything we've known and loved from previous releases; her rich melodic thread and progressive instrumental leanings, and injects the pieces with perfectly extracted DNA from jazz, 60's psychedelic pop and art-rock.

TRACK LISTING

Side A
A1 Perfect Storm
A2 Emotional Components
A3 Love In Constant Spectacle -
A4 Motif
A5 The Axis And The Seed
Side B
B1 Is Metal
B2 Happiness In Proximity
B3 Romantic Worlds
B4 Univers
B5 Family Of The Sun

Erstwhile druggie, drifter, storyteller, taxi-driver, recovering pentecostal maverick from pensacola, Florida. It’s the 20th anniversary of jim white’s haunting outer space alt-country classic that has a title so long nobody can remember the name of it. Featuring Aimee Mann, M. Ward, Bill Frisell and the Barenaked Ladies —to name a few of the artists here—this album quickly rose to cult status. Now it’s on vinyl for the first time, pressed on substrate black in a gatefold jacket. And because he wasn’t wordy enough the first time around, Jim’s added three extra tracks.

TRACK LISTING

Side A
1. Static On The Radio
2. Bluebird
3. Combing My Hair In A Brand New Style
Side B
4. That Girl From Brownsville Texas
5. Borrowed Wings
6. If Jesus Drove A Motor Home
7. Objects In Motion
Side C
8. Buzzards Of Love
9. Alabama Chrome
10. Phone Booth In Heaven
11. Land Called Home
Side D *Unreleased Bonus Tracks!
12. Suckerz Promisez*
13. Stranger Candy*
14. Cinderblock Walls*

Shabazz Palaces is masterminded by Ishmael Butler (Digable Planets), whose relentless drive to reimagine hip-hop – even as he enjoys his fifth decade on Earth – remains undiminished.

When Robed in Rareness hit digital platforms in 2023, NPR Music called it “enchanting and subversive," while Pitchfork observed that “the futurism of Shabazz Palaces has always been interwoven with the past and present, their songs scintillating tapestries of old-school shit talk, proggy psychedelia, and melodic flossing. Robed in Rareness is draped in this multiplicity as Butler and a team of close collaborators swagger across eras of rap.”

TRACK LISTING

1. Binoculars (feat. Royce The Choice)
2. Woke Up In A Dream (feat. Lil Tracy)
3. P Kicking G (feat. Porter Ray)
4. Cinnamon Bun (feat. Lavarr The Starr)
5. Scarface Mace (feat. O Finess)
6. Gel Bait (feat. Geechi Suede)
7. Hustle Crossers

Originally released in 1986 on Australian label Voyeur Records.

This is the first time that the single has been released in the UK.

Even As We Speak is an indie band from Sydney, Australia. Formed in the mid 1980s, founding members Matthew Love (guitar, banjo, vocals) and Mary Wyer (vocals, guitar) were later joined by Rob Irwin (bass) Anita Rayner (drums, banjo, mandolin), Julian Knowles (guitar, keyboards, production), and Paul Clarke (guitar, vocals.)

After a series of vinyl releases on Australian independent labels including Phantom Records, and success on the Australian indie scene, they came to the attention of BBC Radio 1 DJ John Peel who started to play the band’s ‘Goes So Slow’ Phantom Records release on his show. This brought them to the attention of UK audiences and began a relationship with UK indie label Sarah Records.

The band released several singles and an album on Sarah Records, three of which reached the Top 5 of the Melody Maker and New Musical Express UK independent music charts in 1992 and 1993.

TRACK LISTING

Side 1:
Looking Over Your Shoulder
By The Side Of The Road
Side 2:
I Can Do Without
Falling Down

Charlie Ingui a veteran blued eyed soul singer who formed the band The Soul Survivors In the 60's is back with a brand new single.

'Wake Up Old World' is a song about making the world a better place.

Charlie explains 'This has always been a theme in our songs inspired very much by our collaboration with Kenny Gamble and Leon Huff of Philadelphia International Records whose songs like "Love Train" and "Love Is The Message" had a positive and spiritually uplifting message.'

In 1967, Charlie Ingui formed the band The Soul Survivors. They scored a #2 record with Gamble and Huff' first major hit with the song "Express Way To Your Heart.' They were a bunch of hoods from The Lower East Side of New York.

They were part of the same scene in NY with The Rascals, Joey Dee and the Starlighters, The Soul Survivors, The Vanilla Fudge, and many other Blue Eyed Soul Bands that paved the way for folks like Hall and Oates.

Originally they were a trio and had a third singer, Kenny Jeramiah, who went on to have success in Atlantic City.

They went on to have several other great records. The first was in 1969 with Muscle Shoals producer. Rick Hall. The Swampers with Duane Allman played on that one. In 1974, Gamble and Huff got a custom CBS label – Philadelphia International Music and signed the Soul Survivors once again. They made a fantastic record with their amazing band, Charlie and Richie Ingui, John "Beedo"Dzubak The amazing Fred Beckmeier on bass. 

TRACK LISTING

1. Wake Up Old World
2. Movin' In Love's Direction'

New York-based artist Kelly Moran unveils her second album for Warp Records, “Moves in the Field.” As an accomplished and highly sought-after composer, Moran has collaborated with artists such as Oneohtrix Point Never and FKA Twigs as part of their live ensembles. As a solo artist, Moran has developed a unique strand of experimental piano compositions across a critically acclaimed discography.

“Moves in the Field” showcases duets with the Yamaha Disklavier, a technologically advanced version of a player piano. Moran augments her pianistic abilities by utilizing the Disklavier to write intricate piano parts that go beyond human capabilities, resulting in multi-layered compositions that blur the lines between human and machine. Influenced by contemporary classical, alternative, and electronic music, the album stands at a precipice above two unlikely worlds.

TRACK LISTING

1. Butterfly Phase
2. Superhuman
3. Don’t Trust Mirrors
4. Dancer Polynomials
5. Sodalis (II)
6. Leitmotif
7. It’s Okay To Disappear
8. Hypno
9. Moves In The Field
10. Solar Flare

New Drexciya comic from AbuQadim Haqq
20 pages. Please note this is a comic rather a graphic novel.

Author & artist - AbuQadim Haqq
Publisher - The Drexciya Empire.

'In the Wee Smal Hours' is one of Sinatra's most melancholic and jazz-oriented albums. It entered the Billboard chart on May 28, 1955, rising to #2 where it remained for a total of 33 weeks. It was later inducted into the Grammy Hall of Fame in 1984. In many ways, the album is a personal refection of the heartbreak of his doomed love affair with actress Ava Gardner. Sinatra's voice at this time had deepened and worn to the point where his delivery seems ravished and heartfelt, as if he were living the songs.

TRACK LISTING

In The Wee Small Hours Of The Morning
Mood Indigo
Glad To Be Unhappy
I Get Along Without You Very Well
Deep In A Dream
I See Your Face Before Me
Can't We Be Friends
When Your Lover Has Gone
What Is This Thing Called Love?
Last Night When We Were Young
I'll Be Around
Ill Wind
It Never Entered My Mind
Dancing On The Ceiling
I'll Never Be The Same
This Love Of Mine
Stormy Weather

RIYL: Unknown Mortal Orchestra, Air, Cavern of Anti-Matter, Neu!, Marcos Valle, Todd Terje, Klaus Dinger, Blank Realm.

FOURTH album from the Swiss duo. Six years have passed since Swiss-based duo Klaus Johann Grobe's last long player "Du bist so symmetrisch" (2018) and you'll hear they've come a long way. "Io tu il loro", their fourth album for Chicago-based Trouble In Mind Records was written over two weeks in a cabin at the very end of a remote Swiss valley, where - pretty much at the same place - Klaus Johann Grobe came up with their whole debut full-length "Im Sinne der Zeit" album in 2014. What started out as simply making music again quickly turned into seriously making a new album. Once decided, the whole thing was finished rather quickly and recorded once again at David Langhard's Dala Studio at the end of 2022.

"Io tu il loro" is a record that cannot be done by endlessly fiddling around with hundreds of ideas and sounds. All it needed was a real break (Dani and Sevi didn't work on any Grobe related stuff until they met up in the mountains in 2022). It's an album with a blurry vision and soft limitations. You can somehow feel them looking back on all their work forgivingly and then moving on to what felt right. So here we are with nine tracks full of embracing warmth, so melancholicly welcoming you don't know if you want to smile or cry. Some might call it timeless, some might call it dad-rock... well, it certainly isn't disco for the masses, it's more like, "If I can't make myself dance after four beers, I can as well go home." So, no disco? No syncopated synths? No German? No reverb? Where's The Grobe? Take your time, you'll notice Klaus Johann Grobe aren't gone, they just took a turn before driving yet into another unknown. 

TRACK LISTING

1. Highway High
2. Getting Down To Adria
3. Never Going Easy
4. When You Leave
5. Try
6. Bay Of Love
7. Io Sempre Di Tu
8. Better Do
9. You Gave It All 

Recent years brought about for Julia Holter an existential focus on human connection, amid the staggering change that came with the death of loved ones (including her young nephew, to whom the album is dedicated) and the birth of her daughter. On Something in the Room She Moves, Holter vividly processes the complexity, gravity, and awe of this confluence of experience. She calls the music “sensual,” “flowing,” and “nocturnal” - a testament to how love, with all of its challenges, “reroutes neural pathways.” The cover art by Holter’s childhood friend, artist Christina Quarles, highlights the multiplicity of intimate connection: are the figures embracing or in battle?

The title Something in the Room She Moves came to Holter spontaneously as she was naming the Logic project file for an early demo of what would become the album’s title track on her computer for the first time. Coincidentally, a few months later, she found herself mesmerized by the eight-hour Beatles documentary Get Back in 2021. Her titular phrase flips the gaze of the Beatles lyrics (“Something in the way she moves…”); the woman is no longer passively observed, but actively augmenting space. Holter has loved the Beatles since childhood, but sees the title less as a tribute than as a semi-surreal bit of automatic writing from her subconscious. (She had been singing Beatles tunes to her daughter at night.)

After a string of dream pop albums that established her searching voice in independent music—from 2012 breakthrough Ekstasis to Loud City Song and Have You in My Wilderness—Holter released the sprawling and thrillingly experimental Aviary in 2018. Since then, she has scored films like Never Rarely Sometimes Always, performed a commissioned live score for The Passion of Joan of Arc with the Chorus of Opera North, and collaborated with her partner, the musician Tashi Wada, who plays synth and bagpipes on her new album. Something in the Room She Moves is a remarkable progression in Holter’s oeuvre, synthesizing her free, improvisatory energy with her signature eloquence.

STAFF COMMENTS

Barry says: 'Have You In My Wilderness' was the shop's favourite album all the way back in 2015, and she's even moved on significantly since that, to her bafflingly complex but melodically rich new album. Organic instrumental swells and glitched reverb tails ensconce her enduringly gorgeous vocal direction, while the scattered glitch and ambient wooze of new perfectly suit her dreamy composition style.

TRACK LISTING

1. Sun Girl
2. These Morning
3. Something In The Room She Moves
4. Materia
5. Meyou
6. Spinning
7. Ocean
8. Evening Mood
9. Talking To The Whisper
10. Who Brings Me

Originally released in 1994, Jar of Flies is the 4x platinum EP including hit songs “I Stay Away,” “No Excuses,” and “Nutshell”. The acoustic-based album described as ‘deeply gorgeous’ by Rolling Stone magazine reached No. 4 in the UK Charts (as well hitting the top spot in the US – a first for an EP).

TRACK LISTING

Side A
1. Rotten Apple
2. Nutshell
3. I Stay Away
4. No Excuses

Side B
1. Whale & Wasp
2. Don’t Follow
3. Swing On This

In the early '60s, four friends from Liverpool formed a band. But this is not the 'fab four' story we know . .

Mary, Sylvia, Valerie and Pamela - also known as The Liverbirds - were one of the world's first all-female rock'n'roll bands. At an early gig, backstage at the Cavern Club, a young John Lennon told them that 'girls don't play guitars'.

But they took that as a challenge. Despite the early scepticism, they won over tough crowds, toured stadiums, recorded two hit albums, and played with the Kinks, Rolling Stones and Chuck Berry - all in the space of just five years. Now, the two surviving members of the band tell their incredible story in full for the first time - capturing a lost era of liberation and rock'n'roll, as they thrived in the vibrant Merseybeat music scene and formed a friendship that has endured through the decades.

Jacob Lusk, Ryan Hope & Ari Balouzian; an acclaimed gospel singer and choir director, an established film director and a classically trained musician and soundtrack artist. This is the trio that fate brought together and now make up Gabriels.

Their debut EP ‘Love & Hate In A Different Time’ comprises five songs that sound instantly of another era without faltering into throwback territory. True masters of story-telling, their timeless take on vintage soul, new R&B and just a hint of ultra-contemporary altpop have seen them become firm favourites of Gilles Peterson, Off White’s Virgil Abloh, Benji B, Annie Mac, Elton John... the list goes on.

The lead track and new single, ‘Love & Hate In A Different Time’, showcases their sound perfectly. A soul-stirring song with elements of funk and that joyous gospel influence too. Jacob has one of those terrifically cavernous deliveries and understands the power of when to adopt restraint and when to let rip. It’s raw, show-stopping and combines to form a magical few minutes of cinematic sound, unlike anything else out there today.

In the song’s long-form video, directed by band member and British born musician Ryan Hope (himself a celebrated music video director), we’re taken through a history of the dancefloor in archive footage, culminating in Jacob singing Billie Holliday’s Strange Fruit to a rapt audience during a Black Lives Matter protest in LA last year. It’s an engrossing, moving watch and an evocative listen.

The rest of the EP stands tall with its lead track, shoulder to shoulder. Experimental flourishes, sultry beats and jazzy polyrhythms. Intoxicating stuff, it’s music that is hard not to like. Simply riveting and a hugely promising introduction to an already accomplished new act.

STAFF COMMENTS

Matt says: Repress of pretty much the biggest soul 12" of the year. There's been no escaping these tracks and now they're available for all once again.

TRACK LISTING

A1 - Loyalty (Featuring Ashley Sade)
A2 - In Loving Memory
A3 - Professional
B1 - Love And Hate In A Different Time
B2 - The Blind
B3 - Love And Hate In A Different Time (Alternate Version)

Ivan The Tolerable is the alter ego solo project of Middlesbrough based musical wizard Oli Heffernan. Aside from his solo work as ITT, Oli has played in numerous bands over the years including Year Of Birds, King Champion Sounds with members of the Ex, Detective Instinct, and Shrug, and has collaborated with icons like Mike Watts of the Minutemen, and J Mascis of Dinosaur Jr.

Ivan The Tolerable started by accident in 2013 when Heffernan recorded a bunch of songs for his band at the time (Year Of Birds). These were a bit too left-field for a speedy garage band, so Oli decided to put them out on tape himself, and hasn’t looked back since with releases on Up In Her Room, Stolen Body Records and Library of the Occult to name just a few.

We are delighted to bring you our next entry from the Ivan The Tolerable archive reissue series, 2019’s ‘Wild Nature!’ Originally released on CD by Ack Ack Ack Records back in 2019, the album has now been remastered and repackaged, and will be released on super ltd edition orange wax. Here’s a bit about the album in Oli’s own words.

‘Wild Nature was originally recorded sporadically during the first half of 2019. It started life in one house, then I moved and it was finished in another. I remember screenprinting the original CD artwork on the sly at my old job during my lunch breaks and hand-assembled a small run of about 50 that are all long gone. I also remember walking around Albert Park early one morning in thick fog with a field recorder to capture the sounds that were then processed to form 23 Minutes Over Albert Park (condensed to 4 mins for the reissue due to time constraints). I think this was also the last album I recorded vocals on and also the last one I recorded completely by myself - all instruments, recording, mixing, mastering and artwork done by me at home. I know the first and last tracks were recorded as a birthday present for someone but I cant remember much about the other songs i'm afraid - 4 years is a long time in my speedy world. I've been asked a bunch over the years about a vinyl edition of this one - so here it is. Enjoy - especially everything that went through the delay pedal, which is sadly no longer with us.’
Peace,
Oli Heffernan,
Jan 2024

TRACK LISTING

A SIDE
1. Queen Of Quilts
2. The Contrarian
3. Black Ink

B SIDE
1. The Cat Song
2. 4 Minutes Over Albert Park
3. Rubbing Teeth
4. Queen Of Baths

Back In Black features ‘You Shook Me All Night Long’, ‘Shoot To Thrill’ and the iconic title track. It is the ‘best-selling studio album of all time by a band’.

To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing. 

When Paul Murphy released his critically acclaimed debut solo album, Claremont 56, in 2006, many thought it would be the first of many. In a way, it was, as in the years since he’s released a string of collaborative sets alongside Benjamin J Smith (as Smith & Mudd), and as part of underground ‘supergroups’ Paqua, Bison and Hillside. But that second solo album? Well, it just had to wait. In early 2023, Murphy finally decided to scratch that itch, roping in some of his most trusted collaborators (keyboardist and bassist Michele Chiavarini, percussionist Patrick Dawes, guitarist Dave Noble and HF International’s Kashif included) to lay down a sumptuous set of tracks that not only showcases his now familiar (bit hard to pigeonhole) neo-Balearic sound, but also proves how much he has matured as a writer and producer since 2006.

In The Garden of Mindfulness is richly musically detailed, expertly arranged and full to bursting with fluid instrumental solos, with Murphy and his collaborators serving up tracks that brilliantly blur the boundaries between languid jazz-funk, downtempo, vintage synth-laden krautrock, dubby grooves and sun-splashed soundscapes. It simply sparkles from the moment that opener ‘Eighty Three’ slowly rises like the morning sun, with gentle, undulating synth sounds ushering in a slow-motion jazz-funk excursion rich in twinkling electronics, spacey pads and warming bass. Recent single ‘Katanaboy’, a lusciously layered dub disco-infused dancefloor excursion in Murphy’s familiar style, raises the temperature a touch, before ‘Bonne Anse’ and the sublime ‘Unka Paw’ (whose combination of evocative fretless bass, extended electric piano solos, Clavinet licks and acoustic guitars is genuinely spellbinding) invite a combination of wavy shuffling and flat-on-the-back, eyes-closed appreciation.

And so it continues, with gorgeous title track ‘In The Garden of Mindfulness’ making way for the boogie-influenced, Japanese-British brilliance of ‘Hangsang’ (check the jaunty pianos, yearning breakdown and exotic melodies). Murphy’s long held love of warm, weighty bass, hypnotic disco grooves, colourful analogue synth sounds and jazzy guitars once again comes to the fore on ‘Way Of The Hollow’ before the album reaches a fittingly triumphant conclusion with ‘Late In March’.

A neat sonic summary of all that makes the set such a rewarding and entertaining experience, repeat listens reveals a wealth of musical details, from off-kilter triple-time drums and surprise bass guitar solos, to impeccable piano solos (provided by the immensely talented Chiavarini), fizzing jazz-funk synth doodles and stirring synth-strings. It’s a breathlessly brilliant way to end an album that was genuinely worth waiting for.

TRACK LISTING

A1. Eighty Three
A2. Katanaboy
B1. Bonne Anse
B2. Unka Paw
C1. In The Garden Of Mindfulness
C2. Hangsang
D1. Way Of The Hollow
D2. Late In March

Discovered after spending 58 years on a dusty shelf in the Louis Wayne Moody Pictures vault, this previously unissued soundtrack contains a backpack’s worth of grieving guitars, somber surf, and haunting hiss, zipped tight with the teeth of abandonment, dashed dreams, moral ambiguity, fate, tearful goodbyes, and lukewarm diner coffee. Because the long arm of society nips at their heels... THEY MOVE IN THE NIGHT.

TRACK LISTING

1. Branko Mataja - Tuzna Je Nedelija
2. Steve Waltner - Tropic Waters
3. Bill Garland - Lonesome Guitar
4. Red Garrison & His Zodiacs - Taboo
5. Jody Reynolds - Tarantula
6. The Infernos - Restless Tides
7. The Dropouts - Purple Sea
8. Ron Heiss & The Low Notes - Far Away
9. Bailey’s Nervous Kats - Rumble
10. The Travelers - Melody Of The Moon
11. Tommy Dae’s High Tensions - Lost Horizon
12. Johnny Blue - Crying Guitar
13. The Floresents - Dreamtime
14. Kay Johnson - Walk Through The Valley
15. The Gospel Hawaiinaires - Life’s A Railway To Heaven
16. X-Cetra - Wasn’t There

The ever poignant yet exceedingly elusive Chorg Dorgon speaks on the new album by Charles Moothart, entitled Black Holes Don’t Choke: “For the sake of clarity, and its clarity that we seek, Charles has been a pillar of our musical experience since he began playing eons ago in the various projects and countless albums he has contributed to. Charles is a musician who has been constantly on the road for years playing in Ty Segall’s Freedom Band and Fuzz. When there has been a rare time away from those engagements especially in the post-pandemic scramble to catch up world of gigs and tours, he has been spending all of his time in his laboratory figuring out how to synthesize all of the info he has collected and musical ideas he has developed in the past few years since the last CFM record and subsequent shows for this new solo work. Just before the pandemic started, he was out playing solo shows in a project that revolved around an MPC sampler, just to give an example as to the wideness of his explorations. His result is Black Holes Don’t Choke. Love songs for the apocalypse. A prayer toward optimism amid chaos. A plea toward nature. The themes on this album are the themes of today. Charles appeals for us to visualize evolution. And with a signature, the music sounds exactly as you want it to. It sounds like Charles Moothart’s music only more evolved and with greater focus and direction. With greater textural dynamic and more sonic variation and realization, but never sacrificing the insane riff that he is clearly the master of. He gets to the point on this record. He is presenting a voice you can understand and rely on as you make your own journey into it. Create your own meanings. The record now belongs to the world. Because we all start a thought as that which is beginning-less and endless and at some certain point it becomes its own thought, takes it owns shape and becomes itself, separate from the thinker, separate from the observer. alive in the ether!”

TRACK LISTING

1. Roll
2. Hold On
3. Black Holes Don't Choke
4. Anchored And Empty
5. One Wish
6. Little Egg
7. Clock Rats
8. Time Lapse Choke
9. The Fire I Call Home
10. Crypts Crumble

The Wedding Present’s third single originally released in 1986.

Company card inner, re-printed copy of original promo poster. Pressed on transparent blue vinyl.

Sleeve is a copy of original 12” release.

This Boy Can Wait is the unedited 12” version.

TRACK LISTING

You Should Always Keep In Touch With Your Friends
This Boy Can Wait

There are plenty of performers who rock critics describe by using the label "primitive," but few if any can hold a candle to the greatest American rock primitive Jad Fair - With his wildly influential band Half Japanese or as a solo performer, Fair has constructed a prolific and extremely interesting career.

He writes and records songs that display an uncomplicated emotional directness, unselfconscious charm and warmth, and a genial simplicity that is beyond words. From Jad: "I set a goal for myself to release 100 albums in a year's time. I was able to pass that mark. I released over 150 albums. This album is a "best of" compilation of the songs recorded that year. It's 100 songs chosen from 160 albums."

TRACK LISTING

Disc 1
Side 1
1. Worm Boy
2. Star
3. We Have To
4. Our Now Is Forever
5. We Made Ourselves A Promise
6. Not The Same No More
7. The Love Club
8. Rising Star
9. Garbage Man
10. Zombies Walk The Earth
11. Too Late
12. Together We Will
13. Witch
14. It Is Them
15. Choose Your Own Future
16. Embrace Love
17. June Or July
18. All Around Us
19. Sunshine Happiness
20. No Secret
21. Day In The Sun
22. Whenever
23. Ghost Of Frankenstein
24. Apple, Pear And Peach
25. Curses

Side 2
1. Love Love
2. So Far So Good
3. The House
4. Wonderful
5. Son Of A Gun
6. Stupid Kicks
7. Perfectly Dreadful
8. Them
9. Coffee
10. Run Away Home
11. Even Smaller
12. You And Me
13. Vicious Circle
14. Hear The Call
15. Our Eyes
16. Time For Love
17. The Laughing Monster
18. Invigorate Your Life
19. Got It Made
20. Stayed At Home
21. The Invasion
22. Honey Bear
23. Open The Door
24. On My Palm
25. Not Too Late

Disc 2
Side 1
1. Night Of The Devil Bat
2. Slime
3. Safety Net
4. Chase Away
5. Only One
6. Afraid Of Nothing
7. Life In The Suburbs
8. It's Wonderful
9. Mission Accomplished
10. True Love Is Here
11. Spinning Around
12. Your Wish
13. The Moth Man
14. Make The Pieces Fit
15. What Else Is New?
16. It's Alive
17. One Thing Only
18. The Welcome Mat
19. Sunshine
20. Out There
21. No One Knows For Sure
22. Our Way
23. Listen To The Birds
24. What Can We Do?
25. Viva Love

Side 2
1. Alright
2. Two Of A Kind
3. Pale Green Pants
4. The Word Yes
5. The Vampires Are Back
6. The Biggest Big
7. In Its Net
8. Over Our Heads
9. Without A Clue
10. Haunted Home
11. He Has His Nerve
12. The Knack
13. The Junk Pile
14. Probably Alright
15. Shrunken Head
16. Haunted Hill
17. How It's Done
18. In The Eyes
19. Invading Our Planet
20. Why?
21. Better Good Times
22. Right From The Start
23. Flashing Lights
24. Magic
25. It's Alright

Meatbodies’ latest undertaking and borderline lost album, Flora Ocean Tiger Bloom, is their most varied and realized work to date. It’s a melodic, hook-filled rock epic in which frontman and lead guitarist Chad Ubovich faces the trials of sobriety, redemption, reinvention while literally learning to walk and play again. Resurrection not only accompanies the record, but its production as well, Flora Ocean Tiger Bloom examines themes surrounding love and loss, escapism, defeatism, hedonism, psychedelics and much more.

By 2017, Ubovich had reached a crossroads. After years of increasingly insane shows playing to heaving crowds with an ever-evolving and rotating door of personnel, fatigue had taken its toll and he realized another change was on the horizon. Retreating to the seedy Los Angeles underbelly—in search of meaning and a reset—he escaped into that world, ignoring his own well being, trying to forget his successes. It was at this point that Flora Ocean Tiger Bloom began to take shape—a project built by a man searching for new beginnings and his own sense of self. After sobering up, sessions began with longtime collaborator Dylan Fujioka. However, due to discrepancies with the studio, tensions were high and the plug was pulled. And as the world took a back seat, so did the idea of Flora Ocean Tiger Bloom. Not wanting to sit still at home, Ubovich began to comb through his previous demos, and, with that, 333 was born, the now de facto third Meatbodies album. Yet Flora was never far from Ubovich’s mind. When restrictions started to lift, Ubovich headed to Gold Diggers Sound in Los Angeles, backed by engineer Ed McEntee and a team of colleagues and friends, and completed the final act to the album. It recalls the searing Blue Cheer-meets-Iggy Pop-with-psychedelia that permeated previous releases, but adds new elements of shoegaze, classic alternative, Britpop, drone, and hints of country. Simultaneously an ode to ’80s LA punk and the rise of indie / alternative music in the U.K., it plays like a radio station broadcasting from the void.

STAFF COMMENTS

Barry says: 'Flora Ocean Tiger Bloom' has all of the scuzzy groove and thumping psychedelic heft of their debut or the brilliant '333' from 2021, but shows that beneath the fuzz and chaos, there's a deeply melodic core breaking through. 'Hole' for example channels 90's grunge and sings with the bombastic percussion and multi-tracked guitars of Smashing Pumpkins or Silverchair. In all, a beautifully composed and stylistically diverse triumph.

TRACK LISTING

1. The Assignment
2. Hole
3. Silly Cybin
4. Billow
5. They Came Down
6. Trapped?
7. Move
8. I Believe In Pink (Interlude)
9. Criminal Minds
10. ICNNVR2
11. Psychic Gardens
12. (Return Of) Ecstasy
13. Gaste

The debut record by a new duo, Amkarahoi.

"Uncle Reed In The Purple Mine" conjures ghosts of 90s chill out tents, aqueous ambient, exploratory turn of the century IDM and echoes of jammy dub. Amkarahoi is named for a remote region of Eastern Siberia an intimidating car and boat journey from the nearest city - several songs are named after rivers - and the record was borne from a largely improvised show in Saint Petersburg, later overdubbed and mixed down in the studio. The combination of heady, melancholic synthscapes, unexpected samples and the loose, spontaneous nature of it’s genesis make for a unique, compelling proposition.

"Kirenga" alternately swells and submerges ravey pads and shifting kicks, coming up midway for air before plunging again, and "Cutima" peppers the stereo field with foreboding stabs, collapsing drums and faintly nightmarish ambience before emerging from the darkness with gently plucked erhu. "Handa"’s simple four note piano loop and cuckoo vocal sample lament blooms into an engulfing E rush, before "Mogoul" threatens serotonin syndrome with it’s loved up lead and stuttering morning after nostalgia. "Chininga" ekes out a gentle groove over which is laid a hazy, head nodding shimmer, and on "Djegda" they finally submit and throw down a speedy breakbeat for some more classically vintage fire twirling shapes.

Amkarahoi is Nikita Chepurnoi and Sergey Dmitriev. Chepurnoi has released records as Minereed on his own Echotourist imprint, and as part of The Patience and Copacabana on Hair Del. Dmitriev has made music as Purple Uncle for Echotourist, Hair Del and Nazlo

"Uncle Reed In The Purple Mine" was written, produced and mixed by Nikita Chepurnoy & Sergey Dmitriev. Mastered by Rashad Becker. Art by Susumu Mukai.

TRACK LISTING

Kirenga
Cutima
Handa
Mogoul
Chininga
Ichikta
Djegda
Minia

Snakes Don't Belong In Alaska have firmly established themselves as a prominent force in the underground UK psych scene, sharing the stage with some of the biggest names in the current generation of psych rock. Notably, they collaborated on a mesmerising album with the legendary Japanese psych artist, Junzo Suzuki, and have had the privilege of performing alongside esteemed bands like Hawklords, 10000 Russos, and The Myrrors, among others.

Originating from the vibrant city of Newcastle upon Tyne, SDBIA embraces an experimental genre non-conforming psych style, blending elements of stoner, kosmische, space rock, prog, and post rock. This captivating fusion of sounds creates a unique musical experience that continues to captivate audiences far and wide.

Their latest offering ‘Navegando Al Paraiso’ sees a slight change of pace from the band, but none less potent. As we’ve now become accustomed to with SDBIA, the band invite you on a transcendent musical journey, effortlessly blending psychedelic rock with waves of folk and post-rock. This album immerses listeners in a dreamscape where ethereal melodies ebb and flow like the tides. Each track evokes a sense of wanderlust, drawing inspiration from timeless musical traditions while pushing the boundaries of sonic exploration. Snakes Don't Belong in Alaska paint an otherworldly soundscape that invites you to lose yourself in the euphoria of musical and introspective discovery.

TRACK LISTING

A SIDE
1. First Breath Of Paradise
2. Eternal Sunday

B SIDE
1. The Worship Of An Orange Sky God
2. My Void Is Full Of Colour

Brand New Remastered Versions.

The June Brides debut single originally released in 1984 on The Pink Label.

Both tracks are from fresh transfers from the master tapes which were then remastered by Jason Mitchell at LOUD Mastering in Taunton in early 2021.

The June Brides are true innovators, hailing from the first wave of British indie, with fans that include Manic Street Preachers (who covered their song “The Instrumental” as a tribute) , Morrissey and Belle and Sebastian’s Stuart Murdoch.

They have always been regarded as pioneers, and one of the most beloved of the bands that formed the original UK independent music scene, which has since been tagged as C86.

TRACK LISTING

Side A
In The Rain
Side B
Sunday To Saturday

Often cited as the masterwork of French icon and national treasure Serge Gainsbourg, Histoire De Melody Nelson features actress, amour, and inspiration Jane Birkin, arranger/conductor and co-conspirator Jean-Claude Vannier (L’Enfant Assassins Des Mouches), and a tight,hand-picked crew of top shelf U.K. session musicians, including Big Jim Sullivan, Vic Flick, Brian Odgers, and Dougie Wright. Originally released in 1971, this is an essential album for the discerning music lover.

Our initial reissue marked the first time that Histoire De Melody Nelson was ever made available domestically in the U.S., now available in two brand new très chic color variants. Dispelling countless myths, hearsay, and rumors surrounding Nelson, New York-based writer Andy Beta contributes a stylish essay for your edification, while the maestro himself chimes in with a period Q&A interview from France’s Rock N Folk Magazine, originally published in June 1971.

TRACK LISTING

Melody
Ballade De Melody Nelson
Valse De Melody
Ah ! Melody
L'hôtel Particulier
En Melody
Cargo Culte

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre–punk, funk–blues fusion that had yet to be normalized in mainstream music — a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said ‘funk you’ to the music industry and social norms.

In 1975, Betty Davis’s star was on the rise. With the backing of Island Records and a new band, Funk House, Betty’s third album, Nasty Gal, leans into the hyper-sexualized persona with which her critics were so obsessed. She raps, purrs, shrieks, and moans on top of Funk House’s manic funk-rock and lays claim to the “bad girl” anthems that now saturate the music industry. Mastered from the original tapes, Nasty Gal showcases Betty’s groundbreaking work as a performer, writer, and producer.

TRACK LISTING

Nasty Gal
Talkin Trash
Dedicated To The Press
You And I
Feelins
F.u.n.k.
Gettin Kicked Off, Havin Fun
Shut Off The Light
This Is It!
The Lone Ranger

Karen Dalton's 1969 Capitol debut is finally back in print! Light in the Attic is thrilled to present a brand new edition of this heart-wrenching & bluesy introduction to the intoxicating world of Dalton and her deep well of musical secrets.

World-weary and filled with the blues, Dalton’s unsurpassed interpretive depth and emotional range were like no other. Recorded for Capitol in 1969, It’s So Hard To Tell Who's Going To Love You The Best spans generations of classic American songwriting–covering classics by Lead Belly, Fred Neil, and Tim Hardin. While no longer with us in the physical, Karen’s growing musical presence is stronger than ever and worthy of re-examination by both the converted and the uninitiated alike. This new re-release serves as the definitive, all-analog version of Dalton’s stunning debut, featuring remastered audio from the original Capitol masters, the original 1969 artwork in an expanded gatefold jacket, unseen photos by album photographer Joel Brodsky, and an essay interviewing Karen’s friends and music collaborators, from album producer and bassist Harvey Brooks to musician Peter Stampfel of the Holy Modal Rounders.

TRACK LISTING

1. Little Bit Of Rain
2. Sweet Substitute
3. Ribbon Bow
4. I Love You More Than Words Can Say
5. In The Evening
6. Blues On The Ceiling
7. It Hurts Me Too
8. How Did The Feeling Feel To You
9. Right, Wrong Or Ready
10. Down On The Street

Embark on a sonic journey with Gabriels' 'Love and Hate' as it undergoes a mesmerizing transformation through the skilled hands of Xpress 2.

The Xpress 2 remix propels the track to new heights, infusing it with dynamic beats and an infectious rhythm that beckons listeners to the dancefloor. In addition, this vinyl edition also includes the Kerri Chandler remixes, adding a more soulful touch.

Kerri expertly blends emotive melodies with a pulsating energy that captivates the senses. This remix package is a testament to the collaborative prowess of these musical maestros, offering a transcendent experience for electronic music aficionados and dance enthusiasts alike.

Dive into the reimagined soundscape of 'Love and Hate' – a fusion of artistic brilliance and dancefloor magic.

STAFF COMMENTS

Matt says: Still some juice left in this pear! A nice smattering of fresh remixes of the already classic Gabriels track. Includes the universally adored Kerri Chandler vocal mix, along with a new, high voltage one from the New Jersey house cat. London's X-Press 2 also contribute two chunky house versions. Top stuff indeed.

TRACK LISTING

A1. X-Press 2 Love & Honesty Remix
A2. X-Press 2 Love & Honesty Hypno Dub Remix
B1. Kerri Chandler Vocal Mix
B2. Kerri Chandler 623 Again Mix

Mute and Spoon Records present the next instalment of the curated CAN live concert series, LIVE IN PARIS 1973—the first in the series to feature Damo Suzuki's vocals.

The series was overseen by founding member Irmin Schmidt and producer/engineer René Tinner, who delicately worked on restoring the archival recordings to the best quality for current modern technology. This record captures the band’s 1973 performance in Paris and features Irmin Schmidt on keyboard & synths, Jaki Liebezeit on drums, Michael Karoli on guitars, Holger Czukay on bass, and Damo Suzuki on vocals for one of his final shows with the band.

Available on double vinyl and 2-disc CD, with exclusive sleeve notes by journalist Wyndham Wallace.

STAFF COMMENTS

Barry says: Paris 1973 sees one of the last live shows that the great Damo Suzuki did with Can, and thus sees the band in one of it's most famous shows, in the most coveted lineup. It's perfectly recorded too, and captures the band at their incendiary best. The latest in a stunning series.

TRACK LISTING

A1 Paris 73 Eins (Part 1)
B1 Paris 73 Eins (Part 2)
C1 Paris 73 Zwei
C2 Paris 73 Drei
D1 Paris 73 Vier
D2 Paris 73 Fünf

Following the release of her debut album, Stay Alive (2020) and the At War With The Silverfish EP (2021), Emmy-nominated artist, author, musician, activist and Against Me! founder/songwriter, Laura Jane Grace, returns with Hole In My Head - her beautiful new album featuring eleven tracks that showcase her undeniable power as a songwriter & storyteller. The album features her most personal and emotionally gripping songs of her career - stripped down masterpieces like Dysphoria Hoodie paired with blistering distorted anthems like Hole In My Head and Birds Talk Too, tracks that demand the listener’s attention with an immediacy and urgency unlike anything Grace has written before.

Recorded at Native Sound in St. Louis, Missouri by David Beeman and mastered by Matt Allison (Lawrence Arms, Rise Against), the album is a sonic curio cabinet containing multitudes. Featuring warm 50s-rock-influenced guitar riffs and rock style melody a la Jonathan Richman and Eddie Cochran, saved-for-later lyrics, love letters to St. Louis, dysphoria apparel, and thoughtful reflections on a punk life lived, Grace's forward vocals are backed predominately by her performances on guitar and drums but are bolstered by Drive By Trucker's bassist Matt Patton.

The record's title track Hole in My Head takes off with a driving guitar-heavy approach that will be welcome to long-time fans of Against Me! electric machinations, while first single Dysphoria Hoodie has been a staple in Grace’s setlist, and one which is as personal as it is pertinent in today’s climate.

Choice cuts I’m Not A Cop and Punk Rock In Basements are written through a post-pandemic rose-colored lens, the latter looking back on the formative underground spaces of Grace’s youth. Basement shows for decades were hallmark experiences for anyone involved in their local punk scenes, shaping movements, connections, and culture through the forced, sweaty proximity necessary to pour over raucous punk music.

Hole in My Head is a record which captures the nuances of humanity and experience in a strangely optimistic manner. The lightness of its influence and the journalistic recollection of experience set against a battered and warm folk-punk delivery from beginning to end makes Hole in My Head a fun comfort. It is a welcome embrace of life and just the start of a new chapter in Laura Jane Grace’s raucous journey.

STAFF COMMENTS

Barry says: Laura Jane Grace's journey has been a storied one, starting her career in one of the most beloved new wave punk rock bands in the late 90's, and ending up as a prolific and gifted composer, multimedia artist and writer. 'Hole In My Head' is once again a brilliantly balanced, fiery and dynamic solo outing from Grace.

TRACK LISTING

Side A
1. Hole In My Head
2. I'm Not A Cop
3. Dysphoria Hoodie
4. Birds Talk Too
5. Punk Rock In Basements
Side B
1. Cuffing Season
2. Tacos & Toast
3. Mercenary
4. Keep Your Wheels Straight
5. Hard Feelings
6. Give Up The Ghost

Dead Elvis is the debut studio album by British band Death in Vegas, which was originally released in 1997. It featured a blend of musical genres, but most of the tracks are mainly based in dub and electronic dance music. This was the only Death in Vegas album to feature original member Steve Hellier. A limited vinyl run of Dead Elvis was released in 1997 but didn't feature the complete album. The complete Dead Elvis album, including the singles "Dirt", "Rocco" & "Rekkit" is now for the first time available on vinyl.

TRACK LISTING

Side A
1. All That Glitters
2. Opium Shuffle
3. GBH

Side B
1. Dirt
2. Rocco
3. Rekkit

Side C
1. I Spy
2. Amber

Side D
1. Rematerialised
2. 68 Balcony
3. Sly

On June 29th, 2023, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than "let's fire this stuff up and see what happens." Exploring the VSMs' vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help from VSM founder/curator Lance Hill.

The resulting album - In Electric Time - was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who contributes performances on a few tracks himself. Cooper Crain (of Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic music conceptualized and created in-context by Chiu alone, as he calls on a life time of work in sound synthesis to paint a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, In Electric Time reflects the directness of Raymond Scott's electronic studio recordings - with sharp cuts and room chatter - and, in others, it conjures the in-the-moment magic of Harmonia.

TRACK LISTING

1. ElectroComp 101
2. Seawater Swell
3. For Voices
4. Rococco Rondo
5. A Cloud Song
6. Rhythm Bell
7. Brush With Thin Air
8. Rhythm Serge
9. Static Stone Railway
10. Transparent Spheres
11. Echo Arp Hold
12. In Electric Time

Chaos In The CBD return with two more tracks on their In Dust We Trust imprint. 

Keeping with their tried-n-tested formula - inspired by Ron Trent and classic deep house - "Sirena Deep" has a warm and deep rolling bass line and beautifully layered keys. Washed over with a stunning flute accompaniment from long-term collaborator and legendary jazz musician Nathan Haines which adds the extra magic to this outstanding production.

On the B-side the boys deliver a slightly darker, mischievous and moody roller with "Outdoor Limit" - an 8 minute journey through minimal grooves, in what feels like the perfect soundscape for getting lost in a dark room in the small hours.

STAFF COMMENTS

Matt says: London-via-New Zealand duo Chaos In The CBD return with more of their smooth, deep house stylings.

TRACK LISTING

A. Sirena Deep (Ft Nathan Haines)
B. Outdoor Limit

Human Interest present their ‘Empathy Lives In Outer Space’, via Nice Swan Records. The emerging outfit have attracted substantial support over the last year following the arrival of debut EP ‘Desire Paths’.

Alongside a slew of press support from key indie champions (DIY, Dork, Clash, Loud & Quiet, The Line of Best Fit, Rough Trade, Gigwise, The Forty Five), the group have already ticked off prestigious slots with Self Esteem, Dave Rowntree (Blur),Hinds, Vlure, High School and Tribes, as well as multiple spins on the BBC 6 Music, Radio X (playlisted) and Sirius FM airwaves.

TRACK LISTING

1. Step On
2. Slackers Paradise
3. All My Friends
4. Mixing Paint
5. So Smart
6. Grounded

Garage/punk rock informed by the likes of Iggy, Thunders and late ‘70s punk by former member of A Place To Bury Strangers and The D4.

In 2022, Henry Rollins heard an early version of Dion Lunadon’s sophomore album Beyond Everything. He said it sounded like something that should be on In The Red Records. In The Red Records agreed. Now ITR are proud to announce the follow up, Systems Edge. Ten brand new original garage / punk rockers informed by the likes of Iggy, Thunders and late ’70s punk without sounding retro or by-the-numbers. This is seriously great stuff! Born in Auckland, New Zealand and now residing in New York City, Lunadon has played in various bands, most notably The D4 (who released two albums on the legendary Flying Nun label) and A Place To Bury Strangers.

TRACK LISTING

1. Secrets
2. Nikki
3. Diamond Sea
4. I Walk Away
5. Rocks On
6. Shockwave
7. Grind Me Down
8. Straight Down The Middle
9. I Don’t Mind
10. Room With No View

First release from new US label Now Is Not The Time, who kick off their tenure with an all star collaboration featuring Jerome O, DJ Reg & Rahaan. As the title of the EP explains, lead track "Lost In The Message" mashes up two classic disco hits - MFSB's "Love Is The Message" and Sister Sledge's "Lost In Music" with, quite frankly, quite devastating results. These tracks segue into each other so easily you'll be kicking yourself you didn't think of it! Such is the genius of a good edit however...

Elsewhere Harry Thurman's "Underwater" is tweaked on "Get Up Out Tha Water" (you'll recognize the horns!), while "The M8 Track" sees the crew explore more obscure realms - a stripped back jacking drum machine pattern drizzled in classic echoed-out disco vox and cascading digital waterfalls. It's like the ghosts of disco visited the warehouse for a big dose of acid! Storming stuff.

Limited import copies - move quick if you want in on these! 

STAFF COMMENTS

Matt says: Three Chicago heavyweights take on some big tracks with huge consequences. First release on Now Is Not The Time and it's a brilliant statement of intent.

TRACK LISTING

Side 1
1. Lost In The Message (5:40)
2. Get Up Out Tha Water (6:14)
Side 2
1. The M8 Track (9:07)

Man in Black may be the 38th album by Johnny Cash, but it is definitely one of the most memorable album in his discography. Man in Black is perhaps one of Cash's most political albums and the title refers to Cash's tendency to wear only black during his live shows. This was to reflect the turbulent times during the Vietnam War. This message is also reflected in the album's lyrics. The singles “Man in Black” and “Singin' in Viet Nam Talkin' Blues” can be seen as his most important protest songs. Both singles were successful on the Billboard Country charts. All this makes the album a unique milestone in his career and still a must for all Johnny Cash fans

TRACK LISTING

Side A
1. The Preacher Said, “Jesus Said” (With Billy Graham)
2. Orphan Of The Road
3. You’ve Got A New Light Shining In Your Eyes
4. If Not For Love
5. Man In Black

Side B
1. Singin’ In Viet Nam Talkin’ Blues
2. Ned Kelly
3. Look For Me (With June Carter Cash)
4. Dear Mrs.
5. I Talk To Jesus Every Day (With June Carter Cash)

Back in Your Life was released in 1979 under the Jonathan Richman & The Modern Lovers moniker, but only half the album featured the backup band. The other half of the album features Richman as a solo artist. The Modern Lovers were formed by Richman and included Leroy Radcliffe on guitar, Asa Brebner on bass and Denotra 'D' Sharpe on drums. Occasionally, they were joined by Richman's friend and The Real Kids' band leader John Felice.

Recorded at a packed-out Paper Dress Vintage in London, it's a discography-spanning set that sees the band storm through tracks from their highly-praised 2023 album 'God Intentions' (which they were touring in support of at the time), as well as 2020's 'This Can Only Lead To Chaos' and their 2017 self-titled debut. Talking about the album, vocalist/guitarist John-Paul Hughes recalls: "We played a sold-out Paper Dress Vintage in Hackney, London, on Sunday 30th July 2023, as the last date on our summer UK tour. Helicon is a band built on live performance and musicianship, not fancy studio production tricks. We recorded our Fuzz Club Live Session back in 2020 but to capture the power and energy of a Helicon live show in front of an audience is a buzz. This setlist has songs from all 3 studio albums released on Fuzz Club, so it's a nice way to tie that period of work together."

TRACK LISTING

1) Dark Matter (Live)
2) Flume (Live)
3) Heliconia (Live)
4) Zen Roller (Live)
5) Devil On Your Tongue (Live)
6) Permo (Live)
7) What You Love Will Kill You
8) Seraph (Live)
9) Tae The Moon (Live)

The inspiration for winter Resort Music is derived from a childhood passion for Winter Sports. It's all about the spooky synths, mainlining radiophonic electronics, subconscious TV memories and an awe about what these athletes could do on the slopes when you were living in the suburbs.

Can anyone forget the glowing figure-skaters, dancing into the public consciousness? The perfect beauty that melted girl's and boy's hearts around the world. Sunday afternoons spent watching guys flying on long jumps into the endless white cosmos. Never really sure what was happening, but just thinking "I want to be in the chalets with these people, hitting the glühwein. An alien, unreachable world where fabulous people were doing fabulous things.

Portugal's Stellarays were also watching and have distilled these memories into a gloriously authentic reimagination of how those memories still reside within us. Winter Resort Music is such a potent memory bomb which takes what we know and enhances it in order to make it better. A prism of nostalgia that speaks to the purity of the whiteout.

This wonderfully handsome release with artwork by Castles in Space mainstay, Nick Taylor is a perfect artefact of library music, beautifully put together by Bruno, Centeio and Corinna.

It pains my heart to report that this is a posthumous release for dear Bruno, who we lost earlier this year at the ridiculously unjust age of fifty.

Safe travels, my friend. May your slopes be finely manicured as you head down the cresta runs to the great frozen lakes. Salut! 

A special ‘Submerge” 12” EP featuring a bunch of reworks of this pivotal track from Apta's forthcoming ‘The Pool’ album on Castles in Space.

Kicking things off, Apta's own rework of the original sees the shadowy textures and droning wall-of-sound backdrop turned into a static-strewn dreamland of a piece, underpinned by a flickering guitar riff, cracked snare drums and fuzzed-out Odyssey strokes before launching into the euphoric half-time vocal refrain. 

The follow-up sees Clay Pipe boss, illustrator and musician step into her Hardy Tree guise for a beautifully hypnotic waft of wistful folk-tinged electronics and shimmering ambient textures. It's warmly nostalgic, and packed full of all the feel of a lovely Clay Pipe release. 

Following on from that, modular wizard Polypores takes pieces of the original and stretches them into an organic swell of texture and movement, warping the low basses and flickering modular plinks (and / or plonks) into a beautiful, undulating wall. 

Flip over and It's none other than the brilliant Pye Corner Audio, providing an organically blooming suite of saturated percussion and woozy drifting oscillators, in peak PCA fashion. There are few artists that can do as much as with little as Martin Jenkins can, and hearing his audio sunshine underpinning the vocal line is breathtaking.

It's good to get the ears nice and soothed too before the aural assault and hypnotic spirit-cleansing heft of the legendary Gnod. Dubby throbbing bass and cavernous reverb tear the original into shards and piece it together as a churning, industrial powerhouse before shooting the rest into the endless reaches of space. 

Closing things out on a space theme is the ideal way to do things too, with Field Lines Cartographer's remix taking things waaay into the outer reaches. Grounding bass churns and stellar synth sweeps float below the modulated vocal line, resulting in a perfectly crafted drone, rich in melody but untethered to the earth. 

STAFF COMMENTS

Mine says: The first taste of a new album from our very own Apta (the best egg) sees the lead single twisted and churned into a variety of sounds from Pye Corner Audio, Polypores and Gnod as well as a reworking of the title track from the man himself. Lovely stuff.

TRACK LISTING

A1. Apta - Submerge
A2. Emerge (The Hardy Tree Remix) 
A3. Emerge (Polypores Pink Oceans Remix)

B1. Emerge (Pye Corner Audio Remix)
B2. Emerge (Gnod Remix)
B3. Emerge (Field Lines Cartographer Remix) 

Daniel Johnston’s ‘Alive in New York City’: A full performance captured before a live audience in New York City, the city of Daniel Johnston’s dreams. Daniel is at the height of his performing powers, with his solo voice in full poignant bloom. A real time-capsule, each song is a gem rendered in full color by an artist dedicated to his craft. This LP captures him at an unusually happy point in his life, sharing the deepest parts of himself with his audience. We are given a rare glimpse into Daniel’s heart, where the physical rendering he gives over to his lyrics transcends the music and works as a beacon into the tender mind of a genius - grappling with how to love himself and find his place in the world. This 2000 concert recorded and live-mixed by Kramer in NYC happened on a very special night and Shimmy-Disc is proud to present it to the world, along with 18 minutes of bonus material comprised of some of the rarest audio treasures from the Daniel Johnston Archives - a series of “Telephone Demos” created by Daniel specifically for sending to friends over his phone. These little teleplays from Daniel’s pre-”1990” days have never been heard before, so his fans will go wild with joy over this newly discovered and precious cargo from the mind of this one-of-a-kind and irreplaceable Artist.

TRACK LISTING

Frito Lay (Sweetheart)
Frustrated Artist
The Spook
Love Will See You Through
Silly Love
Live And Let Die
You’ve Got To Hide Your Love
Casper The Friendly Ghost
Memory Of Love
Bloody Rainbow
Super Love
Kool-Aid
Folly
Interview (Excerpt)

A stunning social history of British rap and grime by one of the nation's foremost cultural chroniclers. 'A stunning exploration of a genre, a movement and a world. It's every bit as lyrical as the rap Ekpoudom has documented.'CANDICE CARTY-WILLIAMS, author of Queenie'Illuminating and intimate.

Ekpoudom's prose is rhythmic and deft but also crackles with joy. I know I'll be reading it for years to come.'CALEB AZUMAH NELSON, author of Small Worlds'A rousing, inspiring, often breathtaking history that reads with the flow of a magnificent novel. Ekpoudom is one of the very finest chroniclers of black British culture.'MUSA OKWONGA, author of One Of Them***I met people who never quite fit in where they were supposed to, who found solace, salvation and meaning in these sounds, these words.

Something is happening in Britain, trembling the tracks as it unfolds. Recent years have borne witness to underground genres leaking out from the inner cities, going on to become some of the most popular music in the nation. In this groundbreaking social history, journalist Aniefiok Ekpoudom travels the country to paint a compelling portrait of the dawn, boom and subsequent blossoming of UK rap and grime.

Taking us from the heart of south London to the West Midlands and South Wales, he explores how a history of migration and an enduring spirit of resistance have shaped the current realities of these linked communities and the music they produce. These sounds have become vessels for the marginalised, carrying Black and working-class stories into the light. Vividly depicted and compassionately told, Where We Come From weaves together intimate stories of resilience, courage and loss, as well as a shared music culture that gave refuge and purpose to those in search of belonging.

Ekpoudom offers a rich chronicle of rap, identity, place and, above all, the social and human condition in modern Britain. ***'A landmark work that will undoubtedly shape conversations about not just UK rap and grime, but British music for years to come.'YOMI ADEGOKE, author of The List'Phenomenal - this is the book we've all been waiting for. Like the heroes he chronicles, Ekpoudom acts as torchbearer, his book a beacon, for the story that follows..'GUY GUNARATNE'Essential .

In spring, Again. But it's true this time. In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own. If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need. Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace. "Done before, And I'll do it again" Ringing in my head While I try To feel.

TRACK LISTING

1. Done Before
2. Night Steps
3. Memory
4. In Spring.

Light in the Attic Records in cooperation with Laurie Anderson and the Lou Reed Archive, proudly announces a definitive re-release of Hudson River Wind Meditations, the pioneering artist’s final solo album. Originally released in 2007, the deeply personal project combines Reed’s love of creating drone music with his passion for Tai Chi, yoga and meditation. The album’s ambient soundscapes have been described as a counterpoint to his intense Metal Machine Music album—but they are similar outliers in Reed’s 40+ year exploration of drone music and feedback harmonics.

The album has been remastered by the GRAMMY®-nominated engineer John Baldwin with vinyl pressed at Record Technology Inc. (RTI). The Double LP set is presented in a gatefold jacket designed by GRAMMY®-winning artist, Masaki Koike and features new liner notes by renowned Yoga instructor and author, Eddie Stern, who guided Reed’s practice for years. Also included in the physical editions is a fascinating conversation conducted earlier this year between author/journalist Jonathan Cott (Rolling Stone, The New Yorker) and Reed’s wife, artist Laurie Anderson, who discusses the album, as well as her husband’s devotion to Tai Chi – one of the album’s primary inspirations.

Hudson River Wind Meditations marks the latest release in LITA’s Lou Reed Archival Series. Launched in 2022 in tandem with the late artist’s 80th birthday, the ongoing series has celebrated one of America’s most influential songwriters through such acclaimed collections as Words & Music, May 1965 featuring many of Reed’s earliest (and previously-unreleased) recordings, including the earliest-known versions of “I’m Waiting for the Man” and “Pale Blue Eyes.”

STAFF COMMENTS

Barry says: Though Lou Reed is almost certainly best known for his pioneering solo work or membership of the Velvet Underground, he had a storied and capable history with drone and ambient music too. This, his gorgeous final offering sees Reed smash out a beautiful selection of meticulously rendered organic drones and Tai Chi-friendly swells. It's lovely.

TRACK LISTING

SIDE A: “MOVE YOUR HEART”
SIDE B: “MOVE YOUR HEART – PART II”
SIDE C: “FIND YOUR NOTE”
SIDE D: “FIND YOUR NOTE – PART II”, “HUDSON RIVER WIND (BLEND THE AMBIANCE)”, “WIND CODA”

Soul Jazz Records’ ‘200% DYNAMITE!’ set the benchmark for reggae-meets-funk compilations that has never been bettered. Jam-packed with reggae tunes that crossed over to become dancefloor hits, such as Tenor Saw’s soundboy anthem, ‘Ring the Alarm’, K.C. White’s classic cut of the seminal ‘No, No, No’ and Augustus Pablo’s ‘Rockers Rock’, ‘200% DYNAMITE’ explores the links between reggae, jazz, funk and soul.

Carrying on perfectly from ‘100% DYNAMITE’, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music.

Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo.

New bonus tracks on this updated 2023 edition include seminal dancehall party cuts Sister Nancy’s ‘One Two’ and Chaka Demus and Pliers’ ‘Murder She Wrote’, alongside classic soul to reggae covers including cuts of Marlena Shaw’s ‘Women of the Ghetto’ and Odyssey’s ‘Don’t Tell Me Tell Her’.

“In Soul Jazz’s outstanding ‘DYNAMITE!’ series, ‘200%’ is the head turner. The label has its finger on the pulse of the now just as surely as it does on that of the past.” - Pitchfork

TRACK LISTING

Augustus Pablo - Rockers Rock
K.C. White - No No No
Tenor Saw - Ring The Alarm
Johnny Osbourne - Bewitched
Pinchers - Agony
The Abyssinians - Mandela
Sister Nancy - One, Two
King Tubby Meets Tommy McCook And The
Aggrovators - King Tubby Dub
Chaka Demus & Pliers - Murder She Wrote
Johnny Osbourne - Ready Or Not
Jackie Mittoo - Earthquake
Sandra Reid - Don't Tell Me Tell Her
The Skatalites Meet King Tubby - Herb Man Dub
Kim Harriott - Woman Of The Ghetto

In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk’s year zero with ‘Anarchy In The UK’, a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you’d hope. He reverted to his real name – John Lydon – and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group was Public Image Limited. The public image would be limited.

PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that’s not to say Lydon’s new outfit lacked vitriol. ‘Public Image’ hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image – “You only saw me for the clothes I wore”.

The debut single (and the album that followed) operated as a theme song and a manifesto: “…my entrance/My own creation/My grand finale/My goodbye,” as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio – and not caring what anyone else thought.
The album was never officially released in the USA back in the day, its sound considered too un-commercial by major labels for an American release.

TRACK LISTING

Theme
Religion I
Religion II
Annalisa
Public Image
Low Life
Attack
Fodderstompf
The Cowboy Song (LP Download Card)
Interview W/ John Lydon, 1978 (LP Download Card)

Organ Drenched Proto-Prog! Enter a garden of progressive celestial harmonies, tight bass grooves, and organ-drenched solos that ripple through the band's 1971 sophomore release Given more room to freely experiment, Gypsy brings even more latin- favored progressive rock through frontmen and principle songwriters James "Owl" Walsh and Enrico Rosenbaum's wildly creative minds.

TRACK LISTING

Around You
Reach Out Your Hand
As Far As You Can See
Here (In The Garden) Part One
Here (In The Garden) Part Two
Blind Man
Time Will Make It Better

Heart People (Ryan Grieve & Rachel Rutt) is a duo born from a love of Italo Disco, New Beat, and Balearic energy.

For the past two decades, Grieve has impacted underground music on many fronts; founding the Aussie record label HOLE IN THE SKY (featuring early music by Tame Impala, Canyons, Bell Towers, among others), releasing music (alongside Leo James) as Canyons (modular / DFA), and putting out new beat dance floor destroyers under the moniker ABSOLUTE UNITY.

With Heart People, we witness Grieve’s natural born gift of production in perhaps its most ideal setting.

Alongside Rachel Rutt (also Grieve’s life partner) we find a sound that is equally as relevant dancing in the club as it is laying in the sunshine.

Their debut EP, Homecoming (2017) was received with critical acclaim and featured remixes from Toulouse Low Trax, Mr TC, and the late, great Andrew Weatherall.

Here on ADRIATICA, we find the duo setting out on a conceptual journey in search of an oceanic paradise.

TRACK LISTING

A1. In Your Eyes
A2. Adriatica
B1. Secrets
B2. Angel

At the end of the 1970s, Manchester seemed to be sliding into the dustbin of history. Today the city is an international destination for culture and sport, and one of the fastest-growing urban regions in Europe. This book offers a first-hand account of what happened in between.

Arriving in Manchester as a wide-eyed student in 1979, Andy Spinoza went on to establish the arts magazine City Life before working for the Manchester Evening News and creating his own PR firm. In a forty-year career he has encountered a who's who of Manchester personalities, from cultural icons such as Tony Wilson to Manchester United manager Sir Alex Ferguson and influential council leaders Sir Richard Leese and Sir Howard Bernstein. His remarkable account traces Manchester's gradual emergence from its post-industrial malaise, centring on the legendary nightclub the Hacienda and the cultural renaissance it inspired.

Manchester unspun begins in the gloom of a city still bearing the scars of the Second World War and ends among the shiny towers of an aspiring twenty-first-century metropolis. It is an insider's tale of deals done, government and corporate decision-making, nightclubs, music and entrepreneurs. -- .

The sophomore and final studio album from punk icons - X-Ray Spex.

The highly sought after album received a very limited CD only release in 1995 on Receiver Records in the UK and has been officially unavailable for the past 27 years!

The album reunited the iconic X-Ray Spex vocalist - Poly Styrene with original X-Ray Spex saxophonist - Lora Logic and bassist - Paul Dean, as well as guitar from Kula Shaker frontman Crispian Mills under his then pseudonym Red Spectre.

This release has been remastered from the original master tapes and is available on LP for the first time ever! Including the original and expanded artwork, including previously unpublished lyrics and original sleeve notes from Poly.

Pop culture is full of classic albums that slip between the cracks. In recent years the late Poly Styrene and X-Ray Spex have achieved iconic status with their 1978 debut ‘Germfree Adolescents’ album but the group’s follow up album 'Conscious Consumer’ released 17 years later has been lost to the sands of time.

These days most people don’t even realise that X-Ray Spex had a follow up to what is now embraced as one of the classics of the punk rock period. This lovingly compiled revisit puts the spotlight on a lost gem that has many of the hallmarks of the debut but is sieved through a different lens. ‘Conscious Consumer’ was an upgrade of the classic debut with a same punk rock urgency and themes of consumerism but with a poppier edge and a more considered wisdom gleamed from the ups and downs of life from the perspective of an older, wiser, Krishna devotee.

In 1995 the album was an unexpected comeback and a lost classic. It was the first new material recorded by the band for years despite many of the songs being written a decade before. On release, though, the album disappeared into a void being out of sync with the times and before Poly got her deserved iconic status.

The band who also re-formed in 1991, 1995 and 2008 are now revered worldwide for sparking a new kind of attitude in music. The late Poly is now a pop culture pin-up for an originality and feminism that barely existed at the time. Her acerbic, witty and brilliant lyrics and distinctive voice have stood the test of time, and along with the band’s original sax player Lora Logic, she has become part of the punk rock narrative. The fuzzy snapshots of the brief early lineup see the sassy and sharp dressed teenager core oozing talent, originality and style in a freeze frame of pop culture punk rock perfection.

Listening to the album again after a long break, Paul Dean is surprised.

“‘Conscious Consumer’ now sounds so much better than I remember. It wasn’t properly released at the time and so no one knows about it. If you love Germfree Adolescents you will love ‘Conscious Consumer’ they are linked together. X-Ray Spex didn’t have just one great album it was two!”

TRACK LISTING

Side A
1. Cigarettes
2. Junk Food Junkie
3. Crystal Clear
4. India
5. Dog In Sweden
6. Hi Chaperone
Side B
7. Good Time Girl
8. Melancholy
9. Sophia
10. Peace Meal
11. Prayer For Peace
12. Party

Panda Bear & Sonic Boom, the duo of Noah Lennox and Peter Kember, release Reset in Dub, a dub version of their acclaimed 2022 LP Reset, featuring reworkings of all nine tracks by the legendary British dub producer Adrian Sherwood, via Domino. Sherwood created his version of Reset at his On-U Sound Studios with a crew that included such storied musicians as Doug Wimbish and Skip McDonald of the Sugarhill Gang and Grandmaster Flash and The Furious Five, as well as Prisoner, Alex White, Horseman, Mark Bandola, “Crucial” Tony, Ras Badthings, Ivan “Celloman” Hussey, and Mathew Smythe. “One of the primary influences on Reset was Jamaican rocksteady and it seemed like an interesting idea to explore taking it back to that sort of tropical root,” says Kember.

“I like big empty spaces; I like malls when there's no one there and the beach in the wintertime - visually it’s simple and uncluttered and the noise of the surf drowns out everything else, so I suppose it's no surprise I've always liked the sound of dub,” says Lennox, “and though some stuff bears its mark more than others I'd wager you can find residues of it in everything I've done. As a fan of Adrian’s I was excited when Pete suggested we ask him to do some dubs of Reset tracks, but as they started to come through it was clear what he was working on was much more than a dub. Reset in Dub feels like the thing filtered through a prism and it recontextualizes the OG.”

“This is a complete reset of Reset from myself and the On-U Sound crew,” says Sherwood. “Being a fan of Animal Collective and Spacemen 3, when it was suggested we do this together I loved the idea and relished the challenge. We talked about influences, old records, mixing techniques and made a plan, which was to keep all the elements of trippy fun, but with added menace, groove and an ultra active mix for the ‘heads.’ Very happy and proud of the result.”

STAFF COMMENTS

Barry says: A brilliant flipside to PB & SB's already superb Reset album. You just know a suite of dubs put together by the great Adrian Sherwood is going to be a great time, and with such stallar source material it's no surprise that it's turned out this well. Rich, cosmic dubby madness.

Ishmael Ensemble return with another mighty south-west link up this time handing the controls to dub & roots music legends Dubkasm.

As soon as Ishmael Ensemble finished their collaborative ‘New Era’ EP with Rider Shafique, bandleader Pete Cunningham knew he wanted to have it remixed in the classic dub-style; and who better to enlist than Bristol’s finest, DJ Stryda & Digistep aka Dubkasm.

Following in the well worn footsteps of dub legends such as King Tubby, Mad Professor & Scientist - Dubkasm rework and authentically dub the original recordings and warp them into a sound-system ready collection of heavy hitting, deep sonic explorations complimented perfectly by Rider’s iconic voice and potent, thought provoking lyricism.

TRACK LISTING

1. New Era (Vocal Mix)
2. New Era (Dub Mix)
3. Reasons (Vocal Mix)
4. Reasons (Dub Mix)

With his handlebar mustache and booming baritone, Lee Hazlewood was one of the defining stars of the late ‘60s. Though he’s perhaps best known for his work with Nancy Sinatra (including writing mega-hit “These Boots Are Made For Walking”), Hazlewood did stunning work away from that particular glamour queen and found latter-day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record Store Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology, Singles, Nudes & Backsides, collecting the best of Lee’s solo songs and duets from his LHI (Lee Hazlewood Industries) imprint.

As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo-laden pop masterpieces, Lee’s influence continues to reverberate today. Between 1968-71, Hazlewood not only released his finest solo work but produced numerous artists on LHI. From acid-folk and country-rock to pop-psych and soul, LHI issued dozens of long-forgotten 45s and LPs. This series will include material from LHI (re-mastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, and unreleased gems.

See the sleeve: surrounded by nude girls, each wearing a fake mustache, Hazlewood wears a suit, ever-so-slightly awkwardly playing the role of the ‘60s playboy. Just like the picture, the songs present a man conflicted; he’s the tender-hearted romantic, the broken-hearted loser and the rugged cowboy, all in one. It’s there in the western swing of “Califia (Stone Rider)”, the loneliness of ”The Bed” and the bleak beauty of ”If It’s Monday Morning.” Hazlewood’s tremulous voice was made for duets (indeed, he wrote ”Some Velvet Morning”, one of the greatest of all time); here, Suzi Jane Hokom, Ann-Margret and Nina Lizell play counterpart to his manly tones.

In the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as “a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people.” The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first-ever solo performance in the UK.

A natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the ‘50s, working as a big-shot LA producer in the ‘60s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid-‘60s British invasion. He didn’t: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the ‘70s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latter-day interest in his work. This landmark compilation promises to create many more converts.

TRACK LISTING

1. Califia (Stone Rider) - Featuring Suzi Jane Hokom
2. The Bed
3. Sleep In The Grass - Featuring Ann-Margret
4. Leather And Lace - Featuring Nina Lizell
5. If It's Monday Morning
6. The Night Before
7. Bye Babe
8. Victims Of The Night - Featuring Ann-Margret
9. Chico - Featuring Ann-Margret
10. Hey Cowboy - Featuring Nina Lizell
11. No Train To Stockholm
12. Won't You Tell Your Dreams
13. Nobody Like You - Featuring Suzi Jane Hokom
14. Trouble Maker
15. What's More I Don't Need Her
16. Come On Home To Me
17. I Just Learned To Run

By the end of the 1960s Lee Hazlewood’s LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success “Boots” had promised. Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brännvin...Sweden was calling.

Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee’s journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood’s orchestral melancholy country pop songs. Recorded over a prolific globe trotting three year period, Lee’s peak on LHI records was ironically the label’s swan song.

TRACK LISTING

Pray Them Bars Away (24 Bit)-lee Hazlewood
Leather And Lace (24 Bit)-lee Hazlewood _ Nina Lizell
Forget Marie (24 Bit)-lee Hazlewood
Cold Hard Times (24 Bit)-lee Hazlewood
The Night Before (24 Bit)-lee Hazlewood
Hey Cowboy (24 Bit)-lee Hazlewood _ Nina Lizell
No Train To Stockholm (24 Bit)-lee Hazlewood
For A Day Like Today (24 Bit)-suzi Jane Hokom
Easy And Me (24 Bit)-lee Hazlewood
What's More I Don't Need Her (24 Bit)-lee Hazlewood
Vem Kan Segla (i Can Sail Without The Wind) (24 Bit)-lee Hazlewood _ Nina Lizell
Me And The Wine And The City Lights (session Outtake) (24 Bit)-lee Hazlewood
First Street Blues (session Outtake) (24 Bit)-suzi Jane Hokom
Pray Them Bars Away (alternate Version) (24 Bit)-lee Hazlewood
Easy And Me (alternate Version) (24 Bit)-lee Hazlewood
For A Day Like Today (take 1) (24 Bit)-suzi Jane Hokom
First Street Blues (take 1) (24 Bit)-suzi Jane Hokom
Leather And Lace (alternate Vocal Mix) (24 Bit)-lee Hazlewood _ Nina Lizell
The Night Before (mono Single Mix) (24 Bit)-lee Hazlewood
What's More I Don't Need Her (instrumental) (24 Bit)-lee Hazlewood
Pray Them Bars Away (take 7 Instrumental) (24 Bit)-lee Hazlewood
Easy And Me (take 5 Instrumental) (24 Bit)-lee Hazlewood
Cold Hard Times (take 4 Instrumental) (24 Bit)-lee Hazlewood
No Train To Stockholm (instrumental) (24 Bit)-lee Hazlewood
Me And The Wine And The City Lights (instrumental) (24 Bit)-lee Hazlewood
Hey Cowboy (instrumental) (24 Bit)-lee Hazlewood

Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin’ Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite “Baby”) with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces).

Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo’s classic songs for the film, including their debut single, “Thoughts in My Mind.” The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label.

The soundtrack also includes “When A Dream Is Beautiful,” a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film’s music producer and multi-GRAMMY® winner Dave Cobb.

A true story of love and redemption, Dreamin’ Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album’s rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame.

Named for the brothers’ 1979 debut album, Dreamin’ Wild is a River Road – Innisfree Production, produced by Academy Award®-winner Jim Burke, Academy® and Emmy®-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmy®-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller.

TRACK LISTING

Good Time - Donnie & Joe Emerson
Kids To School - Leopold Ross
Baby - Donnie & Joe Emerson
Donnie Rehearsal Tape - Donnie Emerson & Leopold Ross
Dream Full Of Dreams - Donnie & Joe Emerson
NY Times Montage - Leopold Ross
China Grove - Noah Jupe
Thoughts In My Mind - Noah Jupe
Tender Is The Night - Donnie Emerson
Don't Go Lovin' Nobody Else - Donnie & Joe Emerson
Rehearsal Freakout - Leopold Ross
Give Me A Chance - Noah Jupe
Photoshoot - Leopold Ross
When A Dream Is Beautiful - Donnie Emerson & Nancy Sophia Emerson

In 1968, The Electric Prunes collaborated with classically-trained musician David Axelrod to create "Mass in F Minor", a religious-based rock opera. Even though the album is a head-scratcher side by side (BY SIDE!) with their previous records, this has become one of the era’s most bizarre and hypnotic releases. Sung in Latin with the band hanging onto Axelrod’s ambitious arrangements; you’ve never heard anything like it. It created enough of a cultural mark that the lead track ‘Kyrie Eleison’ was even used in the movie that defined the late 60’s generation, Easy Rider. 1968 Psychedelic Concept Record Arranged By David Axelrod. Cut from the Original Analog Master tapes by Kevin Gray. ‘Kyrie Eleison’ featured in the movie and soundtrack for Easy Rider.

TRACK LISTING

1. Kyrie Eleison
2. Gloria
3. Credo
4. Sanctus
5. Benedictus
6. Agnus Dei 

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Double LP pressed on special limited edition ‘Smash Color’ wax. Non-Returnable. Featuring new cover art by renowned British artist Sophy Hollington. Booklet with track–by–track notes by Lydia Hyslop.

For more than 20 years, acclaimed reissue label Light in the Attic Records has shined a spotlight on some of music’s most unique — and often forgotten — voices. But reviving these long-out-of-print recordings is only half of the process. “We believe that an essential component of archival work, aside from simply honoring the music, is to seek ways in which to bring fresh perspectives, context, and reverence to the original artists and their work,” says LITAfounder, Matt Sullivan. Thus, LITA’s acclaimed cover series was born, in which contemporary acts pay homage to their favorite LITA artists and songs. Spanning more than a decade, 20 of these inspired cover songs will be available together for the very first time, exclusively for Black Friday (November 24) on the 2xLP Light in the Attic & Friends.

From Charles Bradley & The Menahan Street Band covering Detroit singer-songwriter Sixto Rodriguez and Mac DeMarco performing a song by Japanese icon Haruomi Hosono, to Iggy Pop & Zig Zags honoring funk queen Betty Davis, and Ethan & Maya Hawke covering country great Willie Nelson, these performances bridge the gap between generations, languages, and musical traditions.

TRACK LISTING

1. Charles Bradley & The Menahan Street Band - I'll Slip Away,
2. Sweet Tea - After Laughter (Comes Tears),
3. Vashti Bunyan & Devendra Banhart - How Could You Let Me Go
4. Barbara Lynn - We'll Understand
5. BADBADNOTGOOD Feat. Jonah Yano - Key To Love Is Understanding
6. Iggy Pop & Zig Zags - If I'm In Luck I Might Get Picked Up
7. Mozart Estate - Low Life
8. Leslie Winer & Maxwell Sterling - Once I Was
9. Ethan & Maya Hawke - We Don't Run
10. Gold Leaves - Won't You Tell Your Dreams
11. Swamp Dogg, John C. Reilly, Jenny Lewis & Tim Heidecker - The Kneeling Drunkard's Plea
12. Silas Short - You've Become A Habit
13. Mac DeMarco - Honey Moon
14. Cameron Bethany - Send It On
15. Roedelius - Le Chant Des Fauves
16. Roedelius - Same Old Man
17. Angel Olsen - Something On Your Mind
18. Mary Lattimore - Blink
19. Acetone - Plain As Your Eyes Can See
20. Steve Gunn & Bridget St. John - Rabbit Hills

Holger Hiller presented his solo debut having left Palais Schaumburg. Originally released in 1983 on the Düsseldorf scene label Ata Tak, an international release followed in 1984 via Cherry Red Records. Combining electronic sequencer sounds and sampling fragments with unconventional lyrics its multidisciplinary approach locates it somewhere between the pop and avant-garde. Bureau B is now making the work accessible again on its 40th anniversary.

DELUXE LIMITED COLLECTOR'S EDITION: Enclosed in a protective slipcase debossed with foil, including several frameable reproductions of rare memorabilia:
- A never-before-published photograph of Johnny Cash performing at a private event in Knoxville, TN, in April, 1975
- A reproduction of the Cash coat of arms, hand-drawn and lettered by Cash, with reflections on its meaning
- A double-sided reproduction of Cash's handwritten lyrics for "Flesh and Blood" with ornamental drawings and a special note to June Carter
- An access code to listen to never-before-released audio comments by Cash.

This book marks the first time Johnny Cash's 60 years of songwriting have been collected anywhere. Cash is one of the most beloved and influential country-music stars of all time, having composed more than 600 songs and perhaps best known for blending country, rock, blues, and gospel in his music, ushering in the countrypolitan and Outlaw country movements.

An essential collectible that sheds new light on Cash's life and work, this oversize and sumptuously designed book includes rare and never-before-seen visual material alongside stories and commentary from Cash's son, John Carter Cash, Mark Stielper, Cash and Carter family historian, and others. Released the year of the twentieth anniversary of the legendary musician's passing, it will be a landmark moment in music publishing.

This publication marks the first time the Cash Estate will open its archive to help lovers of his music understand his timeless songs in a new light, and to share the stories behind their creation. Public Historian Dr. Brian Dempsey will oversee the visual contributions.

This book marks the first time Johnny Cash's 60 years of songwriting have been collected anywhere. Cash is one of the most beloved and influential country-music stars of all time, having composed more than 600 songs and perhaps best known for blending country, rock, blues, and gospel in his music, ushering in the countrypolitan and Outlaw country movements.

An essential collectible that sheds new light on Cash's life and work, this oversize and sumptuously designed book includes rare and never-before-seen visual material alongside stories and commentary from Cash's son, John Carter Cash, Mark Stielper, Cash and Carter family historian, and others. Released the year of the twentieth anniversary of the legendary musician's passing, it will be a landmark moment in music publishing.

This publication marks the first time the Cash Estate will open its archive to help lovers of his music understand his timeless songs in a new light, and to share the stories behind their creation. Public Historian Dr. Brian Dempsey will oversee the visual contributions.

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early ’60s as a part of New York’s vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC’s loft era—he is, simply put, free jazz royalty. In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, “This performance was something of a turning point for Graves. Until then he had been working in other people’s bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven.” Originally released on the artists’ own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves’ music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, “Time was always there, and the time I see is not the same as what man says time is. It works by impulsion.”

TRACK LISTING

1. P.G. I
2. P.G. II

Recorded in 2022 for the BBC Gideon Coe show whom put The Delines previous album The Sea Drift as his best album of 2022. This is the band’s first Christmas track, and a classic Willy Vlautin one it is too, released just in time to battle it out for a Christmas Number 1. The single features two other exclusive tracks that will also not feature on the next album.

TRACK LISTING

Side A: Christmas In Atlantis 5:28
Side B1: Waiting On A Bus Out Of Dallas (exclusive To Vinyl Only) 2:28
Side B2: San Leandro Lament 3:27

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Collection of rare and previously unreleased demo recordings of some of Stax Records’ biggest hits, with the highlights from "Written In Their Soul: The Stax Songwriter Demos". Featuring original demos of the hit singles “634-5789 (Soulsville, USA),” “If You’re Ready (Come Go With Me),” “Woman to Woman,” and “Respect Yourself” . Pressed on Orange Crush vinyl.

London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al).

“Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting.

STAFF COMMENTS

Martin says: Urgent, energised and utterly compelling debut from Joanna Gruesome offshoot; a motorised, razor sharp fusion of chiming guitars, folk stylings and punk fire that might just owe a lot to Hüsker Dü. Or, even if it doesn't, it scratches the same buzzsaw pop itch. "Wretched Lie", which closes the LP, is a nailed on classic.

TRACK LISTING

1. Illusion Pt. II
2. Two-Person Love
3. I Don’t Know How It Works
4. Dead Meat
5. Sniveller
6. Duped
7. That’s Fine
8. Round The Bend
9. Wretched Lie

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In Concert 1972 is a double live album by sitar virtuoso Ravi Shankar and sarodiya Ali Akbar Khan, which was produced by George Harrison, Zakir Hussain and Phil McDonald. It is a noted example of the two Hindustani classical musicians’ celebrated duet style of playing, with accompaniment from tabla player Alla Rakha.

Following Shankar’s death in December 2012, David Fricke of Rolling Stone included In Concert 1972 as one his recommended recordings by the sitarist, writing: “This wonderful recording comes from a show at New York’s Philharmonic Hall with a dream team: Ali Akbar Khan on sarod and Alla Rakha on tabla. One of the three pieces, “Raga – ManjKhamaj,” totals almost an hour, enabling you to get much closer than on most Shankar albums of the period, to the natural extension and patient exploration of an Indian classical-music evening.” Originally the final Shankar-related release on the Beatles’ Apple label, it is reissued here as a limited Record Store Day Black Friday release by Dark Horse Records, which was started by George Harrison in 1974.

TRACK LISTING

Side A
1. Raga – Hem Bihag

Side B
1. Raga – Sindhi Bhairavi

Side C
1. Raga – ManjKhamaj (Pt. 1)

Side D
1. Raga – ManjKhamaj (Pt. 2)

Sweden’s Peder Mannerfelt returns to Voam with “The Benefits Of Living In A Hole”, his third EP for the label and in our humble opinion, his best yet.

Opening with the bat shit crazy but totally engrossing "Pumping Plastics" which features his trademark wild squealing synthesis coupled with precision rhythmic prowess. "Vanklemotor" refining this formular to a highly combustible rendition of techno that's patent protected by Mannerfelt's very own sonic lab.

"Eurtrashed" sees him explore more deranged and dark machine realms, spewing and gurgling what feels like a pneumonic level of mainframe phlegm across pounding technoid beats and alien chatter. "Liquid Ratten Mainframe" lets the gremlins out of the cage for some inhuman conversation which is indecipherable by our meagre human ears but surely suggests some higher form of interplanetary communication that we're not quite privy to yet. 

TRACK LISTING

A1. Pumping Plastics
A2. Vankelmotor
B1. Eurotrashed
B2. Liquid Rattan Mainframe

Preston’s unholiest sons Evil Blizzard return with their most furious, compelling and diverse album to date, released on their own Crackedankles label, (which has recently branched out into releasing the likes of Hotwax, Thank, Bad Guys and TV Face.) Following the critical and commercial success of their last album ‘The Worst Show On Earth’ the band took a year off after that tour to recoup. And then got back together in March 2020, just in time for… another enforced year off. They did, however, release ‘The Very Best Of Evil Blizzard’ on vinyl, which was completely blank. And sold out in less than a day.

The new album, their fifth, was written during and post lockdown and ‘reflects the claustrophobia, fear and paranoia of those days’ according to guitarist (not bassist!) Filthydirty. ‘The band has changed. One of our 4 bassists Kav left and we were joined by Fleshcrawl (aka Mr. Dibs, Hawkwind’s vocalist and bassist for over 12 years). Kav was inimitable as a musician, so it never crossed our minds to try and ‘replace’ him, so when Fleshcrawl scurried in he brought a whole new range of sounds and toys to the sandpit. Also, we’d run out of sonic space to play with, having just the basses, and everything had got a bit stale - so I switched to lead guitar which brought a whole new range of possibilities.

'The new album is much more representational of the band’s record collections: it retains the ‘Sabbath-meets PiL-meets Killing Joke’ sound found on the band’s earlier albums, but now encompasses dub, goth and electronica in its 8 tracks, with clear nods in the general direction of Sonic Youth, Jane’s Addiction, Leftfield and The Mission. As opposed to all previous albums which were recorded live in one or two takes, this album took over three months with the band meticulously de-structuring songs ‘that sounded too much like pop songs’ resulting in an album that is uncomfortable yet still accessible.

STAFF COMMENTS

Barry says: The North West's own Evil Blizzard return for their new LP, adding a load of guitar and marginally less bass! There are elements of electronica in here and nods to classic synth music, there are precise cuts and meticulously produced interludes but it is all the better for it, this is a band who've found their sound.

Based in Malmö, Sweden, Den Osynliga Manteln (The Invisible Cloak) comprises producer duo Ola Sandberg and Fredrik Grönvall.

They describe their intention as making albums that tell stories and make journeys through textures and soundscapes of fictional places and spaces. With one foot in the past and the other in the future, the music is created to conjure both nostalgia and activate the imagination of what’s not yet here, touching both the known and the unknown.

If Under Grön Himmel has an apocalyptic feel, it's reflective of our tumultuous times which pulled the music into a different and darker post-pandemic territory than their stunning debut. "Insekstfolk" (CiS, August 2021).

The title translates to "Under Green Skies" which points to the melancholy but also, the potential beauty of our doomsday. The fever dream depicts an alternate reality, a different planet, some kind of shift. A turbulent place, a fugue state, a death of sorts.

At the same time there’s a psychedelic undertone to the record, a transformational arc spanning from the first hiss to the last. The titles of the songs align with this theme, translating roughly as "Glitter Mountains", "Purple Forest", "Movement of the Hills", "Triple Moon", "The Planet Whisperer" and "Triple Sun"

An array of analog synthesizers and electrical organs rescued from flea markets meets tape hiss, saxophones and a hidden vibraphone. Drum kits, electric bass and guitars, the occasional vocals dubbed with an eighty year old piano and glittering bells. Under Grön Himmel has layers of dust from the distant past yet it arrives here in a polished chrome vessel from the future. It's like Neu! broke out the jazz chords and the whole album has an un-graspable quality that's hard to define. Like a benevolent psychedelic mist, it’s here to hold you at the end of times and celebrate its beauty.

Ola Sandberg is a Swedish producer based in Malmö — a multi-instrumentalist with a masters degree from the Royal College of Music in Stockholm and a deep love for sound. As well as sound installations, film scores and collaborations (making up one half of Den Osynliga Manteln), Ola has an ongoing solo project called Osynliga Rum, or Invisible Room, which is also the title of the first record coming out of this project. Invisible Room circles around the idea of using music making and sound as ways to explore the audible qualities of architecture, while also using architecture to explore sound, and having it guide and shape the music being made. Sandberg was influenced and inspired by, to name a few, Paul Horn's sonic experiments in both Inside the Taj Mahal and Inside the Great Pyramid, Pauline Olivero playing in a huge underground silo in Deep Listening, and Alvin Lucier's acoustic explorations in I Am Sitting in a Room.

Invisible room was created and recorded in St John’s Church in Malmö during March of 2021 using a modular, analog synthesiser, speakers and microphones. Building on the premise that the essence of a room, the space it holds, is invisible but audible — the music was created with the purpose of exploring and activating the sonic aspects of the room, aiming for a non hierarchical relationship between room and sound. Many nights were spent alone in this church and over eight hours of music was created and recorded.

A command across genres has distinguished Yasushi Ide’s work as a DJ and producer since emerging from the multiscene spawning big bang that was Tokyo’s highly influential club milieu of the 1980s. His productions draw variously from hip-hop, dub, house, punk, jazz dance, exotica and electronic music - and at their most expressive, synthesize sensibilities within a single track. The respect Ide’s earned is well evident in the impressive roll call of collaborators he’s accrued over the years - Masters At Work, Tom Verlaine, Don Letts, James Chance, DJ Krush, Pharaoh Sanders, U-ROY, and Bongo Herman, just to name a legendary few.

Now available for worldwide distribution from Love Injection Records in both digital and 7-inch 45 vinyl formats, the Yasushi Ide “A Place In the Sun (Kaoru Inoue Remix)” is paired with the equally gorgeous “A Place In the Sun (Dub).” On the former, Inoue’s treatment largely strips away the track’s beats, anchoring it to a subtle percussion pulse that emphasizes the composition’s irresistible melodic qualities. The latter finds Yoko Ota at the controls restoring and pushing reverb-soaked drums to the forefront of the mix, accentuating Ide’s affection for the sound system aesthetic while exercising just the right amount of spacial arrangement flourishes to inject some brawn amidst the beauty.

These serendipitously rediscovered renditions of a back catalog deep cut are just the latest examples of Yasushi Ide’s artistic reach. In addition to recording such acclaimed albums as 2020’s Cosmic Suite and its 2022 sequel (for which Love Injection has remixed a track), his work has spanned music supervision of some 200+ compilations for major labels, artist management, his Grand Gallery shop/gallery proprietorship, and books showcasing the depth of his archival sensibilities, including vintage t-shirt and ephemera curation. Perhaps most inspiring, however, is that Ide is still winning new appreciators and collaborators in unexpected ways four decades into a revered career that continues to evolve and expand.

TRACK LISTING

1. A Place In The Sun (Kaoru Inoue Remix 45 Edit)
2. A Place In The Sun (Dub) 

Conducta is a trailblazer of the UK Garage scene, having first garnered mainstream attention through his production of AJ Tracey’s ‘Ladbroke Grove’.

The Bristol producer heads up his own Kiwi Rekords, which has been crowned both as DJ Mag’s Breakthrough Label of 2019 and Best Label of 2020; through Kiwi Rekords, he’s put out a series of mixes, releases and parties.

‘In Transit’ is Conducta’s latest EP, and his first ever vinyl EP, available to independent retailers on yellow coloured vinyl.

Having travelled extensively over the past year, namely back and forth between London and Stockholm, Conducta found creativity in the fluidity of movement and exploration: a chance to get creative whilst quite literally, in transit.

Lead track ‘Gold’ sees Conducta rapping and featuring on his own record for the first time. Conducta on the track: “‘Gold’ for me was the perfect way to round off the EP. I wanted to get in a club/breaks influence, whilst also infusing the ‘In Transit’ concept by introducing sounds from the SWANA region. BIJI, who I met in Stockholm, really sparked a new sense of creativity, which you can hear with the Kurdish influence on the song, with me debuting my first verse. This song was a salute to London and UK culture, but also tapping into BIJI’s Kurdish heritage.”

TRACK LISTING

1. Get Busy With It (feat. Novelist)
2. 3FALL
3. Stratus
4. Vectra (feat. Paul Stephan)
5. Gold (with BIJI)
6. Vectra (feat. Paul Stephan) (Skeptic Remix)
7. Gold (with BIJI) (Saliah Remix)
8. Gold (with BIJI) (Tim Reaper Remix)

Following on from the release of their highly praised 2020 LP ‘Darkness Brings Wonders Home’, which was applauded by the likes of Mojo, Clash Magazine, Q and many more, alt - folk duo Smoke Fairies return once again to announce the details behind their sixth studio album ‘Carried In Sound’, previewed by the wondrous new single “Vanishing Line”.

Continuing to pursue more of that warm and ethereal aesthetic the pair have cultivated since their earliest beginnings, “Vanishing Line” makes for a wonderfully warm and emotive introduction to their next full length release. Accompanied by a cinematic video, the new offering tackles the difficult and intimate feelings loss and grief can have on a person and those around them.

A sense of inner strength dominates the new record. In keeping with the times that bore it, ‘Carried In Sound’ isn’t afraid to discuss darkness but everywhere there is a longing for light. “Although the album has themes of sadness on there, it’s looking at those things from a place of strength, ” says Jessica.

"We're really excited to announce a new record, carefully home crafted to represent our core sound, with notes of reflection, grief and joy, we hope you find it an emotive, rewarding experience to listen to."

To celebrate the release of ‘ Carried In Sound’, Smoke Fairies will also embark on an intimate five date tour across the UK taking in spectacular churches and ruins.

STAFF COMMENTS

Barry says: Smoke Fairies are back! While their latest clearly wades in the same waters as the rest of their superb canon, it seems like they're drawing from a wider influence pool. With their trademark alt-folk veering in parts into deep psychedelia and airy melacholic country. Lovely stuff.

TRACK LISTING

1. Vague Ideas
2. Vanishing Line
3. Carried In Sound
4. There Was A Hope
5. Seek It With Me
6. Sticks And Stones
7. Part Of It All
8. 2022
9. Perseus
10. Come To My Mind
11. Seek It With Me (instrumental) 

"Remains" is the debut album from composer and sound artist Will Gardner.

Will has worked extensively behind the scenes as an arranger, orchestrator and pianist in both Berlin and London, arranging strings for alt-J, Daughter, Låpsley and Madness. This debut solo work explores the experience of caring for his father through the final stages of Parkinson’s dementia.

The album is both an aural imagining of the dementia experience (it’s memory slippages, disturbances, delusions and paranoias) and also a deeply personal account of grieving for a parent, and what it means to grieve for someone who is still alive.

The composition process started after Will began reading from his Dad’s personal diaries which stretched back over twenty years. The exploration of memory through music is a constant thread throughout the album.

“I became quite preoccupied with the idea of memory whilst reading the diaries and caring for my Dad (who’s own memory was faltering). I was thinking about where memories belong, who do they belong to, what does it mean to ‘share’ a memory, and where do they go, shared or otherwise, if they are ‘lost’?”

Will began to compose themes using extracts from his dad’s diaries. Fragments of the text were used to derive the rhythms and melodies on which the tracks are built. Through this process, a sort of translation occurred: the immediate meaning became lost, but an imprint of it remained within the music.

The old family piano keeps returning as a presence throughout Remains - a seared memory alongside strings, voices and other indiscernible textures, often altered and disfigured through digital effect chains. Ideas repeat themselves. Moments of clarity fall away into fog; sounds glitch in and out of focus and are distorted almost beyond recognition. Signals of separate audio chains influence each other, morphing together in an uncanny conversation - mirroring the deterioration and disorientation brought on by the disease.

Despite the gloom, however, there is a softness that underpins these nightmares. “Whilst trying to capture this dark and incoherent internal world that my Dad was experiencing, I noticed that I kept returning, somewhat counter-intuivately, to quite delicate, soft sounds. I realised that these sounds were like seeing my own reflection emerge within the work - my own sense of concern for what he was going through and my own grief for what was being lost day by day."

"Remains" deals with a raw, complex subject from multiple angles, slipping back and forth between Will’s own perspective and the imagined perspective of his father.

Growing up in the Fens, East Anglia, Will’s early life was steeped in classical music. His earliest musical experiences were singing as a chorister in Ely Cathedral and he went on to study classical music at Cambridge, and obtain a piano diploma from the Royal School of Music.

On graduating, Will moved to Berlin and spent a number of years working for composer Jonathan Bepler on Matthew Barney’s experimental operatic film "River of Fundament". It was here that he began to explore electronic music and sound design for the first time.

Will moved to London in 2016, where he established himself as an in-demand musician, working across a variety of different genres and practices. In 2021 he wrote and conducted the arrangements on alt-J’s fourth studio album The Dream, and in 2019 was commissioned by Låpsley to write a collection of works in response to her second album "Through Water", to be played on her European Tour. He has also written arrangements for Daughter (Rough Trade 2023), HMLTD’s "The Worm" (2023). His film and TV orchestrations can be heard in Sky Atlantic's "Tin Star" (2017), "Oceans Eight" (2018), and BAFTA-nominated "Blue Jean" (2022).

All of this collaborative experience across multiple genres plays a significant part informing Will’s own sound. Comfortable in both studio and concert hall, he demonstrates a wide variety of creative techniques from both classical and electronic music traditions.

"Remains" is the work of a skilled and experienced practioner that is both fragile and powerful at the same time. It's an album that stays with you long after the needle has been lifted and ironically, lives long in the memory.

An elusive Soul/Funk masterpiece from mid-70s Lakeland, Florida. The Riley siblings; Carrie, Horace & James laid the foundation for the two songs they would bring to Auburndale's custom recording studio, Central Sound to be released on the Nashville/Florida label, 'Music City'. Jerome McNeil, William Freeman, Bruce Bolden & Sam Graham would complete the outfit and be collectively known as 'Carrie Riley & The Soul Fascinations'

'During the early 70's The Riley family members who formed the Fascinations (originally the Soul Fascinations), James, Horace and Carrie along with a few friends, were destined to develop and perform musically as music flowed through our veins. Our father was a musician who played piano and sang the blues. As children we gathered around an old upright piano after dinner to hear our father play and sang. By the time I was 14 and my brothers, James and Horace were 16 and 17, we had all learned to plan an instrument. My focus was on vocals with many role models to learn from in the music industry such as; Dianna Ross, Chaka Khan, Gladys Knight and Mable Staple. My brothers loved the Commodores, Kool and the Gang, Rick James and Earth Wind and Fire. The Isleys's were a favorite of ours also. James was the driver of our success in recording as he made sure we practiced for hours on end. Sometimes we would practice popular songs until 2 in the morning. James began to write songs and develop melodies that he would share with Horace and I. We would make suggestions for revisions such as arrangements and melodies. Before long we traveled to Miami where we recorded, Super Cool which was our title song, 'Living in A Lonesome House' and a few other tracks. 'Super Cool' is a song that is personal to me. It is a song about relationships and trust, while the Lonesome house song was about love affairs and breakups. So much great music came out of the 70's. I am grateful that our music contributed to the industry during a time when great music was about love and relationships.

Lovingly
Carrie'

TRACK LISTING

1. Living In A Lonesome House Without You
2. Super Cool

'Smoking in Heaven' is back! After 12 years, the second studio album is receiving its long-awaited re-issue. The tracks, each one unique, are united upon this album by a strong sense of playfulness, deep rhythmic quality and an unfailing dedication to authenticity. This fast paced album exudes the vitality that in the past has come to captivate the likes of Chris Martin, Eagles of Death Metal and the late Amy Winehouse as well as Dustin Hoffman and Ewan McGregor. In fact their rapturous reception was so strong in the case of Chris Martin that he handpicked the young trio to tour the U.S with Coldplay.

TRACK LISTING

Disc: 1
1. Tomorrow
2. Don't Make A Fool Out Of Me
3. Will I Ever
4. I'm Going Back
5. Paan Boogie Man
6. Baby Don't You Know
7. Messing With My Life

Disc: 2
1. You'll Be Sorry
2. What Quid?
3. You'll Soon Be Here
4. I'm Coming Home
5. Smoking In Heaven
6. I'm So Sorry

The Sultans Of Ping are an Irish band formed in 1988. The band's name is a play on the 1978 Dire Straits song "Sultans of Swing", dating from a time when "it was sacrilege to say anything whatsoever funny or nasty about Dire Straits".

Following a number of lineup changes, the band came to the attention of the Irish and UK music press, when "Where's Me Jumper" was released in January 1992. After several other independently released singles, the band signed to Epic Records, through a deal organized by Rhythm King Records's Martin Heath. With Epic, the band released their debut album Casual Sex In The Cineplex. This debut album from 1993 reached the 23rd position in the UK Albums Chart and includes the singles "Where's Me Jumper", "Stupid Kid", and "You Talk Too Much". These singles respectively reached No. 8, No. 11 and No. 4 in the Irish Singles Chart.

TRACK LISTING

Side A
1. Back In A Tracksuit
2. Indeed You Are
3. Veronica
4. 2 Pints Of Rasa
5. Stupid Kid
6. You Talk Too Much

Side B
1. Give Him A Ball (And A Yard Of Grass)
2. Karaoke Queen
3. Let's Go Shopping
4. Kick Me With Your Leather Boots
5. Clitus Clarke
6. Where's Me Jumper

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads’ toes tapping. “Music Is Victory Over Time” is the band’s 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form.

Album opener “World People” is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler — a triumphant call to arms to all peoples. Live fave “Too Gary”’s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means “that’s too scary”). “T.A.S.C.” (or “Theme For Anarchist Sports Center”) is inspired by Sonny Sharrock’s maligned 80’s output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite “sitcom ending.” The sun- scorched “Foams” - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of “Tumulus” might reference an ancient burial mound, but the music itself might be the group’s most high-tech song to date, complimented by an arpeggiating

sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. “There Goes Ol’ Ooze” is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. “Song For The Gone” closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief.

Having the distinct pleasure of being the first band to record in John Dwyer’s new LA-based recording studio Discount Mirrors, “Music Is Victory Over Time” boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio’s epic armory of gear: amps, axes (it’s Dwyer’s Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe.

The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to “Music Is Victory Over Time”, Sunwatcher’s rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It’s good to have them back.

STAFF COMMENTS

Barry says: Sunwatchers aren't for the faint hearted, it has to be said. There's a lot of the off-piste time signatures and microscopically off-kilter tuning decisions, psychy freakouts and wild untethered instrumeantals but my GOD there is groove when it comes. It's like all the atonality makes the unbeatable 'drop' all the more satisfying. An incredibly striking balance of jazz, post-rock and noise music.

TRACK LISTING

1. World People
2. Too Gary
3. T.A.S.C.
4. Foams
5. Tumulus
6. There Goes Ol’ Ooze
7. Song For The Gone

Strictly limited signed and numbered slipcase special edition.

One of the few indisputable geniuses of pop music, Sly Stone is a trailblazer who created a new kind of music, mixing Black and white, male and female, funk and rock; penned some of the most iconic anthems of the 1960s and 70s, from "Everyday People" to "Family Affair"; and electrified audiences with a persona and stage presence that set a lasting standard for pop culture performance. Yet he has also been a cautionary tale, known as much for how he dropped out of sight as for what put him in the spotlight in the first place. As much as people know the music, the man remains a mystery. In Thank You, his much-anticipated memoir, he's finally ready to share his story - a story that many thought he'd never have the chance to tell. Written with Ben Greenman, who has written memoirs with George Clinton and Brian Wilson among others, Thank You will include a foreword by Questlove. The book was created in collaboration with Sly Stone's manager Arlene Hirschkowitz.

"For as long as I can remember folks have been asking me to tell my story," says Stone. "I wasn't ready. I had to be in a new frame of mind to become Sylvester Stewart again to tell the true story of Sly Stone. It's been a wild ride and hopefully my fans enjoy it too."

10 killer tracks including some all-time true classic Tubby's mixes. As before, comes in two sided hand silkscreened jacket in either orange or green print.

'You know we had to do it, so here's the near companion dub album to our recent "Roots from the Record Smith" compilation. This LP features the B-side dub versions from the original 45's of almost all the tracks from the vocal comp, nearly all taken from master tapes. For the curious and studious, here's a breakdown of the deviations from the vocal LP. Track A3, the dub version to "Heading For the Mountain", is a previously unreleased mix, in that it does not contain the explosion sound fx heard on the original 45 - these fx were added during the master cutting for the original 45 and are not on the master tape! Likewise, the original dub to Black Oney's "Jah Jah Send The Parson", titled "Version Stormy Weather" with storm sound FX was done the same way, and that version has been added here in place of a version to I Roy's "Look A Boom." Our previous reissue of the Black Oney single contained a raw rhythm cut and not this dub version with FX. Lastly, in place of a version for the Heptones "Tripe Girl" (sadly no version of the Heptones or I Roy was ever released!), we've added the version to Black Oney's "Festival '75", as found only on the impossibly rare original blank 45 release. Our previous issue of that one was backed with the Prince Far I cut on the same rhythm. A final note, the last track on this album is the dub to Ronnie Davis' "Power of Love", titled "King Tubby's In Fine Stile", and widely recognized as one of the King's all time best mixes. If you don't know, get to know. This one alone is worth the price of admission.’

TRACK LISTING

Sparkes & The Upsetters - Unity Dub
Agrovators - World By Mself Part 2
Solid Explosion Band - Mountain Dub
Lloydie Slim & The Agrovators - Jah Jah Dub
Lloydie Slim & King Tubby - Clearly State Dub
Lloydie Slim & The Agrovators - Dub Wise (Mr. Lee)
Lloydie Slim All Stars - Why Did You Version
Lloydie Slim & The Agrovators - Version Stormy Weather
Lloydie Slim & The Agrovators - Festival 75' Versipn
King Tubyy - King Tubby's In Fine Stile

Counting their early years in the scuzz-rock band Spinout, whose sole self-titled release came out in 1991 on Delicious Vinyl, guitarist Mark Lightcap, bassist Richie Lee, and drummer Steve Hadley played together for a total of 15 years. They disbanded in July 2001, when Lee committed suicide in the garage next to the house where the trio practiced. Afterwards, Rolling Stone ran a short obituary saying Acetone’s albums were “well received” but “failed to make any waves.” It was the first and only time they were featured in the national music press.

Between 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.

They rehearsed endlessly in an empty bedroom in northeast Los Angeles, recording hours of music onto cassettes that were subsequently stuffed into shoeboxes and left in a shed behind the drummer’s house. Those tapes are being released for the first time in this anthology, which also includes highlights from Acetone’s official releases. Taken together, the songs form a companion soundtrack to Sam Sweet’s book, which maps the character of Los Angeles as a place through the lens of these three unique characters bonded by music.

“I think our music is all about moods and feeling but hopefully it will get as weird as it possibly can,” said Richie Lee in 1997. “We want things to get weird in the way that you could hear an Acetone song and know that no one else in the world could make that kind of music but us.”

* First time band anthology.
* Includes 9 unreleased tracks.
* Audio restored and remastered from original tapes.
* Liner notes by Sam Sweet.

“Acetone are one of my all time favorite bands. Their music is still as electrifying and beautiful now as it was back then.” – Hope Sandoval (Mazzy Star)

“A lovely mix of what would it be like if Dick Dale and Neil Young played with Isaac Hayes and The Velvet Underground. A seminal American band.” – Richard Ashcroft (The Verve).

TRACK LISTING

1. Shaker
2. All The Time
3. Louise
4. Return From The Ice
5. How Sweet I Roamed
6. Germs
7. Shore Power
8. Always Late
9. Things Are Gonna Be Alright (demo)
10. Midnight Cowboy
11. Chew
12. Too Much Time
13. Vibrato
14. Pico
15. Stray (demo)
16. Smokey

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.
Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

TRACK LISTING

Quintessence Of Hip
She's A Woman
No Good At Falling In Love
Tell Me A Few Things
I've Danced Before
You Make Me Feel So Good
I Need A Whole Lot Of Love
Hangin' Out In Hollywood
All I Do Is Think Of You
Crashin' From Passion
You Take Me For Granted

Light in the Attic continues to celebrate the influential career of singer, actress, activist, and icon Nancy Sinatra with a captivating new collection, Keep Walkin’: Singles, Demos & Rarities 1965-1978. Exploring the lesser-known gems from Sinatra’s rich catalog through 25 B-sides, rare singles, covers, demos, and previously-unreleased recordings, Keep Walkin’ was remastered by the GRAMMY®-nominated engineer John Baldwin.

The 2-LP set, pressed at Record Technology, Inc. (RTI), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet (also included in the CD edition as a 40-page booklet), featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q&A with Sinatra, conducted by the reissue’s GRAMMY®-nominated co-producer, Hunter Lea. The booklet also contains a fascinating interview with keyboardist Don Randi (The Wrecking Crew), who recently spoke to Lea about his hit-filled career and his 50 years of work with Nancy. 

Keep Walkin’: Singles, Demos & Rarities 1965-1978 serves as a companion to the widely-acclaimed 2021 career-spanning retrospective, Start Walkin’ 1965-1976, and marks the latest release in LITA’s ongoing Nancy Sinatra Archival Series, a partnership with the legendary artist, which honors her musical legacy through lovingly curated reissues (including her 1966 debut, Boots and the 1968 classic, Nancy & Lee), limited-edition merch, and other special releases.

More on Keep Walkin’: Singles, Demos & Rarities 1965-1978:
In 1965, 25-year-old Nancy Sinatra scored her first No.1 hit with “These Boots are Made for Walkin’,” a bold anthem for female empowerment. Brazen, sassy, and utterly infectious, it was a reintroduction of sorts for the eldest daughter of Frank Sinatra, who had been struggling to find a spotlight of her own amid a changing musical landscape. Suddenly, audiences who had initially brushed off Sinatra as too demure or out-of-touch were paying attention. Written and produced by Oklahoma-born songsmith Lee Hazlewood (with swaggering instrumentals, courtesy of Billy Strange and The Wrecking Crew), the song launched the singer’s career, as well as one of music’s most unlikely, yet compelling, creative partnerships.

Over the next decade, Sinatra continued to notch multiple hits on both sides of the Atlantic, including “Sugar Town,” “How Does That Grab You, Darlin?,” and a haunting rendition of the Sonny Bono-penned “Bang Bang (My Baby Shot Me Down).” The singer also paired up with Hazlewood for a series of popular duets (“Summer Wine,” “Jackson,” and “Some Velvet Morning”) and collaborative albums. In between best-selling LPs like Boots (1966), How Does That Grab You (1966), and Nancy & Lee (1968), Sinatra performed the theme song to the 1967 James Bond film, You Only Live Twice, and collaborated with her father on the global chart-topper, “Somethin’ Stupid.”

While these career landmarks are well-documented in the annals of pop culture history, however, much of Sinatra’s catalog remains sorely overlooked. As Keep Walkin’ co-producer Hunter Lea explains, “With the changing taste of the record-buying public in the late 1960s and the counterculture taking over, artists like Nancy Sinatra weren’t in the mainstream as they once were.” Despite that fact, “[Sinatra] kept working, recording, and performing at a voracious pace.”

Lea continues, “This compilation is a celebration of some of the many glorious recordings that may have been overlooked, forgotten, or never even released at the time. The obscurity of some of these recordings doesn’t mask the genius, brilliance, and effort that went into them; on the contrary, it’s incredible to learn that some of the lost gems are just as rich as the national treasures.”

Among the highlights is the spritely opener “The City Never Sleeps at Night,” which served as the B-Side to “These Boots Were Made for Walkin’.” Overshadowed by the colossal success of its A-side, it’s no surprise that the cinematic tune never had its proper due. Yet, Lea reveals, Hazlewood initially intended to make it the focus single. Another long-lost B-side is “The Last of the Secret Agents?,” which was paired with the Top 10 hit, “How Does That Grab You, Darlin’?” The playful song, written by Hazlewood, served as the theme to the 1966 comedy of the same name, in which Sinatra co-starred alongside Marty Allen and Steve Rossi.

Keep Walkin’ also features several choice A-sides that were never included on albums and were overlooked for one reason or another. Among them is 1966’s “In Our Time,” a rebellious anthem for ‘60s youth, which references drug culture and women’s liberation, among other topics. Speaking to the Hazlewood-penned track, Sinatra recalls, “That was a fun song. Lee was starting to do his ‘anti’ stuff. He was cynical and it showed in his writing at some point.” But, despite the themes of the song, Nancy laments that she was never embraced by the counterculture. “[drugs] knocked me out of the picture completely. I was so far removed from the hip people in those days. I think they probably made fun of my stuff.” Another stylistic departure for both artists is “Love Eyes,” a bluesy, soulful single from 1966. The song, Nancy shares, is “one of my favorites. I think what helped Lee’s writing at that point was the bigger sound.… I really love it. I think it holds up to this day.” She adds that her dreamy vocal performance was inspired by early female R&B stars like Ruth Brown and LaVern Baker.

The collection also features several outstanding covers, including a previously-unreleased rendition of the Barry Mann/Cynthia Weil classic, “I Just Can’t Help Believing” (a hit for both B.J. Thomas and Elvis Presley). This 1978 recording, reimagined as a duet, marked one of Sinatra’s brief reunions with Hazlewood, following his abrupt move to Sweden not long after 1972’s Nancy & Lee Again. Another choice track finds Nancy interpreting Neil Diamond’s “Glory Road.” Released as a single in 1971, it features one of the singer’s most cherished vocal performances. “After I worked on my voice and improved as a performer and as a singer, I embraced Neil Diamond. Anything I did by Neil Diamond, to me, is my best work.”

Nancy also looks back fondly on her moving rendition of Bill Withers’ “Ain’t No Sunshine,” released in 1973 as the B-side to “Sugar Me.” The recording (which features particularly lush orchestral arrangements by Billy Strange) reunited Nancy with another close collaborator, Jimmy Bowen, who produced the singer in the early ‘60s and later introduced her to Hazlewood. “I love Jimmy,” she declares. “The records we did early on…had a depth to them that I appreciated. He heard me and saw me in a different light; he saw me as a much more serious performer, which I appreciated.”

Listeners will also be delighted to hear a pair of previously-unreleased demos: “Something Pretty” (the 1968 country hit, made famous by Wynn Stewart) and the theme to the 1965 Richard Rogers/Stephen Sondheim musical, Do I Hear a Waltz?, both of which were intended for a self-described “disco” record. Despite the two catchy takes featured on Keep Walkin’, Sinatra calls the shelved album “A disaster. I called it the disco fiasco!”

Offering additional insight into Sinatra’s career is music director, songwriter, and keyboardist, Don Randi. A member of the hallowed Wrecking Crew collective, Randi was one of the most prolific session musicians of the ‘60s and ‘70s with hundreds of credits to his name, including The Beach Boys’ “Good Vibrations,” Linda Ronstadt’s “Different Drum,” and “These Boots are Made For Walkin’” – his first recording with Sinatra. For the next fifty years, he would be a fixture at her sessions and live shows. He also appears on nearly every track in this collection.

Speaking to Lea, Randi delves deep into his time with Sinatra, with a palpable admiration for the singer. “She was easy to work with,” he shares. “She was always wonderful to musicians; nobody even comes close.” The keyboardist, who met Sinatra through Hazlewood, also recalls the magic of that partnership. “I always liked working with Nancy & Lee. They had something very special that they could get out of each other. It was a good team.”

He continues, “Sinatra stood up for herself [around Lee]…He could be so cantankerous…but that’s Lee…. [Nancy] saw through it. She was so lovely and helpful to him a number of times when he really needed someone to talk to.” That said, Randi also appreciates the power of Sinatra’s solo performances. “I never thought she really needed [Hazlewood},” he reveals. “I thought her shows were just as well with everybody else; they were excellent.”

After stepping back from the industry in the ‘70s to focus on her young family, Sinatra returned to the spotlight in the mid-90s, releasing a string of new albums, including the star-studded Nancy Sinatra, which paired the artist with some of her biggest fans, including Morrissey, U2, Calexico, and Sonic Youth. Since then, Nancy’s legacy has only continued to grow. In more recent years, her impact has been recognized by the likes of Pitchfork, NPR, and Rolling Stone, while in 2020, “Boots” was inducted into the GRAMMY® Hall of Fame. Today, Sinatra remains a force in the industry, as new generations discover her influential catalog, which boasts nearly 20 studio albums and dozens of charting singles.

TRACK LISTING

The City Never Sleeps At Night
The Last Of The Secret Agents
My Baby Cried All Night Long
Shades
In Our Time
Love Eyes
Rockin' Rock And Roll (1st TIME ON VINYL)
This Town
Tony Rome
100 Years
See The Little Children
Something Pretty (PREVIOUSLY UNRELEASED)
Do I Hear A Waltz (PREVIOUSLY UNRELEASED)
Drummer Man
Zodiac Blues (1st TIME ON VINYL)
Highway Song
Are You Growing Tired Of My Love
Flowers In The Rain
Glory Road
Ain't No Sunshine
Easy Evil (1st TIME ON VINYL)
Sugar Me
Kinky Love
Dolly And Hawkeye
I Just Can't Help Believing - Nancy Sinatra And Lee Hazlewood (PREVIOUSLY UNRELEASED)

Originally released at the tail end of summer in 2001, Explosions In The Sky’s second album, Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever was a visceral, speaker-destroying escalation from the modest minimalism of their debut, How Strange, Innocence.

Remastered with subtle grace by Bob Weston at Chicago Mastering Service, Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever – Anniversary Edition is beautifully packaged with restored original full-color artwork and heavyweight full-color inner sleeve. Exquisitely pressed onto colored vinyl for the first time ever, this is Those Who Tell the Truth at the absolute peak of its ineffable power.

TRACK LISTING

1. Greet Death (7:19)
2. Yasmin The Light (7:04)
3. The Moon Is Down (10:03)
4. Have You Passed Through This Night? (7:19)
5. A Poor Man’s Memory (6:05)
6. With Tired Eyes, Tired Minds, Tired Souls, We Slept (12:05)

'Live in Maui' is a live performance from 1970 featuring Hendrix, Billy Cox, and Mitch Mitchell at the height of their playing powers - restored and mixed by longtime Hendrix engineer Eddie Kramer. 

Originally released on x2 CD and x3 LP in 2020 (to accompany the feature length documentary Music, Money, Madness… Jimi Hendrix In Maui), this new x1 LP Vinyl version presents highlights from two legendary live shows on 30th July 1970.

Eschewing hand-me-down ghetto tales from an across-the-pond 'hood, the precociously talented Dizzee Rascal instead told it from his (18 year old, East End) angle - unemployment, gun-crime, relationships, MC battles etc. Two years in the making, this LP took in influences from UK garage, hip hop, r'n'b and drum'n'bass, to creat a unique sounding jagged-edged electronic sound.

This 20th Anniversary 3LP release features instrumentals and never before heard rarities, pressed on white, yellow and black vinyl in a wide spine sleeve.

TRACK LISTING

A1: Sittin’ Here
A2: Stop Dat
A3: I Luv U
A4: Brand New Day
B1: 2 Far (Feat. Wiley)
B2: Fix Up, Look Sharp
B3: Cut ‘em Off
B4: Hold Ya Mouf’ (Feat. God’s Gift)
C1: Round We Go
C2: Jus’ A Rascal
C3: Wot U On?
D1: Jezebel
D2: Seems 2 Be
D3: Live O
D4: Do It!


E1: Vexed

E2: Street Fighter

E3: Win Feat. Breeze

E4: We Aint Havin It Feat. Wiley

E5: Kryme Feat. Redrum And Sharky Major

E6: Ready 4 War Feat. Sharky Major, Armour And Stormin

F1: Street Fighter (Instrumental)

F2: Go (Instrumental)

F3: Ho (Instrumental)

F4: String Ho (Instrumental)

F5: Ting Ting (Instrumental)

F6: Wheel (Instrumental)

Seoul duo Salamanda arrive on Wisdom Teeth with their latest and most focused LP yet: 'In Parallel' - a vividly textural and immersive record that brings a new level of clarity to their typically psychedelic, expansive approach.

Since arriving in 2019, the pair - comprised of friends Uman Therma (aka Sala) and Yetsuby (aka Manda) - have been fast at work mapping out their elaborate, dream-state sonic world - prolifically honing their sound across four albums and over a dozen singles to date.

Across their already-extensive discography the pair have established a few key calling cards. Mallet instruments and tuned drums play out playful music-box melodies. Thick washes of gaseous ambience invoke otherworldly or ancient soundscapes. And buried fragments of found sound and manipulated vocal give their otherwise synthetic compositions a warm sense of first-person narrative. Ambient and Reich-school minimalism are the music’s most obvious sonic touchstones - yet the pulse of contemporary club and pop music have never been totally out of earshot.

All of these themes come in to play here - but 'In Parallel' signals a step well beyond Salamanda’s work to date. Since 2022’s 'ashbalkum' (released on Wisdom Teeth alumni Tristan Arp’s label, Human Pitch), the duo have toured extensively: at classical institutions like London’s Kings Place as well as DIY club dens like Manchester’s White Hotel, all via a series of globally renowned festivals like Mutek, Nachti and Dekmantel. Their creative set-up has grown steadily alongside to incorporate a whole suite of new machines, processes and perspectives, taking their music in bold new directions in the process.

The clearest development here is in the duo’s use of vocals - a shift that has been slowly taking place over their last few records, but that comes to a head on In Parallel. The album’s lead single 'Homemade Jam' is the closest the duo have come to writing an all-out pop track: its buoyant beat and autotuned vocals sounding like something SOPHIE and Charli XCX could have written after a particularly potent batch of mushroom tea. It’s a razor-sharp slice of alt-pop that offers a mouthwatering first look at what happens when Salamanda’s sprawling, unbridled creative energy is distilled right down into something concentrated and polished.

At other points their sonic explorations lead them to embrace a more upfront approach to rhythm, skirting closer than ever before to the dancefloor in the process. The meandering drums and vocal chops on 'Paper Labyrinth' are underpinned by a firm 4x4 pulse, while the dembow groove of 'Tonal, Fluid' would feel right at home in a Nick León or DJ Plead set.

'In Parallel' is a record about connection, and the warmth and nostalgic simplicity of friendship is felt vividly throughout. Its title refers to the harmony the duo have found between them as friends and collaborators - and sonic parallels are traced throughout the record as testament to this. Motifs come and go before reappearing at later points: take, for example, the melody underpinning ‘Sun Tickles’, which returns in a different key and tempo on album closer ‘Mysterious Wedding’. Parallel lines are traced between each artist and through their music, linking back to their past and pointing ahead to the future. Only Salamanda know where these will take us next.

TRACK LISTING

1. Nostalgia
2. Homemade Jam
3. Sun Tickles
4. Purple Punch
5. Paper Labyrinth
6. Tonal, Fluid
7. Sending Ritual
8. Full Of Mushrooms
9. In Parallel
10. Mysterious Wedding