Pop & Rock News

Warehouse find!

Teenage Fanclub have announced news of their tenth studio album, Endless Arcade, released 5th March. Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.

Endless Arcade follows the band’s ninth album “Here”, released in 2016 to universal acclaim and notably their first Top 10 album since 1997; a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.

In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.

Such is life. But the title track suggests, “Don’t be afraid of this endless arcade that is life.”

A preview from the album came in February 2019 with Raymond’s ‘Everything Is Falling Apart’, an online single released at the outset of a six-month tour and a highlight of Endless Arcade.

Everything is falling apart? Well, yes, but the song was written long before COVID-19 arrived. Neither was Raymond’s inspiration political or social, but more, “the entropy in the universe, the knowledge that everything eventually decays,” he explains. But Raymond says relax. Or rather, “Relax, find love, hold on to the hand of a friend”.

Fortunately, Endless Arcade was virtually finished by the time lockdown was announced, bar the odd tinker under the engine hood. It seems timely, given how everyone had to initially stay home under lockdown, that the album starts with Norman’s ‘Home’, though it was chosen in part because of its opening line: “Every morning, I open my eyes...” The album’s longest track (at seven minutes) typifies TFC’s relaxed groove, culminating in Raymond’s peach of a guitar solo.

Norman’s search for ‘home’ could be literal: after all, he’s been living in Canada for the last 10 years. But it’s also figurative. Like Norman’s other Endless Arcade songs – The Sun Won’t Shine On Me’, ‘Warm Embrace’, ‘I’m More Inclined’, ‘Back In The Day’ and ‘Living With You’ – his words on ‘Home’ are etched by loss and yearning. “Without going into too much detail, the last eighteen months have been challenging for me on an emotional level,” he admits. “But it’s been cathartic channelling some of these feelings and emotions into song.”

In contrast, Raymond’s songs – he’s also responsible for ‘Come With Me’, ‘In Our Dreams’, ‘The Future’ and ‘Silent Song’ – are philosophical and questing. As he sings in ‘The Future’: “It’s hard to walk into the future when your shoes are made of lead”, but he’s still going to try, “and see sights we’ve never seen.”

In the band’s own near future, they’re already planning another new album given they can’t yet tour the one they’re releasing now. Welcome back, Teenage Fanclub, unafraid of this endless arcade that is life.

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

Medicine used to be, we expected, good for us. Albeit with added sugar. Now medicine is a huge problem in itself, with vast companies caught mis-selling dangerous drugs. It’s one of the biggest scandals ever. How on earth did we get here? Who did this?

The Imbeciles are on the case.

“It’s about the dark side of prescription ‘medicines’. Oxy, Xanax, Ambien, all that. Big pharma is pushing these addictive ‘medicines’ that we don’t actually need, to desensitise / numb / kill. All for profit,” says Butch Dante.

A new classic from The Imbeciles. They know. And they made a video. Watch it here.

Now they’ve been remixed. By these people:

C.A.R.:
Impossible to categorise, and all the better for it - London based, Franco-Canadian, C.A.R., flirts with elements of new wave, cold wave, synth-pop, post punk and off-kilter disco; and without doubt wields some of the most satisfyingly other-worldly melodies and synth lines around.

Ryan James Ford:
One of the most exciting underground techno producers on the block - Ryan doesn’t constrain himself to any one rhythm, aesthetic and motif, but can always be found to be hitting the listener with thick atmosphere, dark melodies and an upfront, experimental attitude.

Legowelt:
A true pioneer of left field house and disco, this Dutch master draws from disco, italo, dub, dancehall, techno and many more sonic pools to create his wonderfully engaging, but always envelope pushing sound.

Second volume in VampiSoul's series focusing on Peruvian cumbia from the 60's and 70's. Beat and psychedelia mix with Andean and Amazonian folk to create pure tropical magic!

Obscure rock group Nite People was formed in 1964 in the southern English town of Poole by drummer/singer, Chris ‘Fergy’ Ferguson; later, guitarist Jimmy Shipstone joined (as Jimmy Warwick), along with organist Barry Curtis and Jimmy’s brother Francis on bass (as
Francis Gordon). Following inconsequential singles for Fontana, with bassist Scott Kirkpatrick, the group signed to Larry Page’s Page One. P.M., issued in 1970, showed heavier leanings and although originals “Funky Hoe” and “P.M.” were captivating, the album probably had too many covers, though the driving cut of The Four Tops’ “Reach Out” was certainly unique. Page also had the group record as The Banana Bunch, before the final split.

Limited 180gr orange vinyl press for RSD2020.

Elias Raschle's goal with Augenwasser is to emancipate himself from the classical label of singer-songwriter, in order to experiment more freely and to return to the roots of his musicality with a more electronic, experimental and emancipated sound. The boundaries between live recordings and studio productions are blurred, leaving a space where improvisation and spontaneity can easily flourish. "Sleepdancer" reflects this state of musical urgency, and the emotions emanate from these new pieces, pure and raw, but terribly stimulating.

Biography
Augenwasser represents the alter ego of multi-instrumentalist Elias Raschle from Biel. The project was born in 2014 with a first 7“ record produced by La Suisse Primitive and a selfproduced cassette entitled "Fireworks", under Augenwasser's own label Hot Dogma.

In December 2015, Augenwasser's first album "Drones & Love Songs" was released on Bongo Joe Records. Intimate compositions, solitary writings and raw melodies come together to create a personal and genuine project. He recorded it solo in the secrecy of his home studio. However, Elias Raschle asks for reinforcements for his stage shows. Trustworthy musicians agree to jump on board with him: Elias Gamma (Martin Savage Gang / ex-GOU, Shady & the Vamp), Juliette Rosset (ZAYK), Levent Pinarci (ex-GOU, LEVENT, UHT). Amongst others, the group performs at the notorious Bad Bonn Kilbi festival, and also tours abroad: Belgium, Greece, United Kingdom, France.

After joining forces with the American musician Kelley Stoltz in 2017, the duo gives birth to a collaborative album that got released on the "Transnational Serie" by the label La Suisse Primitive. On stage, Augenwasser becomes a solitary project. Elias Raschle now performs alone on the guitar for a more intimate experience. In 2018, he produces a collection of recordings entitled “The Last Campfire Smokeout“, that he put out on Soundcloud and Bandcamp. For his upcoming project, Elias immersed himself in the composition of "Sleepdancer"

Liar, Flower is the reincarnation of Ruby Throat, consisting of artists KatieJane Garside (Daisy Chainsaw, QueenAdreena, Lalleshwari) and Chris Whittingham. As Ruby Throat, the duo released four albums and an EP between 2007 and 2017, as well as their 2018 compilations Stone Dress, and Liar, Flower.
It began with Daisy Chainsaw in 1991 when KatieJane Garside emerged as a furious icon of the alt-girl underworld in a torn dress and matted hair howling ‘Love Your Money’ a confused and violent mixture of lust and loathing, then came QueenAdreena bolder, darker, louder, unpredictable and violent
Garside and Whittingham have been living together on a small sailboat while raising their young daughter and have spent the past few years out at sea. In recent years the pair have lived a life of isolation, and the album reflects those experiences, coincidently fitting for the current times

‘All We Grow’ was and is a convergence of S. Carey’s young lifetime spent immersed in music: his ‘Waltz For Debby’-era Bill Evans inflected jazz tendencies; his performance degree in classical percussion from the University of Wisconsin, Eau Claire; his central role in the gale-force power of the Bon Iver live show; his hints of Mark Hollis’ Talk Talk. In his downtime on tour with Bon Iver, Sean would spend time pining for his life at home, dreaming and composing in that headspace.
 ‘All We Grow’ also retests the waters of modern classical composition, investigating the moodiness generated by percussive repetition in a manner familiar to fans of Steve Reich. For as spacious as they are, Carey’s compositions are incredibly dynamic, with moments of bombast held right next to moments of subtle depth and texture. How apropos, then, that this anniversary edition of ‘All We Grow’ adds a cover of Tom Waits’ ‘Take It With Me’, a timeless lullaby from another artist whose voice strikes us in bracing, unexpected ways.
 Ten years ago, S. Carey and ‘All We Grow’ crept into our world like a seedling - delicate and unassuming but putting down roots that would deepen and grow whether we saw them or not. Ten years later, S. Carey and ‘All We Grow’ endure as a part of our soil, an earthen, inextricable part of planet Jagjaguwar. At a time when serenity feels particularly scarce, ‘All We Grow’ stands as a classic album - born without expectation and met with adoration - a cathartic result of Carey’s extraordinary and vibrant life experiences that resonates loss, dreams and heart in a manner so instantly relatable, you feel as though you can touch it.

An album full of vintage 1966-1968 music by the band that brought you the incredible 'Hashish' on the legendary San Franciso Sampler 'Fifth Pipe Dream'. This is the first ever release of this killer psychedelic West Coast monster, that took many years to complete! West Coast Natural Gas started in 1965 in Seattle. In early 1967 they went to San Francisco to work for a local music manager named Matthew Katz. Katz was the original manager for Jefferson Airplane, Moby Grape and later also It's A Beautiful Day. He talked West Coast Natural Gas into signing a contract with him but being young and stupid, they didn't realize at the time that they had basically signed everything over to him. They went into the studio and recorded some original tunes, including 'A Favor', 'Go Run And Play', 'The Jumping Frog', 'Hashish', 'Water Or Wine', 'Beyond This Place', and 'Two's A Pair'. In early 1968 the band broke up and went back to Seattle. Katz released the single 'Go Run And Play' b w/ 'A Favor' on his S.F. Sound label under the name West Coast Natural Gas. Later he released a compilation album -the first San Francisco Sound sampler- called 'Fifth Pipe Dream'. The four songs mentioned before, 'Water Or Wine', 'Hashish', 'Beyond This Place' and 'Two's A Pair' were the ones recorded by West Coast Natural Gas, though Katz presented these as by the band Indian Puddin' & Pipe. This superb release includes all the above mentioned songs, plus archival material taken from acetates. A big surprise here is that four unshelved and never before heard songs are included as well. All of these were recorded in 1966 at a local Seattle Recording Studio before the band moved to San Francisco. A pinnacle of the West Coast psychedelic acid scene..

November 2020 sees the 50th Anniversary of the release of David Bowie’s The Man Who Sold The World in North America. The album marks the beginning of a collaboration with guitarist Mick Ronson that would last through classic works including Hunky Dory, Ziggy Stardust and Aladdin Sane—as well as the first in a 10-year series of indispensable albums stretching through 1980’s Scary Monsters…

Originally titled Metrobolist, the album's name was changed at the last minute to The Man Who Sold The World. The 2020 re-release of the album under its Metrobolist moniker has been remixed by original producer Tony Visconti, with the exception of the track ‘After All’ which Tony considered perfect as is, and is featured in its 2015 remaster incarnation.

The Metrobolist 50th anniversary artwork has been created by Mike Weller who was behind the historically controversial “dress” cover which Mercury Records refused to release.

As with the Space Oddity 50th anniversary vinyl, as well as a 180g black vinyl edition, it will come in 2020 limited edition handwritten numbered copies on gold vinyl (# 1971 - 2020) and on white vinyl (# 1 - 1970) all randomly distributed.

Historic Recordings Vol.1

Rare recordings of legendary blues guitarist Eric Clapton.

Features performances with The Yardbirds, Jimmy Page and Sonny Boy Williamson.

FANTASTIC 140 GRAM VINYL.
LIMITED EDITION
Full servicing to all relevant media
Extensive print & internet advertising

repressed !

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.












j 10. Désolé (feat. Fatoumata Diawara) Extended Version

The notorious, riotous “Last ever Iggy & The Stooges show” reissued on vinyl.
Iggy taunting biker gangs as the band implode; the story is told on the inner bag.
The original 1976 album inspired the punks – it then outsold prior Stooges albums.
“You can actually hear hurled beer bottles breaking against guitar strings…”

First released in 1976, ‘Metallic K.O.’ was the fourth album from IGGY & THE STOOGES, a classic, memorable recording of the Stooges confrontational last gig. The Stooges had not been heard since ’73’s ‘Raw Power’, and the sound of kamikaze Iggy in between new songs dodging eggs and glasses thrown by Hell’s Angels gave him a new audience in the embryonic punk crowd. It defined Iggy as a punk originator, sold 100k+ and become the Stooges best-selling album.

This is Marc Zermati’s original album edit that shocked and inspired so many. In the 2007 remastering from the original tapes an original tape-speed fault was found and fixed – it’s now heard in the correct pitch. As Lester Bangs said: “IT’S THE ONLY ROCK ALBUM I KNOW WHERE YOU CAN ACTUALLY HEAR HURLED BEER BOTTLES BREAKING AGAINST GUITAR STRINGS”.

2015 Vinyl reissue incl CD

*** REPRESS VINYL *** Edition of 500 Clear Vinyl ***

The Space Lady began her odyssey on the streets of San Francisco in the late 70's, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.

Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. "The Space Lady’s Greatest Hits"(LSSN020) features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. “Greatest Hits” contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also 4 originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.

In the mid 90's The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love.

2024 Repress

Mannequin Records is proud to present a full length by the Philly minimal-synth princess Void Vision.
Void Vision is a Philadelphia-based electronic project helmed by Shari Vari. It began around 2009 at a time when a wave of synth-revivalists were materializing, but the quality of the songwriting and intense vocals set the band apart from the pack. In a rare instance, Void Vision has managed to combine vintage dance elements with melodic structures, haunting melancholy, and lyrics that have a palpable soul. The songs themselves are dynamic, referencing a cross-section of the last 30 years of electronic music, while simultaneously retaining a uniqueness all their own.

The infamous Wierd Records weekly club night in New York, which showcased a variety of talented electronic and coldwave artists, served as an incubator for Void Vision in it's early stages. After a standout debut performance at the club, they immediately caught the attention of Blind Prophet Records, who consequently released their first 7" single, 'In 20 Years', which received excellent reviews.

Vari has continued performing and recording steadily over the last few years, releasing songs on compilations for various labels, including Rough Trade, and in 2012 the song 'Everything is Fine' was selected for Artforum magazine's 'Best of 2012' issue. In 2013, Void Vision toured the West Coast and later that year released a split 12" with Portland-based band, Vice Device. The first official full-length album, entitled 'Sub Rosa' is set to debut on Berlin-based Mannequin Records, followed by a European tour in 2015.

Shari Vari formed Void Vision in 2009 originally as a duo, during the explosion of the new minimal synth and cold wave scene in United States. Sharing the same scene of the Wierd Records associates like Led Er Est, Martial Canterel, Xeno & Oaklander, Automelodi, in 2010 VV released 'In Twenty Years' on Blind Prophet (Sean Ragon's Cult Of Youth record label), receiving also the attention of the Rough Trade dudes, who asked to put out a track for one of their synth wave compilations.
After other split vinyls, tapes and compilations, Mannequin approached Shari with the intention to continue what Wierd Records started, giving a proper shape to her beautiful and youthful dark electronic sound. The result is 10 hypnotic cold analog tracks dominated by the warm and fragile Shari's voice, some more 'pop orientated' some others belonging to the original 'cold wave' atmosphere.

"Sub Rosa" is an edition of 400 copies on 160 gram black vinyl and 100 copies on 160 gram white vinyl.

The Authorized Hendrix Family Edition- All Analog Mastering From The Original Monophonic Tapes! Bernie Grundman Remastering, Complete Original Artwork!

The last Happy Mondays album on Factory Records originally released September 1992 - reaching no 14 in the UK chart. Produced by Talking Heads’ Tina Weymouth and Chris Frantz. Artwork lovingly replicated by original Manchester designers Central Station Design. Featured the singles "Stinkin' Thinkin”, “Sunshine & Love” and “Angel”.

The Great Dismal, NOTHING’s new full-length album explores existentialist themes of isolation, extinction, and human behavior in the face of 2020’s vast wasteland. Closing in on the band’s ten-year mark, frontman Domenic Palermo finds himself stringing together songs of misanthropic tales of Philadelphia with a refined and refreshed take on NOTHING's classic sound. “The Great Dismal refers to a swamp, a brilliant natural trap where survival is custom fit to its inhabitants,” Palermo states. “The nature of its beautiful, but taxing environment and harsh conditions can’t ever really be shaken or forgotten too easily.” The ever progressive NOTHING keep true to their chaotic outlook on life, keeping a keen eye to avoid repetition. With a radical cast of talented contributors such as harpist Mary Lattimore, classical musician Shelley Weiss, and singer/songwriter/producer Alex G., The Great Dismal showcases yet another essential side of the band’s trademark American Post-Shoegaze.

There are few instruments more uniquely suited to capturing the beauty and ennui of the rural American midwest than the acoustic steel-string guitar. In the hands of a master, the range of evocable emotion and experience is truly limitless. Daniel Hecht is one such master. His 1973 self-released debut album, simply titled Guitar, is an indispensable piece of the endless puzzle that is instrumental Guitar Soli music.

Guitar was written and recorded while Hecht was living and working on a commune in Madison, Wisconsin. In between harvesting his own food and studying the music of Andrés Segovia and Mississippi John Hurt, Hecht found himself playing host to legendary itinerant street performer, Moondog.

On Moondog’s insistent urging, Daniel decided to record some of his recent guitar compositions. Released on his own Dragon’s Egg imprint, Guitar fused Hecht’s complex classical preoccupations with his country folk influences. The album eventually found a fan with guitar godhead, John Fahey, who eventually helped land Hecht on the eminent new age/ instrumental label, Windham Hill.

As Hecht’s playing and composition grew in complexity, he found peership with labelmates like Michael Hedges, William Ackerman, and Alex DeGrassi. But it is his debut album that remains the greatest document of Hecht’s talent and ambition in first bloom. A rolling, blissful trip through rural America, guided by the ambitious hand of a guitar master. Morning Trip is elated to release this gorgeous and seminal document of acoustic exploration on vinyl for the first time since its initial 1973 offering.

This selection of ultra rare tracks represents the sound of the postpunk Dutch band Necronomicon and their label Fetisj from the period 1981-1982. All selections have been mastered from the original released cassettes and unreleased demo-cassettes

12inch release of highly sought after Colored Music edits by Tokyo's, Chee Shimizu (Organic Music). The two cuts originally featured on the the bands seminal self titled album (from 1981) that remained a cult DJ secret weapon, for many years, all over the world. This heavy EP includes an alternative version of 'Heartbeat' that featured on the Japan only "Individual Beauty" LP of 2018 (also compiled by Shimizu)

Traditionally the liner notes of an album take on a kind of third-party address, where a writer is delivering their thoughts about how an album makes them feel without breaching that space where they are representing themselves or the moment in time directly to the reader. The goal is typically a kind of timelessness, but as we live in unprecedented times, unconventional methods take on new life, and hopefully importance. In the spirit of that idea... man, is this the kind of album we all need right now. So many of us feel like we're constantly walking a tightrope, are feeling like we can't unwind, are in genuine need of a few moments of respite. Every so often an album emerges from an artist that most likely did not realize when they were composing how timely the results would be, and Lofi Dimensions is exactly that kind of record. It doesn't really matter why it's coming when it is, what's important is that it's here, offering peace to the perturbed and inspiration for the downcast. The American Dollar have long been one of those artists operating in a kind of middle ground, a band with a long history of creating moving instrumental rock that has somehow avoided ever becoming synonymous with modern American post-rock acts. They retain a sort of autonomy in a valued position just outside the boundaries of classification. Blending electronic textures with moving guitar and keyboard melodies, their music has always traveled somewhere in the spaces between trip-hop, electronic, post-rock and ambient, and this inability to be defined is ultimately what sets them apart from the trappings of genre, allowing them to be whatever they want The American Dollar to be in a given moment, always on their terms.

Regarded by many as one of the finest live albums of all time, Strangers in The Night captured UFO at the peak of their powers as a band. Originally released in 1979, this double album recorded during the bands October 1978 US tour, which can only be described a live greatest hits of the band’s repertoire.

Limited edition 200 Copies

LTD. COL. VINYL

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

In 1990 Neil Hannon started recording and releasing under the name
The Divine Comedy. Thirty years and twelve great albums later,
Hannon is rightly adjudged one of the finest singer songwriters of his
generation. To celebrate, Divine Comedy Records are remastering
and reissuing nine of the band's classic albums.
The nine reissued albums have been remastered from the original
tapes at the legendary Abbey Road Studios by mastering engineer
Frank Arkwright (Blur, The Smiths). Overseeing the audio throughout
the campaign is engineer / mixer / producer Guy Massey, whose
work on the Beatles Stereo Remasters won him a Grammy Award.
‘Casanova’ was the band’s third album and the first to bring real
success. First released in 1996 it explored and dissected a world of
casual affairs, loose morals and a thousand anxieties in between.
From the NME: “‘Casanova’ fairly teems with sex, with suppressed
desires... with ample evidence of what dicks men can be.” Mojo
described it as a “glorious... sumptuous paean to life, love and
longing.” Select said “Only a barren heart could resist it... Sensible
people simply swooned.” Singles ‘Something For The Weekend’,
‘Becoming More Like Alfie’ and ‘The Frog Princess’ became chart hits
and airplay staples while an alternate version of ‘Songs Of Love’
became the theme music for legendary Channel 4 sitcom Father Ted

Reissue pressed on cream coloured vinyl. Originally released in 1977, this 16 track album features both studio and live tracks, which are interspersed with one another throughout the album. It displays a mix between the fusion of Latin and blues rock styles of the late 1960s and early 1970s and the much more experimental and spiritual jazz fusion sound that characterized the band's mid 1970s work. Marketing activity.

This November sees the release of 50th Anniversary editions of Layla and Other Assorted Love Songs on 4LP and 2CD. In celebration of the 50th anniversary of the 1970 double album, the original has been given the ‘Half-Speed Mastered’ treatment by Miles Showell at Abbey Road Studios and is completed with a certificate of authentication. 4LP SET - Layla is often regarded as Eric Clapton’s greatest musical achievement. The album is notably known for its title track, an evergreen rock classic, which had top ten single chart success in the UK and features the dual wailing guitars of Clapton and Duane Allman. Alongside this are a further 2LPs of bonus material some of which has not previously been released on vinyl. All the bonus material across all of LP3 and LP4 is mastered normally (so is not half-speed mastered). The LP set includes a 12×12 book of sleeve notes taken from the 40th-Anniversary Edition.

Pailhead was a collaboration of vocalist Ian MacKaye (Minor Threat, Fugazi), Ministry’s Al Jourgensen and Paul Barker, and drummer Eric Spicer (Naked Raygun).

In 1986, MacKaye was just a few years away from his genre-defining work in Minor Threat and on the cusp of starting an even more influential band, Fugazi. Al Jourgensen was also undergoing a transition with his band Ministry after the release of “Twitch”. He wasn’t the guy who would release the game-changing “The Land Of Rape And Honey” a couple of years later, but he was well on his way.

Alain met Ian when he was living in London. Both found common ground musically and politically and decided to collaborate on a project that would fuse elements of industrial music with hardcore punk. The result was a bunch of unique and unrepeatable hymns.

Pailhead released one first single “I Will Refuse” / “No Bunny” in 1987 and next year the 4-song EP “Trait”, both on the legendary Wax Trax! Records.

Limited edition of 500 copies on grey vinyl with deluxe sleeve with soft touch lamination and sticker with classic band logo.

David Boulter is a founding member of Tindersticks, he has made over 20 studio albums and film soundtracks with the band. Nottingham born, but based in Prague since 1998, under his own name he has worked on music for many films. These include an eight-part serial Pustina/Wasteland for HBO Europe, the American movie Five Nights In Maine and recently two documentaries with Turkish/Belgian director Volkan Uce. Yarmouth is his first solo LP.

The inspiration for Yarmouth came when David, arrived a day early for a show at the Arts Centre in Norwich, and made an impromptu visit by train to the seaside town where had spent his childhood holidays.

In a year when most of us have been unable to travel, Yarmouth offers an escape to summers past. It recalls the saturated colours of a John Hinde postcard in musical form. With a sound palette based around an old 1970’s Lowrey organ, flutes, violin, vintage tape echo and a Premiere vibraphone, it captures a dreamy side of Yarmouth. Sun- drenched childhood memories, long shadows on the sand, the sound of seagulls and waves breaking on the shore. The magic of the fair - the entrance guarded by a huge mechanical giant, club in hand, while the roller coaster rattles overhead on a backboard of painted mountains peaks. As the sun goes down, noise drifts out from the amusement arcades, and neon flickers on Marine Parade, lighting up the fountains in candy floss colours.

“As I stepped off the train, the weight of time passed hit me. I was overwhelmed by a sense of sadness and loss. As I walked along the streets, looking for Trudy’s, I didn’t expect her, but I did find the house. Slowly, as I recognised buildings, streets, memories. I began to smile. I hadn’t lost anything. Great Yarmouth had changed. So had I. But the warmth of those sunny childhood summers was still there.” David Boulter 2020

A limited pressing in transparent yellow of Eyedress's album, Let's Skip To The Wedding - a loved up remedy for uncertain times. Limited to 1000 copies worldwide

Der Grammy-nominierte Ninja Tune-Artist Tycho veröffentlicht neues Album mit überarbeiteten Versionen seines 2019’er Albums “Weather"!

Nach der Veröffentlichung seines für den diesjährigen GRAMMY® Award nominierten Albums „Weather“ (2019), ist Tycho mit dem neuen Album „Simulcast“ zurück. Das neue Album enthält mit Spannung erwartete, maßgeschneiderte instrumentale Bearbeitungen von „Weather“-Albumtiteln, die zuvor von der Singer-Songwriterin Saint Sinner gesungen wurden. Tycho hat die Essenz der Originale übernommen und neue, alternative Versionen dieser Aufnahmen aufgenommen, um aus diesen beliebten Stücken neues Material zu schaffen. Diese Veröffentlichung ist für jeden Tycho-Fan unumgänglich. „Weather“, das ab sofort bei Mom + Pop Music x Ninja Tune erhältlich ist, wurde kürzlich mit einer prestigeträchtigen GRAMMY® Award-Nominierung in der Kategorie „Best Dance/ Electronic Album“ geehrt und ist somit Tychos zweite Nominierung hintereinander in dieser Kategorie. Dem Nachfolger des 2016er Charterfolgs und GRAMMY® Award-nominierten Albums „Epoch“, „Weather“, folgt nun das neue Album der Band, „Simulcast“.

Now this might be exotic for ears used to Western pop and rock music but probably not for too long if these ears have a
fondness for deep and haunting melodies. Formed in 1971 as the first ever Mongolian rock band at the behest of the ministry of
culture, that wanted to establish Mongolia’s very own BEATLES, it took about ten years to get an album out, which is their sole
record up to today and fetches prices up to 500 € and more for a copy in great condition. Here we finally have a reissue on the
newly formed EVERLAND PSYCH label, a sub division of EVERLAND MUSIC. I must add, the first ever full reissue. And another gap
for collectors of exotic yet accessible popular music will be closed. Musically we have to expect female and male fronted pop
and rock with a late 60s feeling. All music is handmade by musicians who know their craft. From the thick and complex
arrangements emerge quite a few melodies so sweet and soaked in joy, that you cannot sit back and listen. You gotta jump up
and dance to these moving tunes. Some tracks also have a deeply melancholic atmosphere with this distinctive Asian feeling to
the vocal harmonies. The production is earthy, the album really sounds like a 1960s recording which happened in a kind of live
set up in the studio and this is probably what really happened back in 81, when these songs were laid down to the reels. This
stuff has been at least a bit retro fashioned when it originally saw the light of day, but then there were many other bands from
allover the world, that adopted musical forms of expression which had been popular in Western pop music already some time
ago. Psyche and 60s garage aficionadoes will love the Farfisa organ sounds and occasional fuzzed out lead guitars. The synthies
alone give it a more up to date expression, but all in all it does not feel like a 1980s record at all. While getting further and
further into the album, even some tracks with male lead vocals appear, while most songs here have a lady chanting. Fans of
Asian and oriental rock and pop of the 1970s will love this record for sure. From Korean garage rock to Persian beat to Anatolian
folk rock there are at least spiritual similarities to be found here. With each song you drift further away from your position in
Western hemispheres and before your inner eye vast veldt landscapes emerge and you begin to feel the free spirit of the
Mongolian world. This album definitely has is own special kind of beauty and brings utter joy to music fans who also love Erkin
Koray, 3 Hür El, Baris Manco, this typical Turkish 70s melodic rock, which is most similar to what SOYOL ERDENE create. Heart
warming, well crafted rock music from a place far away.

In summer 2019 Everland Music will release a mindblowing boxset with Osamu Kitajima's first 5 highly acclaimed and superrare
albums All 5 albums are taken from the ORIGINAL MASTERS, provided by Mr. Kitajima himself. Osamu Kitajima was born in Chigasaki, Japan on February 3rd 1949 and studied classical guitar and piano already in his childhood days. Later on in the 1960s, when Beat and Rock music became the hot stuff in the popular music circuit, he joined his cousin’s band “The Launchers” with his brother, before graduating from university. Osamu’s cousin, Yūzō Kayama, is a famous Japanese film actor and musician. In 1971, when Osamu was already a successful composer of TV advertising jingles, he moved
to England for a year and developed an obsession for British Rock music, especially in the Psychedelic field. The Beatles, The Bee
Gees, Jimi Hendrix, Deep Purple and The Zombies became his major influences and inspired him to start a solo career under the
name „Justin Heathcliff“, which he adopted for it’s typical English sound. His 1971 eponymous album was a typical Pop Psyche
effort for it’s time, but not long after he returned home to Japan, Osamu abandoned the English sounding name and further on
merged Western Progressive and Electronic music with Japanese Folk sounds.
Shinchugoku (1972)
This is a beautiful early 1970s Psychedelic Folk Rock effort, on which Osamu Kitajima cooperated with Fumio Miyashita (aka FAR
OUT) and members oft he very popular FAR EAST FAMILY BAND, to create a bunch of mind altering colorful tunes with a mellow,
yet intense approach.
Benzaiten (1976)
This album is called his masterpiece by many aficionadoes of 1970s Progressive Rock, with it’s mixture of haunting Japanese Folk
elements and skillfully played spacey Rock music that takes you on a spiritual journey to the center of your mind.
Osamu (1977)
His third album marks another change in direction. Still Japanese elements and some haunting melodic Space Rock elements
flow gently into another, but by incorporating Jazz, Funk and even Reggae, Osamu broadens the whole musical colour palette by far.
Masterless Samurai (1980)
Osamu completely abandons the Space Rock aspects here and takes a turn into Jazzrock with a Progressive edge, that he still
combines with these totally exotical sounding Japanese Folk elements.
Dragon King (1981)
The step from Masterless Samurai to Dragon King has not been such a big one as it has been with the albums before. We
experience a softer version of Osamus Jazzrock / Japanese Folk Fusion, that often even shows Soul Pop aspects, typical for it’s
time.