Pop & Rock News

A Year On (to The Week) From The Release Of The Critically Acclaimed 'masseduction' Album, St. Vincent Releases Reimagined Piano Versions Of The Album. Performed With Thomas Bartlett Over Two Days In A Studio In Midtown Manhattan, August 2017.

COLLECTION OF RARE AND UNRELEASED MATERIAL OUT THROUGH BECAUSE MUSIC ON 16TH NOVEMBER

'Sounds as if they have stepped out of Quentin Tarantino's dreams.... a 60s-saturated stunner' Uncut

'Garagey, soundtrack-infused psych, a swirl of pounding drums, spoken French, baroque melodies' Mojo

"The Limiñanas always sound effortless and cool' Brooklyn Vegan

French psych duo The Limiñanas will release their new album 'I've Got Trouble In Mind Vol. 2' through Because Music on 16th November. Featuring rare recordings, 7" singles and unrelased material, the collection is the follow up to 2014's album 'I've Got Trouble In Mind'. The duo, were widely acknowledged as one of the highlights at this year's End of the Road Festival, have unveiled a video for 'The Gift'. Taken from their previous album 'Shadow People' and featuring Peter Hook, the song has been remixed by Anton Newcombe of The Brian Jonestown Massacre and can be viewed here:

"We wrote and recorded 'The Gift' at home in Cabestany and then finished it Berlin at Anton Newcombe's studio," explains Marie. "I'm pretty sure you'll recognise Peter Hook's lead bass. He's been one of our heroes for a very long time. The video reflects on high school years in gangs; the mods, the skins, the rockabs and the rudeboys smoking cigarettes while hanging in the schoolyard. 'The Gift' looks at what's happened to two of these people over the years and how they may have missed out on a lifelong love story. The video is directed by Aurélien Richter and features actor and dancer Foulques de Boixo."

One of France's most loved treasures, The Limiñanas are Marie (drums/vocals) and Lionel (guitar, bass, keyboards and vocals). Hailing from Perpignan, the duo straddles the boundary between psych, shoegaze, and yé-yé. With hazy, reverb-laden hooks, combined at times with noisy distortion, and fronted by effortlessly cool vocals, reminiscent of Serge Gainsbourg and Brigitte Bardot, the band is at once timeless and quintessentially French. The Limiñanas, who have produced records in their own garage for the last ten years, released their first rarities collection 'Ive Got Trouble in Mind' through Bill and Lisa Roe's revered 'Trouble In Mind' label in 2014. As with the first installation, 'Vol. 2' features rare and unreleased tracks such as the duo's version of The Kinks' 'Two Sisters' (recorded for a MOJO magazine covermount compilation, produced by Anton Newcombe and remixed by Jim Diamond (White Stripes/The Sonics), a cover of The Lords of the New Church's 'Russian Roulette' and live versions of fan's favourites. 

A thrilling debut for one of the most original British bands of the '90s. A romantic and elegant chamber pop masterpiece that mixes indie rock forms, the maverick pop song craft of a Lee Hazlewood and/or Van Dyke Parks, and the dark charm and hip romanticism of Ian Curtis, Scott Walker, and Leonard Cohen. While in the UK it was named album of the year (1993) by Melody Maker, in the USA Rolling Stone wrote: "the 1st Tindersticks album draws inspiration from the playful narrative style of producer Lee Hazlewood, the Cinemascope orchestrations of John Barry and the twilight-zone claustrophobia of Nick Cave and the Bad Seeds." Limited edition red vinyl in a gatefold sleeve.

Blues Pianist Eddie Boyd's 7936 South Rhodes Was Recorded In London In January 1968 With Three Members Of The Early Line-up Of Fleetwood Mac: Peter Green (guitar), John Mcvie (bass), And Mick Fleetwood (drums). It's A Tantalizing Setting For Boyd's Straight Up Chicago Piano Blues, Going Heavier On The Slow-to-mid-tempo Numbers Than The High-spirited Ones.

During The Sixties' Blues Revival, Boyd Toured Europe With Buddy Guy's Band, And He Toured And Recorded With Fleetwood Mac And John Mayall And The Bluesbreakers. Tired Of The Racial Discrimination He Experienced In The United States, He First Moved To Belgium Where He Recorded With Dutch Blues Band Cuby & The Blizzards. Boyd Died In 1994 In Helsinki, Finland, Just A Few Months Before Eric Clapton Released The Chart-topping Blues Album, From The Cradle That Included Boyd's five Long Years' And third Degree'.

Fleetwood Mac, The Self-titled Debut Album, Was Released In 1968, And Was One Of The Highlights Of The Late British Blues Movement, Climbing To The #4 Slot In The Uk Album Charts Without Producing One Single, And Managing To Stay In The Charts For 37 Weeks. It Was A Traditional Blues Album True To Form, But One That Also Showcased Peter Green's Budding Singing And Songwriting Skills. i Loved A Woman' Has A Hint Of The Latin Blues Fusion He Would Perfect In black Magic Woman' A Year Later, While looking For Somebody' Balanced Humour And Vulnerability That Would Come To Characterise Their Style.

After a long time in the works, Mothball Record is proud to present a lost album from legendary Italian wave band: Ruins.

Hailing from Venice, Ruins are one of the pioneering artists of the Italian new wave scene beginning in the late seventies: an explosion of new and exciting art, music and film.

The tracks on 'New Record' were taken from the self-distributed, tape only release from 1983 'Side Roads'.
This album was timed directly before their most well-known releases in contemporary times, the 'Fire / Crime' 12' and the eponymous 4 track EP on Black Square.

Taken from the original master tapes and selected by Ruins themselves, the album should be listened as a whole to gain the full experience, but immediate 'must-hear' tracks are 'I Don't Know', 'I Love You' and 'Last Night DJ Killed My Wife' featuring early use of Roland TB303.

At times unsettling, beautiful, violent, harmonious, these songs will finally get the audience and exposure they deserve 35 years later.

Aviv Geffen features 15 essential tracks, including 'Blackfield', 'Once', 'Family Man' and 'Pain' Open Mind is a CD presented in digipack packaging complete with a 8-page

booklet or as a 2LP with a D side etching presented in gatefold packaging featuring new artwork by Hajo Muller.



Blackfield is the collaboration between Israeli songwriter and musician Aviv Geffen, and British musician and producer Steven Wilson. The collaboration, extending from their self-titled debut in 2004 to their superb return with album

'V' produced with Alan Parsons in 2017, has proven to be a prolific partnership for creating striking and affecting music. The pair makes for a formidable musical force; Geffen has worked with legendary producers Tony Visconti and Trevor Horn, has also recently

performed with and hosted Jake Bugg, played as support for Biffy Clyro, and was a judge on the Israeli TV show The Voice. Wilson, after a long tenure as the leader of the hugely influential band Porcupine Tree, has since embarked on a

highly successful solo career, most recently earning a #3 album in the UK Charts and #2 in the DE Charts, as well 4 Grammy nominations. This collection, curated by Wilson and Geffen, selects the best works from an impressively rich Blackfield catalogue with each of the five records combining

both sweet and tart elements. It's an uncommonly potent mixture. Perhaps the debut album's Lasse Hoile cover art a bottled elixir lurking in the gloomy shadows of an apothecary signifies that Blackfield is a dark medicine to be

administered through the listener's ear. There's no recipe on the aged and frayed label of the bottle. Yet some lyrical ingredients can be discerned within the mix: Take a dash of childhood memory, sprinkle in some heartbreak, pour

in a drop of blood from an open vein, add a pinch of angry conscience (carefully weighed), puree the dew of a kiss, and then garnish with the bitter tears of adult disillusionment. Stir carefully and name it after the very first Blackfield collaboration: 'Open Mind'.

12' satin finish sleeve, Printed inner sleeve, Standard weight vinyl. For one night only in April of this year, Nick Cave & The Bad Seeds shared a show from their celebrated 2017 world tour on cinema screens worldwide. Filmed at Copenhagen's Royal Arena in October 2017, Distant Sky captured an extraordinary and triumphant live concert from Nick Cave & The Bad Seeds. Performing new album Skeleton Tree's beautiful compositions alongside songs from their essential catalogue.

Voodoo Lounge Uncut presents for the first time the full, unedited show filmed on November 25th 1994 at Miami's Joe Robbie Stadium. Originally directed by the legendary David Mallet, this new version features 10 performances omitted from its previous release in the 90s, and the full show is now presented in its original running order. With its ahead-of-its-time cyberworld staging, guest appearances from Sheryl Crow, Robert Cray and Bo Diddley, and a setlist combining classic tracks with (then) new material from the Voodoo Lounge album, this phenomenal show can now be enjoyed as originally intended.
 
As an added bonus, all visual formats feature five tracks from an earlier date on the Voodoo Lounge Tour that weren't performed in Miami - making this the definitive record of The Rolling Stones' Voodoo Lounge Tour.

Recorded Live At Scarborough Castle, Scarborough 17th September 2005. Tracks previously released as Mad, Bad And Dangerous To Know in 2014 on CD and DVD - Cat No. SECDP081

The Wildhearts line-up for this recording consisted of Ginger: Vocals/Guitar, CJ: Guitar, Danny McCormack: Bass, and Ritch Battersby: Drums

Families sit together huddled in front of their flatscreen TVs peeking through their hands to see the new world leader being sworn in by a fading shadow of hope whilst criminals applaud. The world is crying and The End Is On TV. Outside, lost souls wander in a daze fixed on prescription drugs with Eyes In The Sky. This Is Your Life trying to escape advertising and takeaway menus and spending what you don't have and looking perfect and trying to fit in and everyone and everything always being Oh So Happy.

Escape when and how you can, get off your knees and face the sun, find your groove and create an Easy Life for yourself as the screens keep the mind bombarding of grim tales, fear and sadness. Why can't they bring us some Good News

Don't let the Natural Rewards we seek be diluted, fight the lies however you can because we realise and accept that there'll always be Something Wrong With Everything....but never give up as you've everything to win the race, it's beautiful with love and grace, keep moving on.

Aiwanese Heavy Metal Band Chthonic, Which Is One Of Its Kind, Finally Comes Up With Its New Album Battlefields Of Asura Five Years After. In The Past Five Years, The Five Members Of The Band Have Turned New Pages Of Their Lives, With The Lead Vocalist Having Organized A New Political Party And Being Successfully Elected To A Seat In The Taiwanese Parliament, They Never Forget Their Promise To Their Fans About A New Album. This Time, They Even Invited The Hong Kong Diva Denise Ho To Work With Them, To Produce A Uniquely Taiwanese-style Heavy Metal.

The 11 New Songs Is An Adventure. It's A Journey With Taiwanese Immortals. What Await Ahead Are Full Hostility, Murderous Emotions, Walls Of Iron That Are Difficult To Conquer, Lusts And Desires That Are Not Easy To Bid Farewell Too, But There Are Also Courage That Inspires Infinity. At The End Of The Adventure, It Turns Out Of A Quest For The Perpetual Prajna. When You Feel Tears On Your Face, You Would Realize That This Is Where All The Stories Told In Chthonic's Past Albums Come From.

Although This Is An Album About Taiwanese Immortals Showing Off Their Muscles And Elves Fighting, But Everyone Could Find An Exit For Their Anger, A Way To Heal Their Wounds, And Find The Power For Rebirth

Tom Hirst has been making music for many moons. Initial buds featured tape collages, distangled pop music, various dictaphone experiments, and over time all this meshed and warped into his solo musical venture known as Design A Wave.
"Live On Your Yard" is an E.P that presents 4 tracks of emotive and melancholic synth pop that point towards the eccentricity of artists like Snakefinger and Tuxedomoon, the synthetic slickness and charity shop glamour of Italo Disco, and the misery of Coldwave. This is the first vinyl release in Design A Wave's 10 year history, following on from a slew of humble and privately distributed cdrs, and is also the first Design A Wave recording to feature external musicians - Melissa Osborne on synth, and Will Saunders on bass.

Ein einnehmendes Indie-Duo aus der Schweiz mit einem entzückenden Folk-Pop
Debüt.
Nora Steiner und Madlaina Pollina malen das Bild einer Welt, die wir schon lange nicht mehr so eindrücklich
und reflektiert wahrgenommen haben. Aufbruch, Licht und Schatten und die Bedrängnis der Gegenwart,
ausgedrückt in bezauberndem Indie-Folk-Pop, der Zähne zeigt und enorme Dynamik entwickelt. Mal erinnert
ihr zweistimmiger Gesang an First Aid Kit, ihre kompositorische Zugänglichkeit lässt an den perlenden Pop
von Boy denken, dann wieder geleitet uns das Duo an düstere Abgründe, wie sie auch Emily Jane White
beschreibt. Allerdings sind dies nur ungefähre Orientierungspunkte. Dass die beiden aus der Schweiz
kommen, ist grundlegend für deren Debütalbum "Cheers", denn "Cheers" heißt nicht nur Prost, "Cheers" kann
ein Anfang und ein Ende sein, eine Begrüßung und auch ein Abschied. Dabei spielen Steiner & Madlaina
gekonnt mit Ambivalenzen. Mal fließen ihre Songs lieblich daher, dann türmen sich die Instrumente
walzenartig auf. Durch die analogen Sounds und teils surfigen Gitarrenklänge gewinnt "Cheers" an Wärme
und transportiert einen unterschwelligen 60er-Jahre-Charme. Im Zentrum des Ganzen stehen aber immer die
Stimmen von Steiner & Madlaina, die so perfekt harmonieren, dass man die Vertrautheit und langjährige
Freundschaft der beiden herauszuhören meint.

1. Ich werde nie gehen
2. Prost Hawaii
3. Wenn du mir glaubst
4. Hold
5. Riot
6. Das schöne Leben
7. Reckless love
8. Groß geträumt
9. Wait for it
10. Herz vorus id Wand

- November 22nd 2018 sees the 50TH ANNIVERSARY of 'The Beatles', otherwise known as the White Album, with the anniversary products released ahead of this on November 9th 2018
- This is only the SECOND EVER MULTI-FORMAT REISSUE OF A BEATLES STUDIO ALBUM
- The album has been remixed from the original analogue masters by Giles Martin
- MOST IMPORTANTLY, the set will contain a CD of ESHER DEMOS - a 27 track 'Beatles Unplugged' album, with 19 of those tracks being demos for songs included on the White Album. This is one of the most famous Beatles bootlegs and has only ever been heard by the fans in bad quality, but for this set, we have gone back to the original 4 track recordings
- The project will also include Giles Martin remixes of outtakes of 'Lady Madonna', 'Hey Jude' and 'Revolution' which were released as singles in 1968, but not included on the original album, plus others
- The Beatles are the #1 CATALOGUE ARTIST IN THE WORLD
- 180-gram 2LP vinyl set featuring the new stereo album mix
- Packaging faithful to the original album
- Lifetime

- November 22nd 2018 sees the 50TH ANNIVERSARY of 'The Beatles', otherwise known as the White Album, with the anniversary products released ahead of this on November 9th 2018
- This is only the SECOND EVER MULTI-FORMAT REISSUE OF A BEATLES STUDIO ALBUM
- The album has been remixed from the original analogue masters by Giles Martin
- MOST IMPORTANTLY, the set will contain a CD of ESHER DEMOS - a 27 track 'Beatles Unplugged' album, with 19 of those tracks being demos for songs included on the White Album. This is one of the most famous Beatles bootlegs and has only ever been heard by the fans in bad quality, but for this set, we have gone back to the original 4 track recordings
- The project will also include Giles Martin remixes of outtakes of 'Lady Madonna', 'Hey Jude' and 'Revolution' which were released as singles in 1968, but not included on the original album, plus others
- The Beatles are the #1 CATALOGUE ARTIST IN THE WORLD
- 180-gram 4LP vinyl set housed in a 2 piece lift off lid box with 16 page 12'x12' stapled book
- 2 x 2LP in gatefold sleeves
- LP1 + LP2 (gatefold): New 'The Beatles' stereo album mix
- LP3 + LP4 (gatefold): Esher demos
- Limited

In the 1980 documentary 'Philip Guston: A Life Lived,' the famed neo-expressionist talks about a painting he keeps starting over. 'It looked alright—but it felt to me as if it were additions—this and that and that,' he says. 'What I'm always seeking is some great simplicity where the whole thing is just there.'

'That, to me, is the ideal feeling of existing,' says John Rossiter, singer and guitarist of the LA-based art rock quartet Young Jesus. 'That feeling you pursue when you're creating, when the world is opening up and things are on the cusp of beauty and revelation, but it's just out of reach. To maintain that in the face of depressing or difficult stuff is what I'd like to be able to do.' This pursuit is what drives Young Jesus, and it's documented on their upcoming record The Whole Thing Is Just There.

On The Whole Thing, which takes its name from the late painter's words, Young Jesus combines a palette of indie rock instrumentation with a spirit of unhindered spontaneity to construct—and deconstruct—emotionally potent and inventive sonic landscapes.

Vibration underscores music, motion, and movement. Lenny Kravitz translates this natural force into art and ultimately a call-to-action. The four-time GRAMMY® Award-winning singer, songwriter, producer, and multi-instrumentalist elevates the union of rock 'n' roll, funk, blues, and soul he patented in 1989 once again on his eleventh full-length album, Raise Vibration. Receptive to youthful inspiration, but enlightened by three decades of wisdom, it represents a powerful creative rebirth and a bold, bright, and brilliant body of work befitting of his legacy and boundless spirit.
He explains. 'When I said Let Love Rule on my debut, I had to live that for myself. It's the same idea with Raise Vibration. I'm making a conscious choice to go to another place that I believe yields better results. I feel that the vibration we're on collectively is not doing it. We need to reach higher. We need to be more thoughtful, spiritual, loving, and open. Stop thinking of borders, boxes and imaginary forms of separation. We're all on planet Earth together. We must do better. I communicate through music best. I create to inspire myself and, if I can inspire others, then that is beautiful.'
Given the ambition of this vision, it seems apropos that Kravitz received the music in a series of dreams, following a whirlwind world tour. Joined by longtime collaborator guitarist Craig Ross, who also engineered the album, Kravitz personally produced and performed everything from guitar, bass, drums, and piano to bongos, glockenspiel, Moog, Fender Rhodes, Coral Sitar, Kalimba, and more.
'It was really handed to me,' he admits. 'It was a case of being quiet and waiting. Once I put down the first idea, I felt connected. The great thing is when you get into that place, the floodgates open. It continued for months. I'd hear songs in the middle of the night, and I made the album.'
Upholding a longstanding tradition of adventurousness, each song takes on a life of its own. Sunny acoustic guitar slides towards a swooning refrain on the wistful '5 More Days Til Summer.' The wail of a wah wah pedal solo proves just as hummable as the hook does as he shares a tale overhead in a bar.
'It's a story about an older man in his late sixties,' he explains. 'He doesn't have a wife, works the night shift, sleeps during the day, and has only seen the dark for so long. He has been saving his money and is about take his first ever vacation. I thought about the life he was living and the fantasy he was about to have. I saw him transforming into his younger self and reliving what he should've lived back in the day even though he was in an older body. It's a joyous and sweet pop tune.'
On the other end of the spectrum, the seven-minute-plus 'It's Enough' stands out as one of the longest compositions in his catalog and a tense and necessary rumination on the global state of affairs. Cinematic piano and funky bass propel this journey towards a thought-provoking spoken word passage before his live horn section—Ludovic Louis, Harold Todd, and Michael Sherman—enlivens the momentum and leaves listeners with a soaring saxophone solo. Ushered ahead by this unpredictable aural pastiche, each verse urges change and the social betterment human nature certainly possesses the capability for, but seemingly lost sight of in recent days.
'People are standing up,' he elaborates. 'I've had enough of racism and people of color being treated differently and killed. I've had enough of war. I've had enough of the destruction of the environment. We've got to get back on track towards moving forward through higher understanding.'
Further smashing boundaries, the title track concludes on a live performance of Native American drums and chanting, emanating tribal unity and power. Shuddering vocals and jagged friction ignite the title question of 'Who Really Are The Monsters'
'I'm talking about every nation,' he states. 'Governments seem to think the way to peace is through more war. That's scary. The human brain is a wonderful and amazing thing that has created so much. Yet, in this day and age, we still haven't found a way to settle a dispute without violence.'
The 'spiritual opening prayer' of 'We Can Get It All Together' sees Kravitz speaking out to God for personal deliverance. The closer 'I'll Always Be Inside Your Soul' juxtaposes ocean waves, 808s, and final strains of Kalimba. Elsewhere, the peace anthem 'Here To Love' touts an uplifting message once again delivered as 'a complete spiritual download.'
'Johnny Cash' serves an emotional centerpiece. Dusty chords resound as his voice reaches heavenly heights. In one of the most intimate moments of not only the album—but his entire career—he recounts the day of his mother's passing.
'My mom was battling cancer,' he sighs. 'I had gotten back to L.A. from tour, and I was living at producer Rick Rubin's house. I went straight to the hospital from the airport and spent the day with my mom. Once I got to Rick's house, somebody gave me a message that she died as I was in transit. I started to walk up the stairs, and Johnny Cash and June Carter were walking down. They asked how I was. I told them that my mother just died. The two of them grabbed me, held me and consoled me. They were the only people there; they became family for that moment. In the song, I'm asking someone to hold me like Johnny Cash and whisper in my ear like June Carter did.'
Another standout, 'Low' thrives on wild riffing and backup vocals courtesy of an old friend—Michael Jackson on a previous recording for Kravitz. This proved to be the perfect complement to 'Low,' completing the song and bringing everything full circle.
Kravitz adds, 'It's an honor to have him on this track. The primitive tribal shout he was known for was the perfect stamp.'
Throughout Raise Vibration, Kravitz remains a true original. Since the arrival of Let Love Rule in 1989, he has sold 40 million albums worldwide and won four consecutive GRAMMY® Awards, setting the record for 'most wins ever in the 'Best Male Rock Vocal Performance' category.' Fellow icons from Madonna, Aerosmith, Prince, David Bowie, Mick Jagger, and Jay-Z to Drake, Avicii, and Alicia Keys have jumped at the chance to collaborate. An acclaimed actor, his on-screen output includes The Hunger Games franchise, Precious, and Lee Daniels' The Butler. His creative firm Kravitz Design Inc, touts an impressive portfolio of noteworthy ventures, with a range that includes hotel properties, condominium projects, private residences, and high-end legendary brands like Rolex, Leica and Dom Perignon.
As he raises the bar for music once again, there's still nobody like Kravitz. He's on a vibration of his own. He affirms, 'My message is one of unity. From Let Love Rule to Raise Vibration, if it motivates and inspires you, beautiful.'

collecting orders for repress ... !

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

2 Lp Release Of Material Previously Released Only On Hawkwind - Parallel Universe: A Liberty/u.a. Years Anthology 1970-1974, A 3cd Anthology.

These Tracks On "dark Matter" Have Never Been Released Before On Vinyl.

An album about crossing physical and metaphorical borders that has never been timelier: Calexico's classic album 'The Black Light' turns 20 this year. This limited celebratory anniversary edition includes all new artwork by Victor Gastelum, extensive linernotes, and 11 bonus tracks.

What was surprising about The Black Light (and what set its architects apart from their indie rock peers) was the album's unusual willingness to wade into the rapids of American and Mexican culture, fully immersing itself midstream. From the outset, with 'Gypsy's Curse', the record combines guitar twang and flamenco flourishes; and by its end, almost an hour later, it's contrived a skillful and instinctive union of smoky bar room jazz, arthouse indie rock, and compelling mariachi brass in 'Frontera'. If Calexico falls short as a name, it's only in the fact that - alongside their mining of Mexico's fertile musical past - Joey Burns and John Convertino weren't just digging into California's songbook...they were unearthing America's too.

- Anniversary-Edition on 180g heavy double vinyl including 11 bonus tracks
- Limited Clear Double LP on 180g heavy vinyl
- New Alternative Artwork by Victor Gastelum
- Gatefold Cover with embossed logo and silver print and 8 page booklet
- Limited to one pressing only

+ download coupon

2LPX version is an indies only format.

An Album About Crossing Physical And Metaphorical Borders That Has Never Been Timelier: Calexico's Classic Album 'the Black Light' Turns 20 This Year. This Limited Celebratory Anniversary Edition Includes All New Artwork By Victor Gastelum, Extensive Linernotes, And 11 Bonus Tracks.

What Was Surprising About The Black Light (and What Set Its Architects Apart From Their Indie Rock Peers) Was The Album's Unusual Willingness To Wade Into The Rapids Of American And Mexican Culture, Fully Immersing Itself Midstream. From The Outset, With 'gypsy's Curse', The Record Combines Guitar Twang And Flamenco Flourishes; And By Its End, Almost An Hour Later, It's Contrived A Skillful And Instinctive Union Of Smoky Bar Room Jazz, Arthouse Indie Rock, And Compelling Mariachi Brass In 'frontera'. If Calexico Falls Short As A Name, It's Only In The Fact That - Alongside Their Mining Of Mexico's Fertile Musical Past - Joey Burns And John Convertino Weren't Just Digging Into California's Songbook...they Were Unearthing America's Too.

- Anniversary-edition On 180g Heavy Double Vinyl Including 11 Bonus Tracks
- Limited Clear Double Lp On 180g Heavy Vinyl
- New Alternative Artwork By Victor Gastelum
- Gatefold Cover With Embossed Logo And Silver Print And 8 Page Booklet
- Limited To One Pressing Only

- Brilliant performance live at the Konserthuset, Stockholm
- Includes the entire Sveriges radio broadcast
- Digitally remastered for enhanced sound quality
- Background liners

Frank Zappa, live at the Konserthuset, Stockholm, Sweden on 30th September 1967.
In the last week of September 1967, Frank Zappa and the Mothers played a week of shows in Europe. This remarkable performance, broadcast from the Konserthuset in Stockholm, Sweden on Sveriges radio, features favourites such as It Can't Happen Here (from Freak Out!), Big Leg Emma (which had recently appeared as a 45 in Sweden) and an epic rendition of King Kong (in its first known live recording), as well as a couple of Elvis classics. It's presented here together with background notes and images.

Tompkins Square present the debut full-length by Welsh multi-instrumentalist, Gwenifer Raymond. Hailing from Cardiff and now residing in Brighton in the South of England, Raymond began playing guitar at the age of eight. Tompkins Square released her debut 7" on Record Store Day.

In Gwenifer's own words :

When I was about eight years old a pretty formative thing happened to me ... my mum bought me a cassette tape of Nirvana's Nevermind. Being so young I'd had no real interest in music prior to that, but I did have a 'My First Sony' cassette player that I used to listen to audiobooks. Anyway, I put the tape in, pressed play, and what I heard blew my little 8 year old mind. I don't know what it was about that wall of sound that so captured me, but I spent many hours hyperactively running around the house with headphones on, volume at full blast, and Nevermind on repeat. It was either for Christmas or my birthday that year, that I asked for a guitar.

I spent all my teenage years playing either guitar or drums in various punk and rock outfits around the Welsh valleys, but around that time I was also getting seriously into older stuff, Dylan, The Velvet Underground and the like. Through those cheap compilation CDs you could get then, I found that a common influence amongst these guys was pre-war delta and country blues, as well as Appalachian music. Eventually I stumbled upon Mississippi John Hurt, Skip James and Roscoe Holcomb, and they became the holy trinity of musicians I so wanted to able to play like. Eventually, I tracked down a blues man in Cardiff who could teach me and it was in studying these guys that I was introduced to John Fahey and the whole American Primitive thing.

I've always loved being in bands and the sonic chemistry it produces, but at the same time it's always a bit of a compromise that those sounds in my head have to pass through and be translated by someone else's. Sometimes it can be for the better, but sometimes not so much. American Primitive was the first time it had occurred to me that you didn't really need anything more than one solo instrument to fully express yourself, especially when those feelings and moods refuse to be articulated in words, sometimes it's a mystery to yourself what it is you're expressing. I still play in hard rock and punk bands and love to wail and hit my guitar with a complete lack of any subtlety or nuance, but in the end I think that all these things are really part of a circle, feeding back into itself. It's all just a lineup of strange mutations.

- Incredible performance at the Cow Palace, San Francisco
- The entire original KSAN-FM broadcast.
- Professionally re-mastered with background liners and rare archival photos.

Journey's transition from prog rock pioneers to commercial FM stalwarts alongside Foreigner and Boston was about to take shape with a revised line-up that would feature Robert Fleischman and then Steve Perry. Their appearance at Cow Palace in Daly City, SF on New Year's Eve would be their last performance as the familiar quartet that had arisen from Santana and Frumious Bandersnatch. Ironically, Journey and Santana would compliment each other tonight on the same bill with Santana closing the show and welcoming 1978. Although only two years into their professional career, Journey's performance here seems slightly sentimental in harking back to their three albums, in particular their 1975 debut and it's follow-up Look Into The Future, both of which feature strongly here. Live On Vinyl proudly presents the entire KSAN-FM broadcast of Journey's stunning live performance from Cow Palace, Daly City, San Francisco on New Years Eve 1977. Professionally re-mastered with background liners and rare archival photos.

June 1, 1974 was originally released by Island Records the same year in which it was recorded.

The idea for the concert came from Richard Williams (Island's A&R), who suggested that the reunion

of all of these Island artists would help generate interest in the label (which had up to then been primarily associated with reggae).



Brian Eno performs two songs from his debut solo album Here Come the Warm Jets (1973), while former Velvet Underground chanteuse

Nico delivers a stunning version of The Doors 'The End'. Fellow former Velvet John Cale curdles the blood with his alarming take

on Elvis Presley's 'Heartbreak Hotel'.

Kevin Ayers journeyed from his secluded lifestyle in France to appear and his performances take up the remainder of the album



The personnel is completed with Ayer's extraordinary touring band The Soporifics -

featuring guitarist Ollie Halsall (Patto, Timebox), exceptionally reinforced by Robert Wyatt (Soft Machine) and Mike Oldfield.

Line-up / Musicians

- Kevin Ayers / Bass, Guitar, Vocals
- John "Rabbit" Bundrick / Keyboards
- John Cale / Keyboards, Viola
- Brian Eno/ Synthesizer, Keyboards, Vocals
- Ollie Halsall / Guitar, Piano
- Archie Leggett / Bass
- Nico / Harmonica, Marimba, Vocals
- Mike Oldfield / Bass, Guitar, Vocals
- Eddie Sparrow / Percussion, Drums
- Robert Wyatt / Percussion, Drums, Vocals

Single Sided With Both The Original 1983 Private Release And Victor Giordano's Updated 2018 Recording! Recorded At V Audio Inc. Baltimore Maryland, "suicide Squeeze" Is The Second Baseball Related Record To Be Released On Ppu!

Artist Bio - Victor Giordano:

I Started Writing And Recording Music In High School Using 2 Sony Two Track Tape Recorders To Simulate Multi-track Recordings. Around 1969 I Met David Lewis. We Played In Three Bands, Cold Teeth, The Enerjets And The Fool Bros. Members Included Sam Kirckhoff, Geoff Royce, Richard Armiger, Ralph Tucker And Guy (yug) Phillips. In '74 A Friend Brought Me Out To Blue Seas, A Recording Studio / Record Pressing Plant In Hunt Valley Md. Basically I Started Living There. George Massenburg Created The First Fully Parametric Eq / Programmable Console And State Of The Art Compressor. This Brought In The Big Names. Little Feat Was Making 'feats Don't Fail Me Now'. Lowell George Was Producing Robert Palmer 'sneakin' Sally Through The Alley'. Emmy Lou Harris Was Recording With The Seldom Scene. People Like Bonnie Raitt And Van Dyke Parks Were Regular Visitors. The Studio Was Being Managed By Steve Boone (bass -the Lovin' Spoonful). He Was Putting Together A Band And I Was Asked To Play Guitar. With Trudy Morgal, Lee Diamond And Bobby Webber, Blanche Performed Regionally Till '77. In '76 Blue Seas Moved To A Refurbished Grain Barge In Baltimore's Inner Harbor, Then Under Construction. On Christmas Day 1977 The Barge Sank In Freezing Water. Most Of The Equipment And Tapes Including A Steinway Grand Were Lost.

Assuming I Was A Recording Engineer, Flite Three Studios In Baltimore Asked If I Would Like To Be Their Chief Music Engineer! I Had To Learn Quickly But Took The Gig. At Flite Three I Recorded Local Bands, Gospel Groups, My Bands The Enerjets, Fool Bros. (suicide Squeeze, The Birds Are On Tonight) And In 1980, Began A Long Relationship With John Palumbo And Crack The Sky. White Music Was The First Of Many Projects.

In 1985 I Moved Over To Sheffield Studios In Phoenix Md, One Of The First Studios On The East Coast With A Ssl Console. There I Continued Working With Crack The Sky And Worked On A Variety Of Projects Including A Choice Hotels Commercial With Johnny Cash. In 1986 At John Palumbo's Suggestion I Created An Alias (rik Harley) A Heavy Metal Band 'steel Rider' And An Album 'eat The Monster'. I Used A Teac 8-track, A Linn Drum And A Rock Man In A Spare Bedroom. It Was Never Released But In 2005 I Was Writing For A Production Company In La. My Wife Suggested I Send It To Them. They Licensed 8 Songs And Two Were Featured In Mtv's 'road Rules'.

In 1990 I Became The First Official Employee Of Clean Cuts Music With Jack Heyrman And Tom Alonso. While There I Worked On Hundreds Of Commercials And Several Album Projects Including 'dr. John Plays Mac Rebennack' And Wall Matthews 'riding Horses'.

Over My Career I've Co-produced And Played On Two Greg Kihn Cds 'mutiny' And 'horror Show' And Also Had The Opportunity To Work With Barry White, Bill Withers, John Sebastian, Werner Herzog And Sam Shepard.
In 2003 I Started V Audio And Went Freelance. In '04 -'05 I Was A Staff Composer For Bunim- Murray Productions In Los Angeles, Writing For Nbc, Fox And Mtv. Since Then I Am A Freelance Mixer / Sound Designer At The Discovery Channel. I Have Two Telly Awards For Music And Sound Design. I Produce All Baltimore Orioles And Washington Nationals Radio Promos For Masn Sports.

In 2003 I Produced The Cd 'play' With Milkshake, The Kid's Rock Band. Iparenting Media's 2003 'best Children's Music Recording'

Record Releases In 2018 Include Entourage 'ceremony Of Dreams' With Wall Matthews, Fool Bros. 'suicide Squeeze' 1981 - 2018 And In October Little Magic 'good Thing You're A Kid'. A Collection Of Songs From Original Plays By Nancy Lewis Music By Victor Giordano.

- A Collection of Girl Garage And Girl Groups from the '60s!
- Strictly limited to 1000 copies only

Prior to Joan Jett, Patti Smith, Courtney Love and other era-defining Women in rock, there were the girls in the garage. Like their male counterparts discovered, being in a band was not only cool and alluring, it was sexual and ultimately political without making a 'political' statement. The garage band was a medium that enabled a voice to be heard, an adolescent fury of angst and frustration or plain old hormones. Girls In the Garage captures the raw essence of those juvenile dreams played out through guitars, drums, mics and amplifiers. Prevailing gender roles would be tested, as rock 'n' roll became someone else's domain the girls!!

The arrival of rock 'n' roll and the teenager not only belonged to the boy next door, it aroused the aspirations and emotions of the girl. Although it's been said that it was rare for a girl group to play on their own records in the mid-1960s, they were not alone. On both sides of the Atlantic, cynical and shrewd producers largely employed session musicians, afraid of any conceivable faults at the hands of such young and innocent hands, male and female. The ones who didn't were bold visionaries that believed not only in a new generation's ambitions, but capabilities too. As the rise of a female presence in rock 'n' roll rose through the appearance of figures such as The Vejtables' Jan Errico, the Honeycombs' Honey Lantree, and the fabulous Maureen Tucker (whose deliberately primal technique is such an undervalued part of the Velvet Underground's sound), so too did the rise of all-female bands. Liverpool's Liverbirds and Hull's Mandy and The Girlfriends gave weight to the idea that it was 'normal' and paved the way for likeminded girls to drop the dream boy and pick up the guitar!

Although, the prevailing attitude amongst both major and independent record labels was never going to be inspiring or welcoming, like the wailing blues mamas such as Memphis Minnie or Jessie Mae Hemphill, times were-a-changin' and girls didn't just want to have 'fun'. Emerging groups such as the Pleasure Seekers, White Boots, Ace Of Cups, Bittersweets, and the Luv'd Ones were playing rock 'n' roll on their own terms whilst breaking new ground - whether they were trying to or not. Prepare yourself, as hell hath no fury like....

This fall, Arc Iris releases Icon Of Ego, its third groundbreaking album, as a trio that packs the heft of a far bigger band with fully realized sonic and visual intensity.
On this latest album, vocalist / guitarist Jocie Adams, keyboardist / sample artist Zach Tenorio-Miller and drummer Ray Belli have crafted a vividly expressionistic new album that reflects both the group's protean talents as well as its journey of survival.
After its self-named 2014 debut on the ANTI- label, Arc Iris achieved critical acclaim, along with tours with St. Vincent and Jeff Tweedy and festivals like Bonnaroo followed. Within two years, the band self-released Moon Saloon in the US while British independent record label Bella Union released the album in Europe. Tours supporting Kimbra, Gene Ween, and a complete re-imagination of Joni
Mitchell's Blue performed at Washington's Kennedy Center followed, which added to a growing, international fan base that has remained dedicated throughout.
Icon of Ego finds a stronger, more experienced band. Recording at Providence's Columbus Theater, home to silent movies and vaudeville during the '20s, the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. With heavy synthesizer work by Tenorio and Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analog electronic sound that harks back to the '70s. Presiding over these are Adams' powerful vocals that house the energy under pop forms.

**RESTOCK ON RSD 18 VERSION**Originally released in 1998, this is the second album from Swedish glam/punk rock legends Backyard Babies, released here as a 1500 w/w limited edition 20th Anniversary Picture Disc.

On the eve of the release of Black Heaven, their debut for Nuclear Blast Records, Earthless turned in this incredible live performance in San Francisco on March 1st,
2018, captured released on vinyl by Silver Current Records. Since their inception seventeen years ago, this band has become an icon of 21st century heavy music
and a cult unto themselves. On From The West the band's signature high-volume drive and unbridled horsepower create an almost mantra-like repetition as a framework for infinite improvisation. That, and beer-can crushing, fist-pumping riffs and solos delivered by an unstoppable rhythm section. This album is a complete, hypnotic, psychedelic experience in a way that remains totally unique to the
band's virtuosic expression. A live album that captures the band at peak powers and a quintessential fan piece from one of the best live rock bands in the world. Album tracks includes looser, rawer versions of Black Heaven favorites, a nearly twenty minute version of their instrumental titan 'Uluru Rock,' and a blazing cover of Led Zeppelin's 'Communication Breakdown.' The album jacket is also a meticulous reproduction of the band's favorite TMOQ (Trademark Of Quality) Zeppelin bootleg.

Helltown , the forthcoming third album by Electric Citizen is, in many
ways, a homecoming. While the title may seem fittingly metal (if not
exceedingly so), it actually has real relevanc: Helltown
, while also multidimensional, is named after the Cincinnati, OH, neighborhood
in which the band lives, practices, and where the album was written,
recorded and mixed. Now known more prosaically as Northside,
Helltown earned its name in the 1800s due to its reputation for rowdy
taverns frequented by the neighborhood of factory workers and
immigrants.
Inasmuch as this album is an ode to the band's home and its buried
past, it also represents a return to the grittier sound of their 2014 debut,
Sateen. Furthermore, it marks the return of original bassist
Nick Vogelpohl, who rejoins vocalist Laura Dolan, guitarist
Ross Dolan and drummer Nate Wagner. It's a fun, tough, dirty rock 'n' roll
album.The band's 2016 album Higher Time was an expansive and somewhat
cleaner effort mixed by Black Keys engineer Collin Dupuis
. It was a landmark moment for the band earning considerable press praise—
Consequence Of Sound named it in the 20 Most Anticipated Albums
of 2016 with 'the most breakout potential of all the young bands on
this list.' And, the band's endless touring since the first album earned
them stints opening for acts like Pentagram, The Crazy World of
Arthur Brown, Fu Manchu, Budos Band, and Wolfmother.
What sets Electric Citizen apart from contemporary heavy
counterparts is their songwriting. The band writes
concise, three-minute, heavy rock songs. While others might now be following suit,
when they started, most bands of their ilk were content writing drawn-
out slow doom dirges. Regardless, none can deliver quite like Electric
Citizen: Laura Dolan's captivating star-power, Ross Dolan's perfect
tone and riffs, Wagner's pugilistic and swinging beats, glued together
by Vogelpohl's gliding bass lines.

Rochester, New York may seem an unlikely place for the rise of heavy hitters in the psychedelic rock spectrum, yet the sleepy, snowy northern US city has given rise to one of the most unique bands afoot today. 'Longing To Be The Mountain', King Buffalo's second full-length record, is 'like a psychedelic sunrise... [the band] stretches their music in every direction. Let it wash over you!' (Kyle Shutt, The Sword)
The band's sophomore album, following closely on their highly acclaimed EP Repeater, is an enthralling piece of work that sees King Buffalo fulfill its promise. In six songs clocking in at 42 minutes, the band manages to cement their style, which is psychedelic yet impossible to fully define. King Buffalo belongs to the camps of psych, stoner, and krautrock without playing to the cliches of any. Donaldson's clean, sturdy drumming and Reynolds' hypnotic basslines lock into grooves that propel the songs, traveling from cool, spacious zones into all-out explosive finales. Frontman McVay mesmerizes with a haunting vocal style that commands full attention despite its sedated tone - early Pink Floyd is a reference point. Within each song, he showcases a palette of vivid guitar playing, from jangly rhythms to ripping solos. With the three members in sync, songs progress steadily and fluidly, from world-weary lulls into squalls of transcendence. Of the lyrics, McVay says, 'The album is about searching for meaning. It's a story about finding one's place in an increasingly turbulent and chaotic world.' We, the listeners, are lucky to witness King Buffalo's journey as they cruise onward and upward, leaving behind an amazing soundtrack as they go. Longing To Be The Mountain is available October 12th, 2018 on 180 gr. silver vinyl, CD (the first CD pressing contains the EP Repeater as a bonus disc!) and digitally from Stickman Records. After two European tours with labelmates Elder, King Buffalo plans to return to the continent for more tours in 2019. Keep your eyes peeled

The eighteenth edition in Famous Class' LAMC split series featuring an unreleased A-side track from one of the label's favorite band's, backed with a B-side track from a lesser-known artist handpicked by the A-side group. The series gets its name from the epic Less Artists More Condos concerts that the late ARIEL PANERO threw in New York, showcasing amazing bands in some strange and unique venues. Ariel's driving force was a desire to get the bands he believed in the recognition he felt they deserved. This series simply tries to honor that idea. Features LIARS "Total 3 Part Saga" backed with TROPICAL FUCK STORM'S "The Happiest Guy Around."

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer
Frick, is set to release his second solo album for London imprint Erased Tapes on
October 12th. Titled Channels, the new record follows the release of the London
and Berlin based producer's solo debut Eternal Something from 2017.
The seven-track LP is Brandt's biggest statement yet, with the album's thrilling
avant-garde framework interweaving chord-driven techno, orchestral flourishes,
rich electronic textures and hints of dark cinematic pop. Following on from Eternal
Something, which captured a contemplative kind of isolationism, with Channels
Brandt set out to create an album that captures the essence of minimalism whilst
lending it to a more playful context. After performing and recording Steve Reich's
Six Pianos in a group of six, Brandt began regularly composing long meditations
on the piano, something that permeates the sound of the new record. Its frenetic
energy and shape-shifting identity was also born out of touring with his new band
Eternal Something — comprised of Brandt on piano, drums and synthesisers,
Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire
to translate both the sound and spiritual unity of their live shows in which
musicians locked together to create an intriguing meld of expansive works.
Intricate floor-filler and lead track 'Flamingo' synthesises the measured pacing of
Detroit techno with an orchestral background. As with all of the tracks on
Channels, 'Flamingo' began life as a sketch with very basic instrumentation,
before taking it into the studio to rehearse with his band members, giving the
album a live and visceral sound that sets it apart from his debut; 'It was a great
experience to do it this way as I have always wanted to have the chance to try
out something in a live setting before recording it in the studio and not the other
way round,' explains Daniel. 'The actual typical rock band recording style that I
never had the chance to do before.'
The album's most immersive, club-ready track 'Sailboats III' is built with a vivid
and pulsating bass line that takes inspiration from a Lichtenstein painting, as well
as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming
cosmos of 'Cherry Dream' is informed by Tangerine Dream's iconic soundtrack
to the film Risky Business, a compelling reinterpretation of Love On A Real Train
replete with darker, electronic elements and live orchestration. 'Daze', co-written
with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a
rhythmic percussive pulse, whilst the understated 'Ltd' was stylistically inspired
by Steve Reich's Electric Counterpoint as well as Daniel and his band's live
improvisations with orchestral collective Stargaze, whose founder and conductor
André de Ridder contributed violin on the album.
Title track 'Channels' melds instrumental ambient with melodramatic
embellishments, whilst the record's closer 'Twentynine Palms' takes its name from
the vast Californian desert, and was written while Daniel was travelling there,
evoking the widescreen and rapturous sound of open space and nature.
With Brandt also being skilled as a filmmaker, directing and producing visuals for
BBF and Eternal Something, much of the new album's creative ideas reference a
rich visual palette. He directed the video for 'Flamingo', a sideways glance at the
art world that takes the concept behind John Cage's 4'33' and turns it on its head.
'The video for Flamingo is deliberately non performance — people sitting in a
room and watching basically nothing, never really sure if anything is ever going
to happen. It's also a play on John Cage's 4'33', except in this instance there isn't
even a performer present.' — Daniel Brandt
Daniel's passion for film even prompted him to kick start his own online television
channel Strrr.tv in 2017 that since attracted a lot of attention with guest
moderators including BBC Radio DJ Gilles Peterson, modular synth legend
Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the
most popular episodes.
Recorded between Berlin and London, Channels is a deeply enthralling listening
experience, which sees Daniel Brandt build upon his distinctive percussive sound
whilst exploring new and expansive horizons.