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In 1972, a foursome of design students set out to make a record. This was, in many ways, a strictly creative endeavor. The quartet — composed of Dave Pescod, Alan Lewis, Phil Rawle, and Ted Rockley — were all trained, not as musicians, but as creatives. Art school heavyweights, the four were well-versed in the methodology of intentional experimentation, in the delicate balance of pushing the limits without completely unmooring oneself from a guiding creative intention. Emboldened by a high-brow familiarity with thoughtful experimentation and all the non-conviction of non-musicians, Bowes Road Band’s stint in the world of popular music yielded a record that is as much mind-melting as it is a direct product of its time. Their sprawling LP “Back in the HCA” embodies the exigence “art for art’s sake,” but it is for art’s sake that this record, however off the deep end it seems to travel (hear: “Doctor, Doctor”), remains a unified, and stunning, body of work. The LP’s do-ityourself garage rock noisemaking meets highfalutin creative processes. “Back in the HCA” is warbling psychedelic freakout (“Two Fingers,” “Doctor, Doctor”), Donovan-esque English countryside folk stylings (“Inside My Head,” “Goodbye to Rosie”), and avant-garde jazz improvisions (“Grass is Grass,” “Tomorrow’s Truth”) in one luminous release.

Originally an 9-track LP, Jakarta, Uno Loop, and Bowes Road Band decided to mine the six most cohesive tracks for the reissue, though the extras may be released somewhere down the line. Cohesion efforts aside, “Back in the HCA” stands alone in its singular conception of a genre-bending continuum — it evades definition. That said, the LP can easily be situated in the sonic environment in which it was conceived. By the end of the 60s, England was crawling with blues-based rock outfits that were starting to venture into prog rock territory. You can hear this popular dint cast over the folkier side of the LP. But Bowes Road Band was armed with their non-musicianship: they existed completely liberated from the motivating yet ultimately paralyzing lust for stardom. Enjoying this liberation, Bowes Road Band was utterly free to make noise. This freedom meant drawn out sax interludes amidst sweetly folk stylings (“Grass is Grass”) and Shaggs-like fuzzed-out freakouts that spiral into a void (Doctor, Doctor). This freedom also meant straight-forward tuneful cuts like “Goodbye Rosie” that conspicuously introduce heavily distorted auto-organ accompaniment mid-track amidst poignant lyricism. Bowes Road Band crafts a unified sound and then cracks it open.

With a completely off-the-radar status, Bowes Road Band could only press 50 copies of the record — 10 for each of them and 10 for the school. The band’s lifespan was to end there, or so they thought. “Back in the HCA” was the accidental fruit of a Berlin flea market treasure hunt by Jannis Stürtz, DJ and co-founder of Habibi Funk and Jakarta Records. After finding and sharing the LP with a few colleagues, Stürtz managed to get in touch with the band, get ahold of the master tapes collecting dust in Ted Rockley’s attic, and start the reissuing process. The record is still adorned with its original cover art designed by Alan Pescod, both reminiscent of bygone school days and the Zoom calls of yesterday — in short, reunion. Its re-discovery was happenstance and ought to be listened to as such. That is, “Back in the HCA” was not made to be listened to on a broad scale, or, at least, was not made with this goal in mind; it is neither in its time nor of its time. Of course, the group explicitly cites the folk tunes of the English countryside, the distorted rock groups that reigned during the record’s conception, and the fringes of psychedelic music that only the uber-underground might recognize (e.g., “Dreaming of Alice”). Yet still with these obvious influences, “Back in the HCA” always existed beyond the domain of both traditional musicianship and conventional commodification. Bowes Road Band’s DIY musicality beams through in technicolor across “Back in the HCA.” The vinyl includes an 8-page booklet detailing the albums creation and interviews with the band.

Lead single “Grass is Grass,” out July 14 along with album pre-order, encapsulates the record’s range: the track unfurls into a sprawling sax-driven trip following a sundrenched, Donovan-esque intro w/ lyrics “naively about parks and gardens, not marijuana!” The keyed-down folk cut “Goodbye to Rosie” is single 2 and elevates stripped-down acoustics with golden tinges, out August 4th. Focus track “Tomorrow’s Truth” constructs the fuzzed-out underbelly of acid folk. Listen for echoes of late Beatles, Mark Fry, and Donovan (if they were armed by an unshakabele willful naiveté). Like Sgt. Pepper’s on a shoestring budget—take a trip to the underground with LP “Back in the HCA,” available everywhere physically and digitally on September 1st via Jakarta Records and Uno Loop.

Besides online promotion from label profiles, the album will be further promoted by external agencies within the UK and US.

Recorded at the Hollywood Palladium, Los Angeles in 2018, "Sunset 666" is a new live album from The Jesus and Mary Chain on Fuzz Club. In 1990, a young American band, full of a precise kind of noise and darkness, were special guests on the US tour being undertaken by a group who had noise and darkness, poise and catharsis of their own. The young band: Nine Inch Nails. Those headliners: The Jesus and Mary Chain. Almost thirty years later, an invitation was extended. The resulting tour ended with a run of six shows at LA"s Hollywood Palladium and the seventeen tracks captured on the "Sunset 666" double album were recorded from the desk on two of those nights. Sides A, B and C are from the final show, December 15. Those twelve songs were the full set that night, in sequence, meaning the show began with the here-we-f*cking-go drums of "Just Like Honey" and ended with the ferocious euphoria of an eight-and-a-half minute "Reverence". Side D of the vinyl record is taken from the December 11 show and serves almost as a mini-showcase of the "Automatic" album, featuring versions of "Blues From A Gun", "Between Planets" and "Halfway To Crazy".

Recorded at the Hollywood Palladium, Los Angeles in 2018, "Sunset 666" is a new live album from The Jesus and Mary Chain on Fuzz Club. In 1990, a young American band, full of a precise kind of noise and darkness, were special guests on the US tour being undertaken by a group who had noise and darkness, poise and catharsis of their own. The young band: Nine Inch Nails. Those headliners: The Jesus and Mary Chain. Almost thirty years later, an invitation was extended. The resulting tour ended with a run of six shows at LA"s Hollywood Palladium and the seventeen tracks captured on the "Sunset 666" double album were recorded from the desk on two of those nights. Sides A, B and C are from the final show, December 15. Those twelve songs were the full set that night, in sequence, meaning the show began with the here-we-f*cking-go drums of "Just Like Honey" and ended with the ferocious euphoria of an eight-and-a-half minute "Reverence". Side D of the vinyl record is taken from the December 11 show and serves almost as a mini-showcase of the "Automatic" album, featuring versions of "Blues From A Gun", "Between Planets" and "Halfway To Crazy".

In celebration of its 10th anniversary, Rhymesayers created this limited edition 3xLP vinyl package that includes a gatefold jacket with revised art layouts, printed sleeves, a 4-panel insert with full album lyrics, two cream & black marble-colored vinyl, and a UV printed ultra-clear bonus disc vinyl with four exclusive bonus tracks! Whether you're a vinyl enthusiast or simply appreciate great lyricism, this album is a must for any collection. Initially released in 2012, Aesop Rock's sixth studio album Skelethon marked a significant moment in the rapper's career. It had been 5 years since his previous effort None Shall Pass was released, and his former label had since been shuttered. As a result, Skelethon became his first solo release on Rhymesayers Entertainment. Coincidentally, it was also his first album that was entirely self produced. The album's title, a portmanteau of "skeleton" and "telethon," was a metaphor for what felt like a long period of many adversities for Aesop. Throughout the album's 15 tracks, he meticulously exhumes and examines these many skeletons in detail, exploring everything from death to distrust, insecurity and isolation, with moments of humor and hope scattered throughout as well. Some of the many standout tracks from the release include "Zero Dark Thirty," a rapid-fire exploration of displeasure over dizzying drums, "ZZZ Top," an impressive ode to youthful expression, and "Cycles to Gehenna," with its haunting production and imaginative musings. Upon release, Skelethon was praised for its intricate storytelling that expertly balanced abstract imagery with concrete details, and its immersive production incorporating sample-based beats with dusty pianos, distorted guitars, and psychedelic synths. To this day, the album remains a fan favorite and a critical darling, praised for its poignant introspection and razor-sharp wordplay.

Limited to 300 copies. The Groove Connection formed in Medway, Kent during the early '90's, amongst the Acid Jazz heyday, playing clubs, pubs and festivals up and down the land with their urban jazz-funk grooves. The band comprised of usually six to eight members over the years, including Mark 'Bertie' Gilbert, the former (initial) bass player from The Milkshakes, and was originally an instrumental project, with vocals added later giving the band further appeal. Recording/releasing their first CD EP in 1996 (In Full Pursuit), described by Blues & Soul as 'an impressive debut set', The Groove Connection also released a 7" vinyl single in 1998 (What It Is), which was produced by respected DJ and percussionist Snowboy. A year later, their first album 'Infiltration' was released. All releases were via their own NeuJaz label. As well as working with Snowboy, the band also supported Jamiroquai twice in 1997 (at Finsbury's Jam in the Park and the Phoenix Festival), as well as playing to a full house at the Jazz Cafe, Camden on many occasions, and the band toured the UK as part of the Messin' Around Jazz Cotech collaboration. In 1999, the band found themselves on the Verve Records' released compilation 'Messin' Around Presents Root Down', alongside Lalo Schifrin, Jimmy Smith, The JBs, and Roy Ayers to name just a few. In 2001 the band recorded, and released their second album 'Back To Brooklyn', introducing vocalist Laura Knight and guest hammond virtuoso Gary Baldwin, a ten-track full-length, CD-only release. Other tracks were recorded in the same session… Two tracks that didn't make the last album were 'Can You Hear Me' and 'When I'm With You', both vocal filled, and we've decided to capture them onto two continuous 'grooves'.

Charlie Hunter’s 1995 Blue Note debut Bing Bing Bing! was a groove-heavy tour-de-force that announced the arrival of a virtuosic new guitarist on the scene. Hunter’s unique concept on his 8-string guitar allowed him to lay down a bass line and play chords as well as a melodic line at the same time, producing music that was at once impressive and irrepressible. With his powerful trio featuring tenor saxophonist Dave Ellis and drummer Jay Lane plus contributions from trombonist Jeff Cressman, Ben Goldberg, pedal steel guitarist David Phillips, and percussionist Scott Roberts, Hunter delivered a 10-song set of propulsive originals including “Greasy Granny” and “Fistful of Haggis” plus an unforgettable cover of Nirvana’s “Come As You Are.” Hunter would go on to record six more excellent albums for Blue Note, and also gain notice for playing on D’Angelo’s 2000 neo-soul masterpiece Voodoo.

elbow release their ninth studio album, ‘Flying Dream 1’, on 19th November 2021. The band wrote ‘Flying Dream 1’ remotely in their home studios before coming together at the empty Brighton Theatre Royal to perfect, perform, and record the songs.

Recorded at the Hollywood Palladium, Los Angeles in 2018, ‘Sunset 666’ is a new live album from The Jesus and Mary Chain, due out August 4th 2023 on Fuzz Club. In 1990, a young American band, full of a precise kind of noise and darkness, were special guests on the US tour being undertaken by a group who had noise and darkness, poise and catharsis of their own. The young band: Nine Inch Nails. Those headliners: The Jesus and Mary Chain. Almost thirty years later, an invitation was extended. Would the Reid brothers care to reverse the roles and open for Nine Inch Nails on their own North American tour? Trent Reznor had been a fan of the Mary Chain, and influenced by them since hearing 'Psychocandy', so it felt a good fit and the Reid brothers accepted. The resulting tour ended with a run of six shows at LA’s Hollywood Palladium and the seventeen tracks captured on the ‘Sunset 666’ double album were recorded from the desk on two of those nights. Sides A, B and C are from the final show, December 15. Those twelve songs were the full set that night, in sequence, meaning the show began with the here-we-f*cking-go drums of ‘Just Like Honey’ and ended with the ferocious euphoria of an eight-and-a-half minute ‘Reverence’. Side D of the vinyl record is taken from the December 11 show and serves almost as a mini-showcase of the ‘Automatic’ album, featuring versions of ‘Blues From A Gun’, ‘Between Planets’ and ‘Halfway To Crazy’.

Duke Pearson’s 1967 album The Right Touch is perhaps the finest of his career and a showcase for the breadth of his talents as a pianist, composer, and arranger. Six memorable Pearson original are performed by a dynamic 8-piece band including Freddie Hubbard, Stanley Turrentine, and James Spaulding.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Produced/Engineered/Mixed/Mastered by Randy Lebouef (Counterparts, Every Time I Die, Fit For An Autopsy). Sixth full length album from the band. New album combines nu metal sound with super heavy riffs, along with a southern country look. Full US headline tour will accompany the new album.

Marking 40 years since his first appearance at PizzaExpress Live in
London, the revered US saxophonist Scott Hamilton is to release a new
live album, the first release on the newly formed PizzaExpress label PX
Records
Having appeared at the club in Dean Street, Soho, across six different decades,
Hamilton is very much part of the fabric of PizzaExpress Live and this new live
album, which features Scott's UK- based quartet of John Pearce (piano), Dave
Green (bass) and Steve Brown (drums), captures a 9-track set featuring an array
of classic standards including The More I See You, The Girl From Ipanema and
Pure Imagination.
PizzaExpress database mailings (4 million) PizzaExpress social media postings
(700k) PizzaExpress app. postings (1.4 million) single release prior to album of
"Pure Imagination" Advertising in print mags (Jazzwise, Uncut etc) UK radio
servicing of single edit of "Blue n Boogie"

The result of blood, sweat, tears, and introspection that have allowed for Stalley
to become a fully realized artist. At one point on "Bear Trap," Stalley evokes a car
ride bumping the Gorillaz and the Bobby Womack, and his latest feels like a
perfect hip-hop middle ground between the two. Pressed on Six Spoke Blue and
White color vinyl.

Imperial f.f.r.r. was Unrest’s breakthrough album in 1992. It has withstood the test of time and is now considered an indie-rock classic and one of the best albums of the 1990s. Formed in 1984, at Wakefield High School in Arlington, Virginia, the band started releasing homemade cassettes on their own Teenbeat label. Imperial f.f.r.r. is their sixth album and marked the arrival of original Velocity Girl vocalist Bridget Cross joining drummer Phil Krauth and singer/guitarist Mark Robinson. It was recorded by Wharton Tiers (Sonic Youth) at his home studio in Manhattan. After the release of Imperial f.f.r.r., the band released singles on Sub Pop and K and soon thereafter signed to legendary U.K. indie 4AD, releasing their final studio album Perfect Teeth in 1993. This limited edition features the original design and layout of the very first pressing from 1992. All the details have been recreated including the lyric sheet, the blue box around the amplifier on the front, the label art, and even the Ajax and No.6 Records logos. The original didn't have a barcode, so we've created a spiffy new removeable OBI card for that featuring a photograph by Mike Galinsky (The Decline of Mall Civilization) of the band playing at New York's Spiral club in 1991.

GER Als Night Beats erschafft der in Texas geborene und in LA lebende Künstler Danny Lee Blackwell Musik, wie man ein Puzzle zusammensetzen könnte. Der psychedelische Autorenfilmer aus dem Westen baut sein Werk aus einem Moment, einer Initialzündung, auf, die bestimmte Kriterien erfüllen muss: Sie muss ihm Gänsehaut bereiten. Wenn dieses Gefühl eintritt, verfolgt Blackwell die Idee unermüdlich, bis er einen neuen Song hat; wenn nicht, geht er zum nächsten Moment über, immer auf der Suche nach dem perfekten Molekül eines Songs. Auf seinem sechsten Night Beats-Album "Rajan" zeigt sich der Songwriter von seiner besten Seite und erschafft Werke, die mit fesselnden Melodien und hypnotischen Rhythmen glänzen, aber auch durch subtile handwerkliche Entscheidungen unterstrichen werden, die nur nach unzähligen Stunden im Studio erreicht werden können. Blackwell erschafft ein Werk, das irgendwo zwischen Spaghetti-Western-Filmmusik und Psych-Pop-Opus angesiedelt ist, ein karrierebestimmendes Album, das viel über Danny Lee Blackwells künstlerische Philosophie verrät und gleichzeitig den so wichtigen Hauch des Geheimnisvollen bewahrt. Exklusiv für den Indie-Handel, todesrote LP, handnummeriert mit Poster und DLC.


ENG As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell's artistic philosophy while keeping that ever crucial air of mystery intact. Indies only LP on 180g 'Dying Red Giant' coloured vinyl, limited to 350 hand-numbered copies, fold-out art poster, download card included.

In 2003, Mental Disorder was inaugurated with its first e.p. "Psychiatric Hospital". Twenty years later Mental Disorder is pleased to present "Scoundrel", a release consisting of 3 tracks, all of them written and conceived by label founder Reeko and Surgeon, the living legend and one of the most influential artists of all time. Undoubtedly the most special, risky and different release in the whole MD catalogue so far.

On this release, we find rogue rhythms at 175bpm bordering on drum n' bass, gangster bass sequences with funk influences and eerie atmospheres, healing melodies and hypnotizing riffs that seem to come from vanished civilizations.

Anthony Child and Juan Rico bring to life the twenty-sixth in the mental disorder catalogue, giving a truly unexpected musical twist.

Upper Belvedere Indies Splatter Edition is Clear Blue w/ Green Splatter! After the scrapped Dessau sessions in 1992, Codeine returned with an EP of icy and effervescent tracks. Clocking in at a brisk 25 minutes, the six-song 12" features drummer Chris Brokaw's final recordings with the group, plus noisy guitar from Bitch Magnet's Jon Fine and a solo piano arrangement from Bastro's David Grubbs. Remastered from the original analog tapes and recreated in painstaking detail, Barely Real is the slowcore classic your therapist warned you about. "As far away from traditional rock & roll heat as a post-stellar universe is to the Big Bang." _ The Quietus

High Roller Records, reissue 2023, bonus track "Road Crew", light blue/ white mixed vinyl, ltd 300, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

The six letters of Def Jam, like the three of RAL (for Rush Associated Labels), Russell Simmons and Rick Rubin imprinted them indelibly into hip hop mythology. The epicenter is New York, in order to make sure to have in its ranks the best representatives of Boom Bap, Hardcore Funk, Go-Go or Electro. Beastie Boys, EPMD, Onyx, Redman, Method Man, LL Cool J, Junkyard Band, South Central Cartel, 3rd Bass; the list of MC's who left a mark stamped with the Def Jam or RAL logo is a freestyle where catching your breath is difficult. In order to study more closely the footprints left by these behemoths, Uncle O, the man behind the 5 volumes of Shaolin Soul compilations, explored the label's 1985-1995 period. From another age, tucked away behind a photograph of Glen E. Friedman, the man who created the visual history of Def Jam and RAL through iconic covers, they are the work of rap's T-Rex. Dinosaur Beats. Reviews R2, Mojo Blues and Soul, Guardian, Record Collector Ads R2, Mojo.

The supremely swinging pianist Sonny Clark hit the Blue Note scene in 1957 with a burst of creativity recording three albums in three months including the sublime Sonny Clark Trio, a six-song set of bebop themes and standards featuring bassist Paul Chambers and drummer Philly Joe Jones.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Circles is the sixth and final studio album by Mac Miller. Conceived as a sister album to 2018's full length Swimming, the album was completed with the assistance of Jon Brion, with whom Miller worked on Swimming and had been working together on Circles at the time of his passing. While sonically distinctly different than its predecessor, Circles features many of the hallmarks for which Swimming was critically-acclaimed upon its release -- Miller further realizing his singing voice in addition to rapping, live instrumentation and earnest, confessional lyrical content. Listeners will hear shades of some of the album's influences in its songs, from the T-Rex guitar tone of "Surf" to the Plastic Ono Band-era John Lennon feel of its production and the inspired cover of Arthur Lee's 1972 single "Everybody's Gotta Live." It's a momentous final entry into the discography of an artist that remains at the centre of reimagining the limits of rap.

Lucinda Williams’ music has gotten her through her darkest days. It’s been that way since growing up amid family chaos in the Deep South, as she recounts in her candid new memoir, Don’t Tell Anybody the Secrets I told You. Over the past two years, it’s been the force driving her recovery from a debilitating stroke she suffered on November 17, 2020, at age 67. Her masterful, multi-Grammy-winning songwriting has never deserted her. To wit, her stunning, sixteenth studio album, Stories from a Rock n Roll Heart, brims over with some of the best work of her career. And though Williams can no longer play her beloved guitar – a constant companion since age 12 – her distinctive vocals sound better than ever. The band rocks out on the album’s jubilant opening track, “Let’s Get the Band Back Together,” which features a gang of background singers, including Margo Price and Buddy Miller. Inspired by “that need for community after all the isolation of the pandemic,” Williams offers, the song is “about getting old friends together again who’d drifted apart.” Price also joins her on the bluesy protest, “This Is Not My Town.” The evocative “New York Comeback” also includes guest vocalists – Bruce Springsteen and Patti Scialfa. A Lucinda Williams fan, Springsteen had joined her onstage in London a few years back, and he and Scialfa had wanted to contribute to a Williams album for a while. With Reese Wynans on B3 and the Pettibone-Mathis guitar attack, the musical setting perfectly matches the theme of “Comeback,” as well as on the catchy story-song “Rock N’ Roll Heart,” to which Springsteen and Scialfa also contributed vocals. Says Williams, “Having Bruce and Patti on these songs feels really great. It’s just so cool!” As she promises on the powerful last track of Stories from a Rock n Roll Heart–one of the best albums of her career–Lucinda Williams is “never gonna fade away.”

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’. The Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature. The 14-song Blues set includes standards such as ‘Sweet Home Chicago, ‘Have You Ever Loved A Woman’, and ‘Key To The Highway’.

The limited-edition ‘Definitive 24 Nights’ deluxe box sets include 47 songs and almost 6 hours of music on 6 CDs or 8 LPs and 3 Blu-ray’s.

In February 2017, Midnight Oil announced The Great Circle World Tour from the Sydney Harbour. The tour was the band’s first in over 15 years, commenced in Sydney, travelled to 16 countries, completed 76 performances in six months and concluded at The Domain in November 2017. The performance of their final show at the Domain was recorded and now available on 3 LPs. They performed both their gigantic solo hits, such as “Beds Are Burning” and “Blue Sky Mine”, as fan favourites like “Read About It” and “Only the Strong”. It’s a fantastic live experience full of energy and with much attention to their often political subjects. Armistice Day: Live At The Domain, Sydney showcases Midnight Oil at their absolute finest.

This release is available as a limited edition of 2000 individually numbered copies on transparent red vinyl and the package includes an extensive 12-page booklet.

BLUE/TURQUOISE VINYL.

Echocord welcomes the return of Mathimidori to the imprint with his ‘Anata’ EP, accompanied by a remix from New Yorker and Novel Sound boss Levon Vincent.

Mathimidori is the dub techno leaning guise of Germany’s Mathias Kaden, known for his works under his own name on imprints such as REKIDS, Ovum and Freude Am Tanzen, while Mathimidori material has found a home on the likes of Mule Musiq, Raum, Ornaments and of course Echocord where he returns here following 2020’s ‘Akebono’ LP.

Opening the release is ‘Anata’, a texturally dense six-and-a-half-minute composition fusing pulsating subs, billowing synth atmospherics, spiralling dub echoes and sporadic dubbed out spoken word running atop a crisp 4/4 rhythm. ‘Zanziba’ follows and dives deeper via ethereal pads, snaking low-end pulsations, choppy stab sequences and heavily echoing reggae chants.

Levon Vincent steps up to remix ‘Zanziba’ next, delivering a typically raw and dynamic rework, upping the energy levels as dub stabs dynamically unfold and retract amongst a thunderous low-end drive, intricate synth flutters and low-slung drums across its ten minute duration.

Delve into the Dutch jazz scene of the 1950s and 1960s with a selection of classic and rare hard bop and cool jazz tracks from artists like Herman Schoonderwalt, the Diamond Five, Wessel Ilcken and Tony Vos. Holland never sounded this hip before!

"Jazz is garbage and a caricature of the modern orchestra; it is garbage arranged by half-grown musicians for the benefit of common entertainment." In spite of the Dutch cultural establishment's attempts to preclude jazz - as illustrated by this citation from the October 1926 issue of music magazine De Muziek - The Netherlands was one of the earliest adopters of the new music style as it came over to the Old Continent at the end of World War I.

Delve into the Dutch jazz scene of the 1950s and 1960s with a selection of classic and rare hard bop and cool jazz tracks from artists like Herman Schoonderwalt, the Diamond Five, Wessel Ilcken and Tony Vos. Holland never sounded this hip before!

"Jazz is garbage and a caricature of the modern orchestra; it is garbage arranged by half-grown musicians for the benefit of common entertainment." In spite of the Dutch cultural establishment's attempts to preclude jazz - as illustrated by this citation from the October 1926 issue of music magazine De Muziek - The Netherlands was one of the earliest adopters of the new music style as it came over to the Old Continent at the end of World War I.

How about you forget for a moment all the things you thought you knew about Saroos, okay? First of all, let’s forget about all the other projects these guys are part of. Why? Because thinking of The Notwist, Driftmachine, Lali Puna, Tvii Son, to name “only” half a dozen things, might be misleading in this case. What’s more, please make sure to forget the fact that they’re mostly filed under “instrumental,” “post-rock dub,” or “kraut-flavored indie-tronica,” you know, all that. And most importantly, let’s forget that they’re a closed, three-minded system: a fixed and fully committed entity of three. No more!

Known to reinvent themselves in less drastic ways, Christoph Brandner, Max Punktezahl and Florian Zimmer, have opened the floodgates to COLLABORATION – making things open, porous, different, new, in many ways, on their quietly explosive latest album “Turtle Roll”.

Announced by 2021 singles “Tin & Glass” feat. Ronald Lippok and aptly titled “Frequency Change” feat. Leila Gharib aka Sequoyah Tiger, the sixth full-length sees the Berlin threesome add another handful of vocal guests along the way – thus turning into shape-shifting full bands and/or temp quartets, perfectly at home in about as many genres as there are tracks on the LP.

Kicked off by the motoric B-funk (Berlin represent) of the Lippok-assisted “Tin & Glass,” complete with retro-futuristic effects, spoken declarations, and non-terrestrial vibes, it might not be Daft Punk playing at their house, but a byobv (vibe) house party of musical minds isn’t too far off, actually! Once again as much a mixtape as an album, the mood, vibe, and color changes with every new collaborative tune: From ethereally soothing and dreamy (“The Mind Knows” feat. Solent from Canada) to clap-driven and wildly hypnotic (that pounding “Mutazione,” featuring vocals and rhymes courtesy of Eva Geist from Italy) and almost radio-ready (“current, bass-heavy alternative indie hits only!”), when that stadium-sized oomph of “Frequency Change” feat. Sequoyah Tiger arrives around halfway in.

Elsewhere, Japanese guest Kiki Hitomi (WaqWaq Kingdom) adds exotic ecstasy to the hypothermic beatscapes of “The Sign,” while Ukrainian vocalist Lucy Zoria pushes poetic layers over “Southern Blue”’s wonky foundation that hardens and finds more direction with each round the beat clock takes – until it’s impossible to escape that undertow. “My baby makes it better,” sings Caleb Dailey on the faithful and still-loving “Being with You,” a sepia, softly churning look back by the US songsmith, a sweetly shimmering ode to a relationship.

Speaking of foursomes, there’s four instrumental tracks scattered throughout the new LP – ranging from a painting in crystal clear colors of night (“Organ of Recall”) to the highly dramatic sonic tapestry of “Thicket” (actually feat. vocals as well). Before the perfect goodbye of slow-moving album closer “Here Before,” “Passed Out” sounds like Odd Nosdam finding his feet after blacking out on a German carnival.

Titled after a surf maneuver that allows you to break through the crests on the way out, Saroos have skipped the obvious waves with “Turtle Roll” – creating their own kind of sonic “Hang Ten” by adding 7 new voices to the mix.

Lost soul phenomenon Lewis Taylor's Numb finally arrives on double vinyl! One of UK soul’s most fascinating artists, most enigmatic figures and most under-appreciated talents, Andrew Lewis Taylor is a prodigious multi-instrumentalist and eclectic polymath. He enjoys a fiercely loyal following which, over the years, has included celebrity champions like Bowie, Elton and D'Angelo. Numb is Taylor's sixth album, initially released on his own label Slow Reality (an anagram of his name) and licensed to Be With for this long-awaited physical edition. It captures Taylor's wholly unique, intoxicating take on lush, late-night psychedelic soul music.

Lewis wrote and recorded these 10 brand new tracks after a 17 year break from making music, although the album came together over a two-year period. The years away have done nothing to dull Taylor's unique musical vision. He still astounds. The lyrical themes, however, have shifted. Understandably, more than a decade and a half of soul searching and unflinching self-examination cannot fail to influence this most honest of songwriters, and boy does it show. Numb marks a return to the darker, more mysterious side of his output: "Brian Wilson-channels-Smokey Robinson atmospheres", as Mojo put it recently.

After playing a rapturously received gig at the Bowery Ballroom in NYC in 2006, Lewis unceremoniously walked away from music and disappeared completely. An interview in 2016 shed light on some of the reasons for Taylor’s withdrawal from the business, but there was no hint of a return anytime soon. Then in June 2021, news emerged out of the blue that he was readying new music alongside Sabina Smyth with whom he had worked first time around.

On Numb, Lewis deftly balances stark, soul-bearing lyrics with moody mid-tempo pop-soul sheen. He deals candidly with depression, mental turmoil, even thoughts of suicide - clearly more personal than Taylor's earlier songs. The music is rich, warm and layered, with infectious melodies and hooks that stick with you. A true grower of an LP, it really does reward repeated listens. As Jim Irvin in Mojo reflected, "despite the depths these plumb, it's a curiously uplifting experience, unfurling like a concept album about life's challenges with an optimistic beauty at its heart."

Triumphant dubwise horns ring out yet, almost instantly, “Final Hour” takes on a dark, downbeat vibe. With lyrics that confront (and, seemingly, confound) death head-on, Lewis ensures the groove is still there, the beats still swing and your head still nods, strings glissade. Woven around delicate yet insistent piano and subtle strings over a killer bassline, the title track “Numb” is a good example of the lyrical themes throughout the album. As Taylor reflects, "So removed I feel no pain / And for all I know I could be having the time of my life" with a coda that feels very much in conversation with Brian Wilson's finest harmonies. "Feels So Good" is sophisticated 90s-sounding soul of the highest order. The music and vocals feel simultaneously optimistic and despondent. Downlifting. A neat trick, and one Lewis has been so adept at over the years. "Apathy" is a mini-epic, a symphonic-soul gem which builds and glides and, eventually, soars. “Worried Mind" is another slow-builder, creeping out the gate in a sketchy, discordant fashion before climbing to half-crescendo but never quite breaking free of its disorientating restraint.

The brighter "Please" presents a more hopeful mood, with the refrain "I still believe" ringing out as Lewis harmonises with himself. "Brave Heart" quietly struts from step one, as Lewis's falsetto swaggers over a downtempo backdrop with ace echoey drums, beautiful strings and serene electric guitar. Closing out Side C, "Is It Cool" answers its own (non-) question with a spellbinding five and a half minutes of swoonsome deep soul that oscillates between a restrained, barely-there backdrop and a lushly full musical accompaniment of acoustic and electric guitar and organ over bass and slick drums. The penultimate track "Nearer" is a magical, soul-stirring ballad in which Lewis sings of reaching a sweet salvation and achieving a peace of mind. If the hairs on the back of your neck aren't standing up by the midway point, you might need to check your pulse. Album closer and true tear-jerker "Being Broken" places Lewis's gorgeous voice high in the mix and the wordless falsetto and melodies invite you to ponder what Pet Sounds might sound like if it were refashioned as a dubby 21st Century electronic soul album. Astonishing.

Simon Francis’s vinyl mastering spreads out the ten tracks over a double LP so, as ever, nothing is compromised. And as usual, the records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Turn it up and let the Lewis Taylor sound envelop you.

The next chapter of the Natural Information Society is here. Since Time Is Gravity, credited to Natural Information Society Community Ensemble with Ari Brown, presents a newly expanded manifestation of acclaimed composer & multi-instrumentalist Joshua Abrams nearly 15 year, 7 albums &-counting flagship ensemble. Joining the core NIS of Abrams (guimbri & bass), Lisa Alvarado (harmonium) Mikel Patrick Avery (drums) & Jason Stein (bass clarinet) are Hamid Drake (percussion), Josh Berman & Ben Lamar Gay (cornets), Nick Mazzarella & Mai Sugimoto (alto saxophones & flute), Kara Bershad (harp) & Chicago living legend of the tenor saxophone Ari Brown. Recorded live to tape at Electrical Audio & The Graham Foundation, cover painting Vibratory Cartography: Nepantla, by Lisa Alvarado. 2xLP on Eremite USA, 2xLP & CD on Aguirre/Eremite Europe. Out 14-04.

Since first developing Natural Information Society in 2010, Joshua Abrams has been gradually expanding the group’s conceptual underpinnings, its musical references & the sheer number of the group’s members. Its music is, in a sense, an expansive form of minimalism, based in repeated & overlaid rhythmic patterns, ostinatos & modality. Its roots, its scale & its meaning become clearer in time. If time is gravity, it also allows us to carry more. Having begun as fundamentally a rhythm section with Abrams’ guimbri at its core, the version here can stretch to a tentet, including six horns.

Abrams has been expanding his minimalism gradually, but he has long understood a key to minimalism’s potential: the breadth of its roots in the late 1950s & early 1960s, ranging from the dissatisfaction of young European-stream composers with the limitations of serialism to the simultaneous dissatisfaction of jazz musicians with the dense harmonic vocabulary of bop & hard bop. The former began exploring rhythmic complexity & narrow tonal palates in place of harmonic abstraction (Steve Reich’s Drumming, Philip Glass’ Music with Changing Parts; perhaps above all Terry Riley’s In C & his late ‘60s all-night organ & loop concerts); the later reduced dense chord changes to scales (signally with Miles Davis' Kind of Blue, but rapidly expanding with John Coltrane’s vast project). In the 1950s the LP record opened the world with documentation of Asian & African musics, key influences on both minimalists & jazz musicians. If John Coltrane’s soprano saxophone suggested the keening shehnai of Bismillah Khan, the instrument was rapidly taken up by two key minimalists, LaMonte Young & Riley, similarly appreciative of its flexible intonation, the same thing that kept it out of big bands.

If the guimbri, the North African hide-covered lute that Abrams plays with NIS, involves a rich tradition of hypnotic healing music associated with the Gnawa people, Abrams’ music also touches on other musics as well — other depths, memories & healings, different drones, rhythms & modes. As the group expands on Since Time Is Gravity, he has made certain jazz traditions in the same stream more explicit as well. If there is a mystical & elastic quality involved in the experience of time, both in direction & duration, you will catch it here. The parts for the choir of winds expand on the roles of Abrams’ guimbri, Mikel Patrick Avery & Hamid Drake’s percussion & Lisa Alvarado’s harmonium: at times, the winds are almost looping in the tentet version, each hitting a repeating note in turn, at once drone & distinct inflection on temporal sequence. The brilliance of the work resides in Abrams’ compositions, the NIS’ intuitive execution & in Ari Brown’s singular embodiment of the great tenor saxophone tradition, including the oracular genius of Eddie “Lockjaw” Davis, & Yusef Lateef. The three pieces by the expanded NIS featuring Brown —the opening “Moontide Chorus” & “Is” & the ultimate “Gravity”— have an immediate impact, & togther might be considered a kind of concerto for tenor saxophone. Here Brown presses almost indistinguishably from composed melody to improvised speech, getting so close to language that he might have a text. Everything here is a sign. Note the tap of the Rhythm Ace that links “Moontide Chorus” to “Is”, the attentive heart always present, even when signed by a machine. There’s a link here to the methodologies & meanings of dub music & the linear & vertical collage of beats, textures & tongues: treated with reverence, a sample of a beat-box can be as soulful, as hypnotic, as a mbira or a tamboura. If those pieces with Brown are heard as a suspended concerto, the three embrace & enfold the other works, like the sepals of a flower. That placement will also touch on the mysteries of our perception of time.

Particularly in “Is”, but elsewhere as well, a phenomenon of transcendence arises in which time appears to be tripartite, at once moving backwards & forwards & standing still. This is an act of technical brilliance certainly, but also an illumination of music’s ability to represent temporal consciousness through polymetrics. This particular listener has only heard it before in a few places, including the horn shouts & bowed basses of Coltrane’s Africa, in moments of Charles Mingus’ The Black Saint & the Sinner Lady, in certain pieces where tapes were literally running backwards, & earlier still in Dizzy Gillespie’s Cubana Be, Cubana Bop, in which the composer George Russell & conguero Chano Pozo found a music that spoke at once in the voices of Stravinsky’s Rite of Spring & the vestigial rites, rhythms & songs of the Yoruba language & Santeria religion of inland Cuba.

In Joshua Abrams’ compositions & the realization of them by the NIS, in the time of one’s close listening & memory thereof, distinctions between the “natural” & the “social”, the “quotidian” & the “transcendent” are erased, suspended or perhaps irrelevant. Consider two of the ensemble pieces, one named for nature, the other social science. In “Murmuration” the repeated wind figures of flute & alto saxophone combine with the interlocking patterns of harp, guimbri & frame drum (tar) to create a perfect moving stillness, not an imitation but a witness to the miracle of the starlings’ astonishing collective art, a surfeit of beauty that might be the ultimate defense tactic.

“Stigmergy” takes its name & concept from the Occupy movement’s Heather Marsh, who proposes a social system based on a cooperative rather than competitive models, one in which ideas are freely contributed & developed as ideas rather than an individual’s property. In its form, Abrams’ “Stigmergy” is the closes thing to traditional jazz, a series of accompanied solos by each of the wind players. However, the composed accompaniment is a radically collectivist notion: a repeated rhythmic figure, call it ostinato or riff, in which the different winds each play only a note or two of the figure, a concept both more collectivist & individualistic in its conception than any typical unison figure. It suggests another of the underlying recognitions that propel the Natural Information Society, the group as social organism, the teleology of hypnotic anarchy, all parts in place, functioning systematically, evolving & expressing itself, its nature & society, as a transformative organism.

George Lewis has described music as “a space for reflection on the human condition”. This suggests that, rather than a “distraction”, at least some music might serve as a distraction from distraction. It’s a focus, a clarity, a awareness, an external invitation to interiority, as if music itself is a model for form & contemplation, an organism contemplating for us or as us. If that is a possibility, & I am sure I have heard such musics, than this music is among them. How many of our rhythms, melodies & harmonies (cultural, historical, biological, psychic) might such music carry, translate & transform in the particulate ecstasy of our own murmuration? (Stuart Broomer, April 2022)

After a ten year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded.

Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK’s post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city’s flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory’s Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers.

Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.

Erstauflage auf farbigem "Red & Blue" Vinyl. Jubiläums-Edition zum 30. Jahrestag des Debütalbums von Six Finger Satellite, The Pigeon Is the Most Popular Bird, mit einer brandneuen, vollständig remasterten CD und einer Doppel-LP-Neuauflage. Die 1990 in Providence, Rhode Island, von J. Ryan (Sänger/Keyboard), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gebildeten Six Finger Satellite wurden für die Weapon EP schnell von Sub Pop unter Vertrag genommen. Nach Weapon machte sich die Band daran, ihr Debütalbum mit Bob Weston (von Shellac, die später eine Single The Bird Is the Most Popular Finger zu Ehren von Six Finger Satellite benannten) zu produzieren. Das 1993 veröffentlichte The Pigeon Is the Most Popular Bird war die erste Veröffentlichung, die den abenteuerlichen, bissigen Geist und Sound von Six Finger Satellite wirklich einfing. Das Album ist ein Meilenstein des lauten, beunruhigenden Post-Punk, mit Einflüssen von Gang of Four, The Birthday Party und Wire, aber auch mit einer gesunden Dosis der eigenen, einzigartigen Klangfeindlichkeit der Band. Zwischen den spröden Rocktracks finden sich auf The Pigeon Is the Most Popular Bird einige Keyboard- und Studioexperimente, die auf den späteren Alben der Band stärker hervortraten und LCD Soundsystem, DFA Records und einen Großteil des Post-Punk-Revivals der frühen 2000er Jahre vorwegnahmen. Pitchfork bezeichnete The Pigeon Is the Most Popular Bird zu Recht als "eine der besten Noise-Rock-Platten der 90er Jahre" und schrieb, dass "die Übergänge von albern zu bissig den unvorhersehbaren und ätzenden Ansatz von Six Finger Satellite hervorheben - dies war das erste von mehreren Beispielen dafür, wie sie Underground-Trends verschmähten, und ihre aufregendste bittere Pille, die es zu schlucken galt".

Welcome reissue/remaster of British Nirvana's surprise 1996 album, which revived songs written back in the Sixties but never released.

Taking its title from one of those songs, Orange And Blue has all the idiosyncrasies you'd expect from the minds of Patrick Lyons-Campbell and Alex Spyropoulos but done with a nineteen-nineties spin.

And its story of how it all came to be, as with all things Nirvana ? is not so straightforward and detailed inside the liner notes.

Limited to 1000 copies on Sea Blue vinyl! There's freedom to be found in consistency. Until recently, Juan Wauters may not have agreed with this statement. As a touring musician and multinational citizen, transience had always come naturally to him. Circumstance, however, recently prompted him to reconsider the benefits of staying in one place. His most introspective work to date, Wauters' sixth solo album Wandering Rebel finds the artist taking stock of how he's changed, how the world sees him, and what he wants out of life. Written mostly during an extended break from touring, the songs on Wandering Rebel are candid reflections on subjects like career ("Wandering Rebel"), romantic commitment ("Amor Amor"), mental health ("Nube Negra") and the personal toll of touring ("Let Loose"). On "Modus Operandi," he voices his frustration with New York's fairweather residents, who fled the city at the onset of the COVID-19 lockdown. Vocal contributions from fellow New Yorker Greta Kline (Frankie Cosmos) add to the chorus of playful disapproval. On the singalong-worthy "Millionaire," he turns his eye to the west coast: "It's hard to get around Los Angeles / If you don't have a car / I'm staying in a privileged part of town / It's suspicious for me to be walking." The clarity with which Wauters approaches these subjects lyrically is reflected in the music as well. His trademark eclecticism is still present (fans of Real Life Situations' spirited hip-hop should look to track 6, "Bolero"), but it's more refined this time, anchored in his signature Latin-influenced indie folk. Wandering Rebel is peppered with delicate additions that add depth throughout: rain sounds and hand drums on "Nube Negra," a strings section on "Modus Operandi," a gentle vibraphone on "Amor, Amor." Some of these are classic Wauters touches, but others are owed to outside influences, like production from Brooklyn-based Carlos Hernandez (Ava Luna, Carlos Truly) and Brazilian indie artist Sessa, as well as vocal contributions from Kline, Luz Elena Mendoza (Y La Bamba), Zoe Gotusso, and Super Willy K. Throughout Wandering Rebel, Wauters attempts to reconcile the stability he's come to enjoy with the nomadic restlessness that's characterized his life thus far. In the end, though, it's the interplay of both of these elements that makes the album so strong.

Various Artists - A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006) LP + 7' + 4 page booklet insert describing the legacy of the magazine, 500 only pressed. A vinyl only release. "A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006)" is a celebratory vinyl-only release drawn from the magazine's sixteen cover-mounted compilation CDs. Across some 300 tracks, the magazine presented previously unheard tracks from its eclectic array of interviewees drawn from the worlds of the Singer Songwriter, Americana, Post-Rock, Electronica, and all things Indie. Comes With A Smile's designer/editor Matt Dornan's association with Tongue Master Records began with the first TM 7" and has continued to the present day. In some ways the association has come full circle with this curated release. The selections on this album represent the place where the worlds of Tongue Master and CWAS converge. Most remain exclusive to the magazine, and all appear on vinyl for the first time. Side one features artists who appear in the Tongue Master discography - from established masters Mark Eitzel, Mark Mulcahy and Howe Gelb to the equally idiosyncratic stylings of New York's The Scene Is Now, Athens' Sigmatropic (featuring Edith Frost) and London's cinematic The Real Tuesday Weld. The latter revisits a CWAS favourite, featuring a newly recorded vocal by Sephine Llo, exclusive to this release. Other contributions include intimate demos from Eitzel and Gelb (better known in embellished form by American Music Club and Giant Sand respectively), to standalone gems like Mulcahy's "Elephantine" (which gives this collection its title) and the bruised avant-garde blues of The Scene Is Now's "The Word". The tracks on side two and the accompanying 7" are a diverse selection drawn from the 16 CDs CWAS issued between 2000 and 2006 that reflect and complement the oeuvre of Tongue Master Records. Here you will find the dense literature-infused art-folk of Lullaby For The Working Class, the sparse acoustic balladry of Nina Nastasia and the curious Matmos-enhanced stylings of veteran polymath and fellow New Yorker David Grubbs. In their wake comes an epic jazz-tinged duel between Douglas McCombs's Brokeback and sometime labelmates Chicago Underground Duo, and the raw gothic Americana of Blanche. The LP concludes with a haunting lo-fi lament by the sorely missed Jason Molina in his Songs: Ohia guise. The 7" presents two further gems: a concise edit of the lengthy title track from a 2005 12" tour EP from CWAS regulars The American Analog Set, and an acoustic rendition of a track from the album 'The Great Destroyer' by shapeshifting veterans Low from the same year. Together the 14 tracks hint at the breadth of the CWAS archive, a treasure trove from a not-too-distant musical past. With full lyrics, a special four page insert tracing the history of the magazine, and an Alex Wharton Abbey Road cut, this quality release is a testament to the legacy of CWAS. 'Probably the best independent music magazine in the world '- ESQUIRE // Tracks: SIDE ONE: 1 The Scene Is Now - 'Words' (3:10) 2 Howe Gelb - 'Wolf Pup' (4:42) 3 Mark Mulcahy - 'Elephantine' (4:12) 4 Sigmatropic featuring Edith Frost - 'Haiku 4 (Alt)' (2:31) 5 Mark Eitzel - 'Bought A Book' (3:36) 6 The Real Tuesday Weld featuring Sephine Lo - 'Dreaming of You' (3:47). SIDE TWO: 7 Lullaby For The Working Class - 'In Defense Of Abstractions' (3:18) 8 Nina Nastasia - 'I Will Never Marry' (3:29) 9 David Grubbs- 'Aging Young Lovers' (2:53) 10 Brokeback With Chicago Underground Duo- 'Chomsk, Live!' (7:08) 11 Blanche -'Never Again (Demo)' (3:26) 12 Songs: Ohia - 'Untitled' (3:01). 7" SIDE 3: The American Analog Set - 'Everything Ends In Spring (Edit)' (4:41). SIDE 4: Low - 'Walk Into The Sea (acoustic version)' (3:07) For indie stores only!

Originally released as a limited edition three-CD set in 1997, Enya’s ‘A Box of Dreams’ has become a must-have collector’s item among fans. 25 years later, ‘A Box of Dreams’ will receive a long-awaited reissue when it is released on vinyl for the very first time, within a beautifully designed six-disc eco-friendly box set which has been manufactured using 100% recycled board and vinyl. The set compiles highlights from the first half of Enya’s storied career, spanning selections from her self-titled debut album (later reissued and expanded as ‘The Celts’) through to the single ‘Only If…’ which had just been released and featured on her first ‘best of’ ‘Paint The Sky With Stars’.

Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous pressing.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.

Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.

Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.

Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.


Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.

A musical project that was very close to the heart of Jon Lord. High-quality British blues at its finest. In 2010, Pete York (Spencer Davis Group, Hardin & York) asked Jon to join a concert that was named the Rhythm & Blues Allstars. As a result of having incredibly good time together, the band decided to form the Jon Lord Blues Project. Six successful musicians, old friends who have known each other since the 60s and 70s and whose musical past reads like the "Who's Who" of blues and rock music history: Deep Purple, Spencer Davis Group, Chris Rea, Whitesnake and many more. Recorded at the Rottweil Jazz Festival in 2011, Jon Lord, Miller Anderson, Maggie Bell, Colin Hodgkinson, Zoot Money and Pete York presented classic blues songs as well as contemporary compositions, such as by Deep Purple and Tom Waits. Being long out of print and sought after, this incredible live show will be available for the first time ever on blue coloured Vinyl, pressed on 180 gramm and housed in a gatefold with printed inner sleeves.

Old style, Tip-On Jacket, and 8pp heavy insert featuring a treasure trove of newly discovered photos, and a 6,000 word essay by Kris Needs.

In 1962, Karen summoned Richard Tucker to join her in Colorado, extolling the healthier lifestyle, and plentiful gigs at Boulder folk club The Attic. Upon his arrival, the pair solidified their personal and professional relationship, riding horses in the mountains, and performing as a duo at parties and venues throughout Denver and Boulder. Stories of the spell they conjured - and rumours of tapes! - have circulated among friends and musicians who witnessed them, but until now, no recorded evidence had turned up.

Shuckin' Sugar is the glorious result of three reel to reel tapes that miraculously found their way to us in November, 2018; which featured two complete shows from The Attic in January '63, and a benefit concert for The Congress of Racial Equality (CORE) recorded the following February. Their gigs would often include brief solo sets from Karen and Richard, in addition to the duets, and all seven solo songs of Karen's found on the three reels are included here, as well as five duets, sequenced as close to how it all went down as humanly possible. To describe the record would take a poet, but all I can say is that unveiling a missing chapter in the Karen Dalton story - with six songs we've never heard her sing before - is cause for celebration in Delmore's world.

"From her opening, jaw-dropping lift-off with early blues standard "Trouble In Mind," the unique
otherworld Karen conjured springs into vivid life. Playing to audiences inevitably bound to the era's formalities and traditions, Karen instinctively pushed the envelope, straying into uncharted territory beyond the established borders. She must have bewildered many who came to see her in those winsome Peter, Paul and Mary times." From the liner notes by Kris Needs

FORMAT: Limited Edition 3LP Transparent Blue Vinyl - Trifold