Pop & Rock News

New Liverpool label, Sentinel, is pleased to annouce the long awaited vinyl debut by one of the key groups on the new Liverpool underground scene. High octane rock'n'roll for the party faithful.
Two track 7 inch single with third track download code. All in screen printed sleeve. Only 300 available.

1. Jocelyn
2. Total Carnage
3. 2nd Gorgeous (download track)

Before releasing a string of albums on the El Paraiso label and hitting upon their trademark sound of soft, warm and even jazz-tinged psychedelic rock, Papir released their first and perhaps most experimental record to the world in a limited pressing of only 250 copies. Even in their early days, the Copenhagen trio Christoffer Brøchmann Christensen, Nicklas Sørensen and Christian Becher Clausen were virtuosos in their art of hypnotizing rock, and their debut record is a testament to the group's early devotion to krautrock. Incorporating haunting, industrial sounds, keyboards and otherworldly guitar sounds into their tapestry of sound, Papir gives a glimpse into the band's early days where a certain weird joy in experimentation was palatable. Hints of the blissful psychedelia the band is now known for shine through in intervals, only to collide against beeps and loops, submerging and emerging while unexpected sounds assail the listener. Papir is a beautiful and highly unique record in the band's catalog that will be appreciated by the band's current fans as well as krautrock enthusiasts. Papir's first studio album is a powerful statement that established the band immediately as one of the most creative psychedelic forces in the European scene. Stickman Records is reissuing the record for the first time on vinyl since 2010


Papir will be available on 180gr neon yellow vinyl including download code from Stickman Records.

LIMITED EDITION 300 ONLY BLACK VINYL LP HOUSED IN A GLOSS FINISHED OUTER SLEEVE WITH DOWNLOAD CODE
 
'But the man who comes back through the Door in the Wall will never be quite the same as the man who went out. He will be wiser but less cocksure, happier but less self-satisfied, humbler in acknowledging his ignorance yet better equipped to understand the relationship of words to things, of systematic reasoning to the unfathomable Mystery which it tries, forever vainly, to comprehend.'  Aldous Huxley
 
The consequences of tampering with the fabric of reality are, and always have been, direct and brutal.
 
An unrelenting quake of disruption amongst what we think, perceive, and accordingly act upon is an inevitable result, and thus leaves disaster in ways hard to conceive, much less prepare against. When these quakes initially began, the only logical cause was that Perhaps was again at the helm; and though disruptive experimentation has always been a common practice of the band, it has become increasingly obvious things may have again gotten out of hand.
 
This came as no surprise to fans however, who's cult-like obsession with the band and their practices reached a chaotic peak earlier last year after members of the bands' presence was reported in a small Eastern European compound, bordering Moldova. Flocks of adoring fans flooded the streets in search of any sign of Perhaps, many of whom belonged to dangerous gangs and shamanic cults, terrifying locals and causing thousands in damage. But this was only the tip of the iceberg for what was to come.
 
Suspicions of a new album were presented through outside sources by means of cryptic letters, and later confirmed by reports of large quantities of beached whales and colossal squid washing up on various shores on the east coast, as well as a mass disruption in the migratory pattern of elk nationwide. Following an interview with a local shaman, it appeared that Perhaps had stationed themselves somewhere in the great red canyons of Utah, apparently in attempt to create some sort of audio re-creation of cellular respiration.
 
The bands success in doing so is hardly put to question, as all members, have been front runners in the experimental recreation of natural principles through musical methods, and rarely come out empty handed. Because of 'Hexagon' being crafted through similar unorthodox principles, leading scholars and music experts in various colleges lucky enough to have received samples have hypothesized 'Hexagon' to be within some sort of shared linear relationship with the bands previous album 'V'.It has been confirmed core members and frequent contributors have returned with the making of Hexagon: (Jim Haney, Sean McDermott, David Khoshtinat, Ricky Petraglia, Ben Talmi, Tom Weeks). As well as appearances from long-time collaborators Makoto Kawabata and Tabata Mitsuru of the Japanese psychedelic-juggernaut group Acid Mothers Temple.
 
The answer to the question of whether the album had been completed came to fruition a half a year after the previously mentioned incidences and left no doubt about its truth. Following many more cryptic letters sent to our office and eerie reports, several hikers in the Utah area reported mind-shattering hallucinations, as well as locals witnessing a massive blood red moon taking place the same evening. There was no doubt in anyone's mind that 'Hexagon' was complete, and in preparation for its release, many who were religious were granted time to seek refuge in their respective places of worship.
 
For the listener, no pass is needed. And while what lies ahead may seem gargantuan, it is best to open one's mind and allow all that is necessary happen. Great spiritual wisdom is not attained without a daunting climb, and all 'Hexagon' has to offer makes that climb worth the peril. Go in head first and do not fall, or face the current.
 
Samson Hailstone, Vancouver BC , 7/2/2018
 
Musicians On This Album :
 
Jim Haney
Sean Mcdermott
David Khoshtinat
Tom Weeks
Ricky Petraglia
Ben Talmi
Makoto Kawabata
Michael Thomas
Tyler Skoglund
Tabata Mitsuru
Doug Smith
Ryan Bambery
 

Robert Pollard's Waved Out gets the 20th anniversary reissue treatment with newly re-mastered audio and a beautiful blue vinyl pressing. The Guided By Voices captain's second solo album from 1998 captures the more eclectic side of his
songwriting. Here, he brilliantly compresses prog, psych, and post-punk ideas into magnificent two-minute pop songs. Wire, early Genesis, Nilsson Schmilsson, Lennon's White Album songs, Blue Öyster Cult, XTC, and Captain Beefheart: it's all
here, condensed into brilliant songs like 'Subspace Biographies' and 'Whiskey Ships.' A lot's been made of Pollard's spontaneous and prolific songwriting methods, and most of that's true, though he works much harder on his songs than even he likes to admit. With Waved Out, he seemed to grow more comfortable and ambitious
in formal studio-type settings, so that anyone who carps about 'unfinished arrangements' and 'shitty production values' ought to be pretty happy with this record. This doesn't apply to 'Caught Waves Again,' where he sings into a boombox over a tape of GBV guitarist Doug Gillard's noodling. Nor does it apply to a
touching song about tragedies in Pollard's hometown of Dayton, Ohio, called 'People Are Leaving,' where he puts two separate melodies over instruments by collaborator Stephanie Sayers. In addition to Gillard, a few other GBV personalties appear on the record, Jim Pollard, Tobin Sprout and Jim MacPherson, then of The Breeders. But the bulk of the record, including a fair bit of the drumming, is all Robert Pollard.
- On blue vinyl!

If you don't know Sick Thoughts, you don't know punk. The band is the mighty Drew Owen. Baltimore born and bred, he then up and moved to the swamps of New Orleans while still a teenager. The general consensus was he'd be another casualty of The Big Easy decadence, and would soon be seen hitting up tourists for money on Bourbon Street with a dog on a rope. But somehow he got hooked up with the best (worst) folks in the city and kept making great music. That, and the fact that forty-ounce bottles just bounce off his head, have kept him alive. Rock and roll romance and the promise of socialized health care sent him to the (imaginary) home of Killed By Death punk, Helsinki, Finland. Which makes perfect sense—this album
is like the perfect KBD record, full of buzzsaw guitars, machine gun drums and hooks that hit like a tire iron. Owen's brand of aural early-20s angst, with doses of Zero
Boys, Reatards, and early Crüe, mixed with the stench of the streets, has never sounded better. This album clearly puts Sick Thoughts on top of the punk heap. It's Owen's world—get in it!

Smash in Pieces neues Album "EVOLVER" wird dich wie eine Pistolenkugel voller Inspiration
und Kreativität treffen und deine Synapsen Achterbahn fahren lassen!
Mit drei Alben, elf veröffentlichten Singles und zahlreichen Tourneen durch Skandinavien, Europa,
Nordamerika und Japan hat sich die Modern Rock Band aus Schweden einen Namen gemacht

The Brighton-based 5 piece who met at the city's University are comprised of: Ollie Judge (drums/lead vox), Louis Borlase (guitars/vox), Arthur Leadbetter (keys), Laurie Nankivell (bass) and Anton Pearson (guitars/vox).



'The Dial' is a song that's existed in the bands live set for a while, and after label-head-honcho Dan Carey saw the band play live he thought he could help along with the band give it a fresh feel - speeding it up, deconstructing and rearranging it.



On the song itself the band say, 'the song is about a dear loved one - suffering a horrible illness in hospital. At the point the patients' blood is being taken by the nurse we imagined them all turning into vampires and sucking the blood from the patients. All I could think about was the red 'dial' of the weighing scales on the floor as it was happening - which is where the main lyric came from.'



The resulting track is outstanding. Less Brighton Lanes and more Virginia Plain, the track channels post-punk royalty such as Talking Heads with Verlaine Television-esque guitars and a vocal evoking 'Losing My Edge' era LCD over a NEU drumbeat. Also brought to mind are more modern contemporaries like Parquet Courts and enigmatic wunderkind Tom Vek. We love it.



On working with Dan/Speedy the band recall, 'it was one of quickest and most fast-paced experiences we've had in the studio. Despite feeling nervous we didn't feel over-rehearsed at all - and then suddenly Dan told us we had the take! There's such a strong community built around Speedy Wunderground - with no pretension at all. It is something we all admire greatly and are grateful to be a part of it.'





Squid.



We've got their number.

'On the Grass' is Sundays & Cybele's fourth full length record. Rather than a retread of the 60's psych vibe or ethnic tones of
their last LP 'Chaos & Systems', Tsubouchi's signature melancholic sounds are now realized in layers of synthesizer and drone. The result
finds them leaning towards progressive rock and marks the end of Neo-psychedelia. Think 'Dark Side of the Moon' if it were literally
recorded on the moon by a group of marooned astronauts. Down tempo 70's grooves align with spaced out tones to make 'On the Grass' a
rewarding listen, and perhaps the best one we've heard from Sundays & Cybele so far. Sunday's & Cybele (Cybele no Nichiyobi), A four piece psychedelic band formed in Hokkaido, Japan in 2004. Their name is
taken from the notorious French movie. Tsubouchi is the main guy who writes all the music derived from 60's/70's Japanese psych rock.
Listen to this music and feel the beauty of Sunday's & Cybele!

'Rock music in the seventies was changed by three bands —the Sex Pistols, the Ramones and The Saints.' - (Bob Geldof)

THE AINTS! THE CHURCH OF SIMULTANEOUS EXISTENCE

Forty years after the release of one of the great Australian debut albums of all time Ed Kuepper returns with a brand-new band and a brand new contender for the title.

When the heavily lauded, heavily influential first incarnation of The Saints split in 1978, Ed Kuepper, the sonic architect and primary songwriter of the original band and their three albums: the proto-punk classic (I'm) Stranded (1977), the r'n'b infused Eternally Yours (1978) and the brass-laden genre-defying Prehistoric Sounds (1978) left behind a plethora of unreleased material, however, rather than attempt to salvage what could have been Kuepper chose to move on forming the legendary Laughing Clowns performing and recording in Australia and the U.K. from 1979 through 1984 before embarking on an ARIA award winning solo career that has kept him touring and recording steadily since 1985.

Come 2017 though, and the 40th anniversary of The Saints seminal debut Kuepper was persuaded it was time to revisit and celebrate the music of his youth. Recruiting like-minded souls in Sunnyboys bassist Peter Oxley, drummer Paul Larsen Loughhead (The Celibate Rifles / The New Christs), jazz pianist Alister Spence and trumpeter and brass arranger Eamon Dilworth the band performed as The Aints! Play The Saints ('73 - '78) covering Kuepper's tenure with the band and all the classics including This Perfect Day, Know Your Product, Swing For The Crime and (I'm) Stranded to large crowds and a hugely appreciative response. But rather than purely recycle those formative songs Kuepper began to introduce the new-old material to an audience eager to hear what else Kuepper had been sitting on since 1978. A further positive response from the music department of the ABC saw these two iconic Australians join forces and bring to light what is in essence, the long lost fourth album by The (original) Saints.


First pressing of the CD (1000 for UK./EU)version comes with the bonus INSTRUMENTAL VERSIONS (subsequent pressings will be single CD)
First vinyl pressing (500 for UK/EU) will have DL code for album, and instrumental versions also.

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band's catalogue last year, Because Music will reissue their releases, starting on September 14th with a deluxe vinyl edition gathering in a slipcase the EPs 'Champion Versions', 'The Patty Patty Sound' and 'Los Amigos Del Beta Bandidos' with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation. Because Music will release at the same time a double CD Best-Of compiling all their best hits and a live show recorded at the Shepherd's Bush Empire (London) in 2004.

Vague Output is a party, collective, and label out of Baltimore that opposes any teleogical understanding of underground electronic music. The label debuts with a perfect collection of EBM, Italo, Synthwave, and Proto-Techno from Veleno Viola label head Francesco Baudazzi's alter egos Violet Poison, Bakunin Commando, and Diana Berti.

Great 12 track compilation of live Bob Dylan material recorded during radio sessions from 1962.All tracks have been remastered for 180 gram vinyl release.Featured tracks include: 'Blowin' in the Wind', 'Baby Please Don't Go' 'Girl from the North Country' and 'House Carpenter'.

While mystical repetition is common to 'Out of Your Tree' and the Liebezeit trilogy, the new album's rhythm is more meditative, sometimes otherworldly. Added to the still sparse drums and acoustic guitar instrumentation are flashes of lead guitar, keyboards and bass, often coloured with tape echo and reverb evoking '50s Doo-Wop and New York avant punks Suicide - both among Coyne's primary influences. The distinctive drumming of longtime friend and collaborator Werner Steinhauser - formerly the longest serving musical partner of Kevin Coyne, Robert's father - adds further musical and emotional continuity, as do the vocals of Robert's wife Wendy, the only other musician on the album.

Stuart & Phil Moxham - Young Marble Giants
Also Features Alison Statton...so File Under Ymg


Originally Released On Rough Trade In Europe / Circa 1982

If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. The tape received notice from NPR: All Songs Considered, Pitchfork, and Stereogum.

On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own.

'Being from the Midwest means a certain tone is woven into ones' fabric. And every now and then, someone comes along who has the power to convey that feeling in their cadence alone. And so all hail Anna St Louis, who lets us into her world of heartache, wonder and a never-ending, never-beginning dance with time. Her album is for the mystics, reminding us that the world is full of magic at every turn, if only we let ourselves see it. Sometimes just by stating a simple observation, St. Louis lets us in on an infinite truth that perhaps we wouldn't have seen otherwise. To step into the world of Anna St. Louis is to step into a world where the heart leads straight to the soul and where everything is cloaked in beautiful mystery. If Only There Was A River is a record of longing—of a soul reaching for more.' - Kevin Morby

Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation.

"Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") ...

Benjamin Barouh, June 2018

DELUXE VINYL EDITION!!!
The recording featured on this deluxe vinyl release is from Meat Loaf's show in Boston, MA on 21st May 1985, an event which was broadcast live on FM radio. Despite his troubles at the time, Meat Loaf proves that he is still a consummate, exciting and hugely professional performer and entertainer first and foremost, and remains one of the finest showmen that modern rock music has ever witnessed.

The recording featured on this deluxe vinyl release is from Meat Loaf's show in Boston, MA on 21st May 1985, an event which was broadcast live on FM radio. Despite his troubles at the time, Meat Loaf proves that he is still a consummate, exciting and hugely professional performer and entertainer first and foremost, and remains one of the finest showmen that modern rock music has ever witnessed.

DELUXE VINYL EDITION!!!
The Classic 10th anniversary Farm Aid set from Neil Young.
The anniversary concert was held at the Cardinal Stadium in Louisville, KY with Neil Young returning as headliner, as he has done almost every year since it began. The period prior to the concert had been a busy time for Neil Young. He and Crazy Horse had produced the sombre Sleeps With Angels in 1994, dedicated to Kurt Cobain, who had committed suicide earlier that year. This was followed in June 1995 by Young's collaboration with Pearl Jam, Mirror Ball, and in '95 too, Young was also recording the instrumental soundtrack for Jim Jarmusch's black and white western Dead Man, which saw general release on 10th May 1996. Young performed most of the Cardinal Stadium concert with minimal backing, accompanied only by Willie Nelson on guitar and Mickey Raphael on harmonica, and played a set that included numbers from across the man's career, although with emphasis on his 1970s output. Crazy Horse joined him for the two-track encore however, providing a full scale rock-out on which to complete proceedings for another year.

DELUXE VINYL EDITION!!!
In support of their new record "Daydream Nation", in September '88 Sonic Youth went out on tour and by early '89 had reached Australia. This recording is taken from a live FM radio broadcast recorded at the band's show at The Palace Theatre in Melbourne on 19th January 1989, and captures an act quickly reaching the peak of their creative powers. Featuring a set focusing on tracks from Daydream Nation, alongside some earlier material, this release captures a group clearly enjoying their newly found success, but doing so without losing any of their original, challenging impetus.

Indeed a fantastic find! This steaming gem is a rocking, groovy and intriguing musical escapade! A love at first spin album! This obscure multifaceted album was recorded in around 1976-78 but remained unreleased until now! CHARLSTON GROTTO was a unique, dynamic American band from the late 70s with already more than 15 years of common music up their sleeves, prior to this album. Formed in 1960, they started out as a sort of juvenile surf, and rock'n'roll with a pre-punk aura. They became a well shaped garage, and soul rock band over the years. These tracks from 1976 and 1978 are the vivid proof of their development into a tantalizing musical ensemble that was not so easy to categorize. Funk, soul, powerful rock and the rawness of garage music of the 60s intertwine. This album is intense, haunting with a psychedelic edge that goes beyond the current mainstream funk of the day to challenge the listener, but still give him enough joyful grooves and catchy parts to just rock along to the songs. Captain Beefheart and Frank Zappa are the closest comparisons, if allowed. Their complex arrangements with layers upon layers of percussion instruments and twisted moments effuse attitude all the way. Funk, fusion, soul, rock, jazz are among the ingredients of this powerful sound cocktail. A very colorful affair rich in little details which are the actual heroes of the record. All these details add so much depth to the already convincing funk rock tunes. The leadvocal is unique and shows an affinity to punkrock. He is a non trained vocalist who shouts when necessary, his melodies are sparse but insistent. Only a few years later after the decline of the first wave of punk rock, many former bands of the genre opened their hearts towards funk and dance music to create what was named - New Wave', but CHARLSTON GROTTO are certainly one of the pioneers in this field. The mixture is adventurous and the playing is skillful, I dare say on par with the best acts on the big stages. A great soundquality comes with this very first release of these invigorating album. 'Raw sewage' is an album that demands more spins on your turntable! It could appeal to people who love the earliest POLICE and later CLASH albums and it certainly is fans of late 70s punkfunkfusion. A long lost classic of the North American underground of the late 1970s.

Yuri Méndez's 7th album is called W. W is a collection of finely crafted songs. The instruments are many and their intonations, variegated. W comes in the usual formats, only better, and full to the brim with sensitive lyrics for the man and woman of today.

On the other hand, presumably the left, Yuri's ageing well and intent all the while on writing more numbers in order to keep a steady flow of fresh material ready at any time.

These are good times in W land or, as the poet said, 'it hurts a bit, but the colours are admirable'.

Yuri Méndez is Pajaro Sunrise. Initially a duo, he's been working on his own ever since the release of the second album, 2008's Done/Undone. His previous albums received praise from such fine publications as Q, Uncut and Monocle, and his music can be heard in several international motion pictures and TV series such as The Missing Lynx, Castle, The Big C, Catalan hit series Cites and Benvinguts a la família, and ad campaigns by the likes of McDonalds and Vodafone.

DELUXE VINYL EDITION!!!
Roger Waters - Pros & Cons of New York Vol. 2
This two instalment Roger Waters release, the subject of an FM radio broadcast synced across the country, was recorded on 28th March at the Radio City Music Hall in New York. Featuring a host of Floyd classics as well as the new record in its entirety, this set goes to show that Waters was just as much an exceptional performer, showman and musician when out on his own as he ever was with his old band.

Limited Edition 300 ONLY

By mid-1968 there was a growing consensus that something had gone horribly wrong with the American dream. The nation's youth had loudly made their feelings clear, but now the older, pre-Beatles generations began to look at the country - with urban riots, Vietnam, and the assassinations of Martin Luther King and Bobby Kennedy - and wonder what the hell was happening.

This album includes rare classics (The Beach Boys' 'Fourth Of July'), lost masterpieces (Roy Orbison's seven-minute 'Southbound Jericho Parkway'), and forgotten gems by some of the biggest names in the business (Elvis Presley's 'Clean Up Your Own Back Yard').

Reactions to America's existential crisis ranged in subject matter from divorce (Frank Sinatra's 'The Train') and the break-up of the nuclear family (The Four Seasons' 'Saturday's Father'), to eulogies for fallen heroes (Dion's 'Abraham Martin and John'), sympathy for Vietnam vets (Johnny Tillotson's 'Welfare Hero'), the church's institutional racism (Eartha Kitt's intense 'Paint Me Black Angels'), and even questioning the ethics of the space programme (Bing Crosby's terrific 'What Do We Do With The World').

Compiled by Bob Stanley and Pete Wiggs, State Of The Union follows on from their highly acclaimed English Weather and Paris In The Spring compilations. With clear parallels between today's fractured country and the USA fifty years ago, this is a fascinating condensation of what Americans were thinking when they turned on the TV, or the radio, or simply walked down Main Street in 1968.

Available on CD and 180g blue vinyl double LP.



























* ALBUM ONLY BONUS TRACK

The Bela Session is a full release of Bauhaus' first studio session from January 26 1979, where the iconic "Bela Lugosi's Dead" was recorded. This is the first and only official reissue of "Bela Lugosi's Dead" on vinyl, and the first time 3 of the 5 tracks have been released. This EP has been produced directly by the band with Leaving Records, in advance of the band's 40th anniversary

UK post-punk pioneers Bauhaus' immensely influential 'Bela Lugosi's Dead' - originally released in 1979 - is considered the original gothic rock record.
The first official vinyl reissue of 'Bela Lugosi's Dead' and first release of complete recording session (including 3 previously unreleased tracks), mastered by Mandy Parnell.
The live version of 'Bela Lugosi's Dead' was in iconic 1983 film The Hunger. It has been covered by Nine Inch Nails, Massive Attack and Nouvelle Vague.
The original version of 'Bela Lugosi's Dead' has never been on streaming services.
180g vinyl. The art is a variation of original 1979 12-inch. Reproduction of original recording session tape on inner sleeve. Includes 50x50cm poster of cover, gold retail sticker.

Caoilfhionn (pronounced Keelin) Rose is a singer, songwriter and producer from Manchester. Emerging from a diverse music scene, she ties together remnants of Manchester's musical past with its evolving present. She has collaborated with musicians from around the world and is perhaps best known for her work with Vini Reillyof Durutti Column:Collaborating on four songs on The Durutti Column - Chronicle LX:XL album. She grew up surrounded by music (dad loved jazz and mum was a massive folk fan) but it wasn't until her late teens that the muse took hold: "I've always been interested in music but I really started to get into it after a period of illness when I was 17. It was music that made me begin to feel like myself again. Listening to my iPod, everything felt new and exciting and yet vaguely familiar and nostalgic. A year or so later, during her recovery she started to write songs again on the piano and started performing in Manchester, graduating through open mic slots to her own shows.

Caoilfhionn's music draws on a diverse range of influences from The Mummers, to Rachel Sermanni, Melody's Echo Chamber and Broadcast. She also professes to a love for beautiful, stripped back, piano based music, such as Dustin O'Halloran and Peter Broderick. Vini Reilly from The Durutti Column is a big influence and inspiration. "We're friends now after collaborating a few years ago and I have become a big fan of his music. It is intricate and detailed but spontaneous and free." Another inspiration is her immediate environment. With Manchester's Fletcher Moss Park especially inspiring. And it was what led her to Gondwana Records, Matthew Halsall, when she heard his 2012 album Fletcher Moss Park. She reached out and shortly afterwards he went to see her perform at The Art of Tea Cafe in Didsbury Village. Blown away by the fragile beauty of her music he offered to produce a recording for his label.

Awaken, is Caoilfhionn's debut album, co-produced with Matthew Halsall, guitarist Rich Williams and Matthew's brother Daniel Halsall (artistic director of Gondwana Records) she describes it as a deeply collaborative effort. Expansive, fragile and experimental it's a rich tapestry that draws on folk, psychedelia and subtle electronica influences. For Caoilfhionn it represents a busy mind, change, and an up and down life. "It is an honest and personal account, full of memories and mumblings to myself that I hope other people will relate to or at least understand". It's also a deeply collaborative album featuring songs developed with her band mates, Matthew Halsall and one song, Wild Anemones, even features her gran mother! Andthe title track of the album sums up the whole body of work. It's a positive song about looking outward, forwards and all around. It marks the beginning (like waking up) and feels like the starting point of a lot more music. "It was the song that pushed me and moved me out of my comfort zone. "Having played solo as a pianist for a couple of years, it inspired me to work with new sounds, musicians with a different approach to making music".

We Are Legacy label release. The third studio album from Canadian alt/country outfit, which was originally released in 1990. This was the band's follow up to the commercial breakthrough album of 1998 'The Trinity Sessions'. Featuring a more conventional, polished sound 'The Caution Horses' was criticaly acclaimed and remains a classic catalogue line. A 10 track, double black LP with download code insert. Marketing activity.

Columbia Records release. A one sided, one track, twenty three minute instrumental written and performed entirely by Foo Fighters frontman Dave Grohl. The entire song was recorded live each time on a different instrument (seven instruments) all the way through for twenty three minutes. 12" black vinyl limited to 2000 copies. Promo and marketing activity. Online/social media activity. Ads, features and reviews across all press. Foo Fighters database mailout.

+++ UNRELEASED GARAGE ROCK FROM 1967-1969 +++

It does not happen very often anymore that unreleased music from 50 years ago surfaces. And it's even more unlikely that the songs put on tape are such treasures. But that is exactly what we have here. The Morning Reign was a crowd pleasing band that played throughout the Pacific Northwest during the years between 1966 and 1972. Their journey was peppered with lots of travel, whether they were playing gigs in Crescent City or Aspen, and they also made a gaggle of trips to LA to record, or once, to film a TV appearance. Surprisingly, they have released only four 45rpm singles during their existence although they had recorded enough material for an entire album. However, the songs remained in the can.

This is the story of The Morning Reign, a band of young fellas who could have become famous and mentioned in the same breath as The Doors, Eric Burdon & WAR, and all the other music legends of the Garage-Rock era - if their songs had been released back in the day. Dive in and enjoy the sound of Morning Reign, it is truly special. We here at Perfect Toy Records are thrilled to be the label to finally release their work, and we sincerely hope that they will finally receive the worldwide appreciation they so richly deserve.

DETAILED INFORMATION:
In the summer of 1966, before Ric Seaberg would be entering Willamette University In Salem, Oregon, he was slated to attend a new student "campover" orientation that would last for several days. On the very first day he met Gene Heliker, since he had seen him slingin' a guitar around the campground. It took maybe 10 minutes for them to start crooning together and from that day and for the next five years, Gene and Ric would be playing music together.

In time Gene and Ric fell in with Willamette students Craig Chastain and Doug Heatherington. The four formed the nucleus of The Morning Reign, and over the years The Reign experienced several personnel changes, closing 1970 with Gene Heliker on lead guitar and vocals, Doug "Shadow" Heatherington on bass, Craig "Cac" Chastain on rhythm guitar and vocals, Jay Steven "Little Stevie" Tate on drums and vocals, Larry Sieber on organ/keyboards, and Ric Seaberg on guitar and vocals.

They worked hard, attempting to make a go of it. For several years, with nearly non-stop gigging across the Pacific Northwest and California, even venturing as far as Aspen, Colorado, they each collected a paycheck on Monday, written by their leader and banker, Cac. During their last couple years, with the players mentioned above, they lived in Seattle and practiced almost everyday they weren't on the road, learning covers, and writing, arranging and recording original songs.

After having been unreleased for the past 50(!) years, Perfect Toy Records is extremely proud to present these never before heard recordings by Morning Reign to a new audience. We bet you'll love this album and keep listening to it over and over again because you "Can't Get Enough Of It".

Second live album originally released in November 2003 by Epic Records. The album was recorded across 2 live show in the band's hometown of Los Angeles, on September 12th/13th 2000. The release was delayed due to the band breaking up/3 members forming Audioslave. 16 track double LP pressed on standard black vinyl with download code insert. Marketing.

Fourth and final studio album, originally released in December 2000 by Epic Records. A 12 track album of covers including songs by Bruce Springsteen, Bob Dylan, The Rolling Stones, Eric B & Rakim, EPMD, Cypress Hill, Devo, MC5 and more. Pressed on standard black vinyl with download code insert. Marketing activity.

This Reissue Marks The 10th Anniversary Of The Release Of Their Seminal Self Titled Album. This Special Re-issue Includes Two Never-before-heard Outtakes From The Self Titled Recording Sessions: Baltimore, And Watersider...included On A 7' With The Lp (180g) , And As Bonus Tracks On Cd.

Cherished By Fans And Critics Alike, This Fifteen Track Opus By The Catskill Mountain Based Band Of Brothers Boasts Classics Like Frankie's Gun, Wonderful Life, Whisky In My Whisky And Don't Wake The Scarecrow, And Remains One Of The Most Influential Works Of This Century's Indie-folk-rock Revival.

Hailing From Upstate New York's Catskills Mountains, The Felice Brothers Look Like Their Entire Approach Was Based On Staring Long And Hard At The Band's Second Album Cover: Beards, White Shirts, Hats And Ill-fitting Suits. The Comparisons To Big Pink/basement-era Dylan Are Also Inevitable.

Yet This Second Album Proper From The Three Siblings And Their Bass Player Christmas (an Ex-travelling Dice Player, Apparently) Is So Chock Full Of Whiskey-soaked, Ramshackle Bonhomie That It'd Be A Hard-hearted Music Critic Indeed Who Didn't Succumb To The Charms Contained Therein. The Group Have Somehow Taken Americana And Wrung Out Some More Good Times. It's Time To Visit The Bar Again...

With Most Of The Numbers Croaked Out By Brother Ian, Whose Vocal Chords Draw Most Of The Zimmerman Comparisons, This Is A Collection Of Songs That Are Equal Parts Travelogue, Shaggy Dog Story, Drunken Lament And Filched Traditional Fare. They're All Captured In Gloriously Scratchy Lo-fi (complete With Ambient Chat, Phone Conversations And Other Audio Verite) As Befits A Band Whose Last Recordings Were Supposedly Completed In A Chicken Coup On A Two-track.
Like Dylan, Their Self-mythologising Puts Them Not In The Modern Age, But Somewhere In The Early Part Of The Last Century. Jaunty, Piano-led Ballads Like Greatest Show On Earth Or Take This Bread Are Lifted By Parping Brass And Rollicking Choruses, Like A Night Out In A Riverfront Bar, Filled With Unfaithful Women And Gun-toting Men (guns Are Mentioned In Just About Every Song) Bent On Drunken Revenge. Elsewhere The Waltz Time Of Ruby Mae Approaches A Tom Waits-like Pathos. Whiskey In My Whiskey Sounds Like A Murder Ballad That's Centuries Old.
Yet All These Tales Are Shot Through With A Red-eyed Humour That Sounds As Authentic As Their Beards. This Is How They Manage To Convince The Listener. Frankie's Gun! With It's Truck Driving Narrative And Wheezing Accordion Is Particularly Hilarious. Rather Than Some Studious Authenticity, They Sound Like They're Just Having A Good Time. And That's Just About The Only Recommendation You Need To Seek Out This Fine Album...

Entitled Disease, Beartooth's third effort is a stark look inward and the next installment chronicling frontman Caleb Shomo's battle with his own demons. Disease is a painstaking, riff-driven examination of the unshakeable throes of depression. While there are moments of positivity, this isn't the sound of triumph. This is music about survival. 'The album is a whirlwind of emotion,' Shomo explains. 'Crazy highs, crazy lows, and lots of intensity. This record isn't about winning anything. It's about trying to even begin to learn how to deal with things. It's hard to process just how dark you can get, what you can really put yourself through with expectations. It's like starting from the beginning all over again. At the end of the day, it is a very dark album.' Even as Shomo and his bandmates played to sold-out crowds across Europe, the battle against mental illness and childhood issues returned, and the seed for Disease was planted. The title track was the first song written for it, setting the overall tone. As always, Shomo recorded vocals, guitars, bass, and drums, and mixed the album himself with assistance from an engineer, now with executive producer (and Grammy winner) Nick Raskulinecz, who has worked with Foo Fighters and Rush. To further enhance the emotional realism Beartooth champions, the third full-length album was tracked in a brand new environment, with an old-school urgency. After crafting the songs in his usual basement domain, Shomo made the trip from the familiar comfort of his equipment and isolation in Ohio to Blackbird in Nashville. The famous recording studio was the birthplace of pivotal work from a massive list of legends, tastemakers, and up-and-comers; like Alice In Chains, Taylor Swift, and Greta Van Fleet.

With his latest project 'Bughouse' Dutch based saxophonist Benjamin Herman has finally found the perfect musicians to realize a long-cherished dream of forming a punk jazz quartet. Although Benjamin is a now a seasoned jazzhead with well-earned credentials he was very much influenced by the DIY mentality that was part of the punk ethics in the late seventies. 'I started off playing drums when I was nine years old. Everyone in the neighbourhood was into music and everyone was in a band. All these bands made their own records took care of their own artwork and arranged their own gigs. I always thought that was really cool. Later on in life that helped motivate me to have a life in music on my own terms.'

Benjamin on drummer Olav van den Berg: 'Olav was up on the barricades when it all started in Holland, he played in several key bands on the Dutch hard core scene including one of the loudest and fastest European groups ever, 'Lärm.' 'He's an incredible musician, I love to play fast and loud but it's a real challenge to keep up with Olav.'

Guitarist Reinier Baas is a game changer on the renowned Dutch guitar scene. A highly gifted jazz musician and a very productive composer with a totally unorthodox approach to everything he is involved in. Bassist Peter Peskens of one of Amsterdam's most popular young collectives 'Jungle By Night' is, in spite of his young age, a sort-after bass virtuoso with a remarkably personal sound. He recently graduated with honors at The Amsterdam Conservatory.

'The recording sessions were charged as hell seeing as we had no idea if we would have anything worth releasing at the end of the day. All four of us were way out of comfort zones...in the end we came out with 23 songs in total.'

Another big influence is British saxman Xero Slingsby. Xero died far too young from a brain tumor but managed to leave his mark in several European cities busking and gigging in small clubs with his trio. 'He often played on Leidseplein in the early eighties. His mix of punk and free jazz and his working class attitude as a performer was really inspiring, much more inspiring than the kind of jazz that was being broadcast on national TV and radio. It was Xero Slingsby and people like John Lurie (The Lounge Lizards) and James Chance (The Contortions) that made me look at being a saxophone player from a totally different perspective.'

The Blues is back! ZZ Top-Legende Billy F Gibbons veröffentlicht endlich sein neues Soloalbum The Big Bad Blues. Seit knapp 50 Jahren ist er unterwegs mit der legendären Bluesrock-Band ZZ Top, nun kündigt Billy Gibbons sein zweites Soloalbum an. Der Nachfolger des gefeierten Solo-Vorgängers - Perfectamundo' von 2015, auf dem Gibbons neue Wege ging und verstärkt auf afro-kubanische Elemente gesetzt hatte, markiert eine Rückkehr zum Blues. Das Album - The Big Bad Blues' wird
neben neuen Originalkompositionen des Sängers und Gitarristen auch Coverversionen von ausgewählten Blues-Klassikern vereinen