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The final U.S. show, a triumphant and blistering bookend to the storied career of one of the most influential bands in rock music, featuring a unique and expansive eighty-five minute set list that spans Sonic Youth’s nearly three decade catalog. Mixed from multitrack by longtime live engineer Aaron Mullan and mastered and cut by Carl Saff. On August 12, 2011 Sonic Youth played their final US show on an outdoor stage overlooking the East River at the Williamsburg Waterfront in Brooklyn. Fitting that their storied career would bookend with a panoramic view of New York City where it all began 30 years before, having left in their wake one of one of the most powerfully influential careers in rock music. Following incredible sets from Kurt Vile and Wild Flag, the band took the stage. As the sun went down over the city, Sonic Youth ripped through a 17 song set that spanned from deep cuts off their first studio album and highlighting many other albums all the way through to their last, like a band with everything to prove. Or as Brooklyn Vegan’s Andrew Sacher said at the time: “While most bands who are thirty years into their career are either fading away or living off of the nostalgia of their older material, Sonic Youth continue to sound and perform as fresh as ever.” Steve Shelley explains the uniquely career spanning set list of Live in Brooklyn 2011 and how it came to be, as well as the importance of outdoor NYC summer shows in Sonic Youth’s legacy: “This show was a culmination of a run of really special outdoor summertime shows in New York City for us, starting in ’92 with Summerstage in Central Park when we played with Sun Ra. For the Williamsburg Waterfront show I wrote out the set list to present to the band and it was a lot of material we hadn’t played in a while, a lot of deep cuts, so I wasn’t sure if everybody would feel like doing it. After worrying about which songs the band might say yes or no to, I threw those concerns out the window and I just made a list of songs that I thought would be a great set. We practiced the week of the show at our space in Hoboken and put the set together. First we’d try and make sure we had a guitar in the song’s tuning, then we’d try to remember the arrangement and try and put it together, sometimes re-learning bar by bar. In the end I think the whole song list made it through. Even as early as ’86 and ’87 we stopped playing ‘Death Valley 69’ and ‘Brave Men Run’ with any regularity. We’d just get excited about new material coming into the set and songs would get ‘retired’ and wouldn’t get played again for years. So on this particular night in Brooklyn a lot of those retired songs and deep cuts got dusted off and played for this show. It turned out to be a pretty special event with a really special song list.” The band would go on to fulfill a contracted festival run in South America a few months later but, by then, the group’s center was severed beyond repair and the festival appearances didn’t hold the same kind of weight. “The stage was facing the East River from the Williamsburg, Brooklyn waterfront, and I recall the sun going down in the west during our set. It was a pretty magical, if kinda weird day. Fitting, somehow, that our ‘last show’ should be in New York City, our home and where it all began…” Lee Ranaldo The Williamsburg Waterfront show would fondly become referred to as ‘The Last Show’ by fans and band alike, equally for its triumphant high energy performance, its unique and expansive set list and locale. Newly remixed and remastered, Live in Brooklyn 2011 is presented for the first time on 2xLP, 2Xcd, August 18, 2023.

In 2023, Kurt Vile is making numbers count. Just last month, Matador Records presented the iconic Philadelphia songwriter with a (vegan) cheesesteak trophy to commemorate the 100-millionth stream of "Pretty Pimpin" on Spotify. Today, though, we"d like to draw your attention to another significant KV digit: The 10th anniversary of his fifth full-length and first 2xLP, "Wakin on a Pretty Daze" (2013). To celebrate this milestone, we"ve brought the record back as a blue + yellow vinyl split available via KV and Matador webstores. This limited pressing will also include a reproduction of the "make your own cover" ESPO sticker sheet that accompanied the original 2013 special-edition. A yellow vinyl version of the record will be made available everywhere. Where previous albums alternated between gorgeous fingerpicking and heavy guitar workouts, "Wakin" blended the two into dreamy and expansive songs that frequently stretched well out beyond the five-minute mark. Back then we said: "It"s a record that would have sounded great 30 years ago, sounds great today, and will still sound great 30 years from now." Ten years down the line, we"re still confident that "Wakin" will deliver the goods - yesterday, today, and in 2043. The reissue serves as the latest entry in Matador Records" Revisionist History series, our ongoing campaign to jog the record-buying (and streaming!) public"s memory about our many catalog items now poised to celebrate a significant anniversary. Matador will mark these anniversaries with new reissues and re-pressings. So far, the Revisionist History class of 2023 has highlighted Bettie Serveert"s Palomine and Lucy Dacus"s Historian.

In 2023, Kurt Vile is making numbers count. Just last month, Matador Records presented the iconic Philadelphia songwriter with a (vegan) cheesesteak trophy to commemorate the 100-millionth stream of "Pretty Pimpin" on Spotify. Today, though, we"d like to draw your attention to another significant KV digit: The 10th anniversary of his fifth full-length and first 2xLP, "Wakin on a Pretty Daze" (2013). To celebrate this milestone, we"ve brought the record back as a blue + yellow vinyl split available via KV and Matador webstores. This limited pressing will also include a reproduction of the "make your own cover" ESPO sticker sheet that accompanied the original 2013 special-edition. A yellow vinyl version of the record will be made available everywhere. Where previous albums alternated between gorgeous fingerpicking and heavy guitar workouts, "Wakin" blended the two into dreamy and expansive songs that frequently stretched well out beyond the five-minute mark. Back then we said: "It"s a record that would have sounded great 30 years ago, sounds great today, and will still sound great 30 years from now." Ten years down the line, we"re still confident that "Wakin" will deliver the goods - yesterday, today, and in 2043. The reissue serves as the latest entry in Matador Records" Revisionist History series, our ongoing campaign to jog the record-buying (and streaming!) public"s memory about our many catalog items now poised to celebrate a significant anniversary. Matador will mark these anniversaries with new reissues and re-pressings. So far, the Revisionist History class of 2023 has highlighted Bettie Serveert"s Palomine and Lucy Dacus"s Historian.

In the early 2000s, Slum Village was riding high on the success of their Fantastic and Fantastic Vol. 2 releases and upped the ante with the release of Trinity (Past, Present And Future). Despite Jay Dee’s starting to pursue solo efforts, the production team assembled for Trinity kept the Slum vibe found on the Fantastic albums alive. Producers on the release include Hi-Tek, Waajeed, Scott Storch, Karriem Riggins, T3, Black Milk, Young R.J., Shelton ""Ess"" Rivers with a significant contribution from Jay Dee himself.

Death Metal icons INCANTATION prepare the masses for their new album, Unholy Deification, via Relapse Records. Edified over three-plus decades of experience, Unholy Deification is the group's 13th full-length album. Validated by peers seasoned and new, INCANTATION are more vital than ever - the lineup, featuring founding guitarist/vocalist John McEntee, drummer Kyle Severn, bassist Chuck Sherwood, and guitarist Luke Shively, displays death metal know-how and the power of determination. "I'm not interested in playing it safe," McEntee asserts. "I think other people feel that there are limits to what we do. However, I don't see it that way. If it feels right, then it's Incantation. The songs we write are an honest expression of ourselves. 'Sect of Vile Divinities' was a stressful recording for me and the band. We felt fed up and were just happy to be done with it. When people hear the new album, I hope they think, 'Why are these guys so pissed off?!' Rage gives focus, which is why this album turned out the way it did." Lyrically, Unholy Deification originates with Sherwood. An avid reader and occult logician, the INCANTATION bassist wanted to capture a fully-realized concept of evolution through enlightenment. Expect thought-provoking, historically-derived intellection. That the mortal-to-deity narrative interacts with the merciless musical conflagration of hard-hitting tracks such as "Concordat (The Pact) I," "Homunculus (Spirit Made Flesh) IX," and "Invocation (Chthonic Merge) X". Make no mistake - the ferocious new album, featuring guests Jeff Beccera (Possessed), Henry Veggian (ex-Revenant), and Dan Vadim Von (Morbid Angel), is pure Death Metal. INCANTATION's sepulchral pandemonium is visually enhanced by award-winning artist and longstanding collaborator Eliran Kantor (Immolation, Bloodbath). The end result is an interpretation of Italian Renaissance masters, but thrust into INCANTATION's cauldron of chromatic malice.

To comemrate the the 20th anniversary of her death, rediscover the greatest interpretations, studio and live, by the iconic singer Nina Simone on a nice double vinyl.

Limited new repress on blue vinyl. RIYL: Sharon Van Etten, Big Thief, Phoebe Bridgers, Angel Olsen, Neko Case, Bonnie “Prince” Billy, Bill Callahan, Steve Gunn, Kurt Vile, Cass McCombs, Jessica Pratt, Kevin Morby, Molly Burch Phosphorescent, Waxahatchee, boygenius. Recorded and mixed by Joshua Wells (Destroyer, Lightning Dust, ex-Black Mountain). Guest vocals from Bonnie “Prince” Billy on the “Don’t Slow Me Down” single. Guest pedal steel guitar from Paul Rigby (known mostly for his studio work with Neko Case) on 3 of the 10 tracks. Support thus far from FLOOD Mag, Stereogum, KEXP, KCRW, Popular TV (ex-Nylon writers), Pitchfork, Exclaim! & more. “Tonight” single synced for a Netflix series 13 Reasons Why in March 2017. Ashley Shadow winks at darkness, but she won’t lead you towards it. It’s easy to fall under the spell of Ashley’s haunting voice. The Vancouver, B.C. based songwriter forged her own identity as a songwriter with 2016’s eponymous self-titled debut. Her sophomore effort, Only the End, maintains the moody introspection that is ingrained in Pacific Northwest life, but now comes armed with a palpable hope complementing her signature melancholy. Ashley explains, “I wanted to make a more upbeat album, something you could play with some friends over. Some of the songs I wrote were initially bummers, but when we went to record them, we lightened them up.” Balancing a couple of jobs and navigating life and love in increasingly unstable times, the album was written over two years by Ashley at her apartment. Her confident vibrato above lightly, distorted guitars mirrors the album’s theme of resilience, if not triumph, over adversity. There is comfort in these warm songs that endorse the realism of contented acceptance, rather than the naïve search for non-existent utopias. While the songs were conceived in contemplative solitude, Ashley invited some very capable collaborators for their journey into the studio. Ashley’s first album saw her take center stage after more than a decade of gracing friends’ projects in a supporting role. The move to the front was a cautious one. “First record was, can I do a solo album? This time, I know what I’m doing. It’s way more clear.” "Don’t Slow Me Down" reunites Ashley with Bonnie “Prince” Billy for the first time on record when she sang vocals on Bonnie's Lie Down In Light album in 2018. The album also includes contributions from Paul Rigby (Neko Case), Colin Cowan (Elastic Stars), Joshua Wells (Black Mountain, Lightning Dust) and Ryan Beattie (Himalayan Bear). It’s clear to anyone listening. It’s Only the End. If only all endings were so glorious

Lovely Little Girls is a theatrical art-rock band from Chicago that features
members of Cheer-Accident and The Flying Luttenbachers - They
specialize in odd harmonies and catchy melodies served with a histrionic
flair
"Effusive Supreme", their third LP for SKiN GRAFT Records, delves into more
personal and abstract territory, highlighting the utilitarian and fetishistic
relationship to shoes on one track, while enthusiastically accepting ego- death's
indifferent embrace on the next. Equally informed by Magma and Dead Kennedys,
Lovely Little Girls pull from a range that runs the gamut yards past the finish line -
everything from Esquivel to Toto.
PRESS QUOTES:
"What makes Lovely Little Girls unique is the care for complex arrangements,
creating quirky prog- no wave hybrids... impressive psychodramas of melodic
detours and anguished explosions - full of theatrical uneasiness" - ChainDLK
"Stuns listeners into submission with heavy doses of horns and lyrical flogging.
Equal parts jazz, prog, and avant- garde, this horde of provocateurs revels in
disturbing the peace" - Razorcake
"Lovely Little Girls deal in absurd and jarring contrasts. The group's knotty,
intricate songs heave and dance and skitter - sometimes gracefully dexterous
and sometimes grotesquely lumpy - but clearly the work of formidably talented
musicians with vivid imaginations. Jacobsen's demented lead vocals flicker from
frighteningly histrionic to carefully declamatory, with eruptions of abject mania or
borderline obscenity, while behind him a chorus of singers might deliver a
pristine, almost angelic chant of "the pain, the horror"... - Chicago Reader
"Lovely Little Girls are your favourite cartoon villains, plotting the takeover of the
city before the Joker does" - The Organ

J Hus is back with his highly anticipated third album ‘Beautiful And Brutal Yard’, preceded by the raucous street track ‘It’s Crazy’ which charted Top 15 and ‘Who Told You’ (featuring Drake) which debuted at #2 with the 3rd highest UK week 1 singles sales of the year and Hus’ highest single chart to date.

‘B.A.B.Y.’ is the follow-up to his chart-topping album ‘Big Conspiracy’ which earned him the Best Male Award at the Brits and his Top 10 platinum debut ‘Common Sense’ which won an NME award and was nominated for the Mercury Music Prize and Best Album at the Brits.

Fans have come to expect a range of influences and musical styles from Hus’ albums and they will not be disappointed. Across ‘B.A.B.Y’ Hus incorporates elements of afrobeats, drill, R&B and bashment, all delivered in his inimitable lyrical style. The album includes features from Drake, Burna Boy, Jorja Smith, Popcaan and Naira Marley as well as from UK up and comers CB, Villz and Boss Belly.

Having not played his own live shows since 2017 J Hus is announcing a UK Arena tour on Thursday 29th June.

In schummriges Licht getaucht und auf ausgetretenen Pfaden feuertaufend, tragen A Deer A Horse den Dreck, die Härte und den Gusto hunderter Shows wie ein Ehrenabzeichen. Die Band vereint Rock, Metal und Punk in einer unheiligen Vereinigung, die von A.V. Club, Consequence of Sound, Village Voice und Revolver gelobt wurde, die sie als "irgendwo zwischen den Melvins, Helms Alee, Red Fang und Sleater-Kinney" beschrieben. Nachdem die Gruppe im Untergrund für Furore gesorgt hatte, schärfte sie auf ihrem 2022 erschienenen Debütalbum "Grind" ihre Kanten mit verstörenden Melodien und kathartischen Klageliedern.

Back in 2003, during an incredible period of growth and reinvention for legendary artist MF DOOM, he introduced us to one of his numer- ous alter egos, Viktor Vaughn. As the story goes, Viktor Vaughn was an interdimensional time-traveling MC from an alternate realm where Hip-Hop was banned. He’d been exploring time and space looking for new dimensions to sharpen him to 90s era NYC, where he found himself stranded due to a mechanical mishap with his time machine. He began hitting open mics and small venues, battling other MCs and picking up a few side-hustles in order to raise enough funds to repair his time machine and get back to his travels.

Vaudeville Villain is a concept album like no other, where MF DOOM re-envisions himself as a younger, hungrier, more brazen persona, in order to explore subjects new and old from a different point of view. Of course, developing a second self from a more technologically advanced universe, he wanted to take a new approach to the produc- tion too. Viktor Vaughn fittingly raps over next-school beats that move freely in spaces between Electronica and Hip Hop, all courtesy of Sound-Ink producers King Honey, Heat Sensor and Max Bill, with the exception of one track produced by RJD2. Featuring all original lyrics by DOOM, with a few notable guest appearances from M. Sayyid (Anti-Pop Consortium), Lord Sear, Apani B Fly MC, Louis Logic, and more, Vaudeville Villain is one of the more uniquely creative entries in the MF DOOM universe.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Cumgirl8 met in a sex chat 8000 years ago in another metaverse. Made up of Lida Fox (bass), Veronika Vilim (guitar), Chase Lombardo (drums) and Avishag Rodrigues (guitar), the band render the immersive and chaotic energy from cyberspace into our world, coming together to make a boundary-less sound that brilliantly stretches across the likes of ESG, Cocteau Twins, Suicide, CSS, B-52s, The Shangri-Las, Chris & Cosey, Madonna, and many more.

Hot on the heels of their highly acclaimed fifth album "Ask," the Turkish-psych band Altin Gün return with a two-song summer remix single. The two tracks feature the remixing talents of Altin Gün band members Jasper Verhulst (bass) and Chris Bruining (percussion). Both Verhulst and Bruining are always searching for new ways of (re) creating music and these remixes were one way to discover new paths in the music they fashion as part of Altin Gün. Kalk Gidelim is a cumbia driven remix, inspired by the cumbia villera of Argentina, while Su Siziyor is a digidub style remix with lots of King Tubby inspired reverbs and phasers. In the end this remix project is focused on fun. Something to help enhance the summer spirit.

Altin Gün: Merve Dasdemir - vocals, keyboards Erdinç Ecevit - vocals, saz, keyboards Jasper Verhulst - bass Thijs Elzinga - guitar Daniel Smienk - drums Chris Bruining - percussion

No shortage of colorful characters emerged from Cameroon’s bikutsi scene in the 1980’s and early 90’s. Gibraltar Drakus is one of the most enduring and enigmatic of the artists who helped transform bikutsi into a beautifully endless fabric of triplet rhythms that eventually reached ears around the world.

Following the advent of Cameroon Radio Television in 1987, bikutsi began to supplant makossa and soukous for domination of the local airwaves and the attention of cosmopolitan, thrill-seeking residents of Cameroon’s capital Yaoundé and beyond. Biktusi perfectly fused Beti traditional music and increasingly electronic, highly rhythmic guitarbased bikutsi. Mimicking the sound of village-based xylophone music by rigging a mute to electric guitar strings, bikutsi artists provided a relentlessly energetic dance format for those with a taste for music steeped in their hometown sensibility (countering the popular makossa that many felt sounded less indigenous).

By the early 1990’s, Les Tetes Brûlées were indisputably the most famous and influential artists in bikutsi, due in part to the innovations of their incendiary guitarist Théodore Zanzibar Epeme. Following their first European tour in 1987, the band blew up internationally but Zanzibar tragically, and mysteriously, passed away, which nearly brought an end to the band completely. In hindsight, the consensus among most Cameroonians is Zanzibar’s contributions to biktusi were transformational and immeasurable.

“Zanzibar is the one who taught me how to compose a song, and I learned a lot from Zanzibar musically. We spent whole nights working on methods and other approaches to compose beautiful songs. I owe half of everything I have today to Zanzibar!”

Swept up in all this was Gibraltar Drakus, who was the youngest member of Les Têtes Brûlées and was also the protégé of his biggest supporter, Zanzibar. So it was fitting that he dedicate his 1989 debut to their groundbreaking late guitarist who had meant so much to him. Drakus literally exploded from his first album Hommage A Zanzibar (1989), which sold over 100,000 copies despite rampant piracy. For the recording, Drakus made sure he engaged prolific producer Mystic Jim to record and mix the album. The innovation musically rests both within the guitar interplay and the discipline in the orchestration, which result in a mind-bending clockwork of cross-rhythmic harmony.

RAW is back with the long awaited Gemstones II compilation. This second edition features 16 original tracks, divided into 4 vinyls and exploring 4 different sides of Techno: Diamond, Amethyst, Moonstone and Opal.

With the label MPS, post-war musical history was written in Germany:
noble music productions with many international greats come from the
Black Forest and are timelessly legendary
Some treasures from the archive of the label are released by HGBSBlue on highquality vinyl.
The Hampton All Stars played at the first concert of the festival "VS swingt" back
then. MPS boss Brunner- Schwer was there at the mixing desk. Some of these
recordings were released in 1978 as the MPS LP "Alive and Jumping" (MPS
15469).
"Hamp" and his All Stars were really into it and brought the audience in the Black
Forest, known as rather reserved, to a frenzy, especially after the break. The old
master worked his magic on the vibraphone, of course, but also played drums
and piano and sang with an irrepressible sense of rhythm as one who had
unmistakably internalized swing. The top trumpeter Cat Anderson was another
internationally known musician in the eight-piece all-star band with which "Hamp"
toured Europe at the time. And there was someone else who was one of HGBS's
personal favorites: pianist and organist Milt Buckner. Buckner's block chords had
not only influenced Oscar Peterson and George Shearing, but also inspired the
passionate piano freak Brunner- Schwer. The live recording with Hampton's All
Stars in Villingen was the last record of Buckner, who died a few weeks later in
the USA of acute heart failure.
The musicians can be heard in exuberant joy of playing, with "Hamp" standing out
sovereignly on vibraphone and drums, as well as Buckner with soulful organ
playing. Everything sounds unspent fresh and cheerful and shows Hampton and
his fellow players in top form. This rousing swing, which should appeal not only to
jazz fans, is available exclusively on LP.
- Unreleased live recording from 1977 in Villingen, Germany
- The last recording of organist Milt Buckner
- High-end vinyl quality 180 gr. vinyl in gatefold, matt finish with embossed
printing

Re released in the UK after many years and due to huge popular demand on 180g vinyl Hang On Little Tomato – a title inspired by a 1964 ketchup ad in LIFE Magazine, depicting a single tomato clinging to a vine – the result of Pink Martini’s diverse collaborations and inspirations. The celestial anthem ‘Let’s Never Stop Falling in Love" nestles next to a dance sequence from the 1950 Italian film, "Anna". The reworked Japanese track ‘Kikuchiyo to Mohshimasu’, sits happily alongside the Brazilian composer Hector Villa-Lobos’s ‘Song of the Black Swan’ and ‘U Plavu Zoru’, There are torch songs, instrumentals, lyrics of poetic beauty. The mood is playful but never, ever kitsch.

Decades Of Devil Worship
HIGHLIGHTING OVER 25 YEARS SINCE THE BIRTH OF THE UK EXTREME METAL GREATS, WITH A STORMING LIVE SATANIC ASSAULT OF CLASSICS FROM AKERCOCKE'S EARLY REPERTOIRE

Throughout the years, Akercocke has become known for its savage & prodigious
live work. And now, with a stunningly produced & meticulously delivered torrent of
high-octane blackened death metal captured live in at the Underworld in London
in 2007, Akercocke blast through a collection of tracks lifted from the classic
debut, 'Rape Of The Bastard Nazarene' & follow-up album 'The Goat Of Mendes'
for a night of pure satanic magic with 'Decades Of Devil Worship', a hellish &
eclectic journey through the ritualistic & the profane.
Towering above most nefarious contemporary noisemakers, London's Akercocke
erupted across the consciousness of the UK metal scene in the late '90's,
wielding a fiendishly inventive blend of death, black & progressive metal. Their
distinctive, smartly-dressed demeanour & eloquent preoccupation with all things
dark & Satanic marked them out both as ferociously individual artists &
enlightened students of the pitch-black sonic code. Immediately embraced by the
British faithful upon the release of debut album 'Rape Of The Bastard Nazarene',
Akercocke spent the following decade leading the creative charge for their entire
native scene.
Akercocke received widespread acclaim for follow- up album 'The Goat Of
Mendes' (Peaceville, 2001) & despite enjoying furious momentum over the
following years, the release of fifth album 'Antichrist' in 2007 signalled the end of
the first chapter of the Akercocke story, when the band retreated into the
shadows & remained dormant for the best part of a decade until a triumphant
return was marked with the stellar Peaceville return, 'Renaissance In Extremis',
released in 2017.

These days, singer-songwriter and actor David Blue tends to be remembered only in relation to Bob Dylan. A member of the supporting cast in mid-60s Greenwich Village and The Rolling Thunder Revue. Yet to categorise Blue in this way is reductionist, and does him an injustice. He was something of an archetype of the 60s generation of Greenwich Village singer-songwriters. Yet, esteemed by his peers, he was overlooked. He released seven albums in a decade, and his acting career was shaping up when he died suddenly at the age of just 41. His passing was barely noted in the rock press, and in the subsequent years Blue was all but forgotten. Of late, though, that’s changed. His albums started to reappear on CD on small labels and, in 2020, both Rolling Stone and Mojo magazines published major reappraisals. Blue – at last – was getting the attention denied him in life.



It wasn’t until 1965 that Blue, as Dave Cohen, released his first recordings – three songs on Elektra’s Singer Songwriter Project. All betrayed a debt to pre-electric Dylan. But then again, so did much else coming out of Greenwich Village at the time. Elektra contracted Blue to do his own album, and in 1966 David Blue was released – his first recording to appear under that name. Electric folk rock with a garage band attitude, somewhat in debt to Highway 61, it didn’t sell well. Shortly after the album’s release Blue formed and toured with The American Patrol, a four-piece rock band, recording an album for Elektra that was never released.



Now, for the first time, Hanky Panky and Mapache release those historical abandoned American Patrol recordings, along with the three tracks included on Elektra’s 1965 LP Singer Songwriter Project, as David Blue And The American Patrol The Lost 1967 Elektra Recordings & More and David Blue, his self-titled 1966 debut album, on two exclusive vinyl editions limited to 500 copies

‘Mellifluous’... is a word you won’t hear much when conversation turns to early Pooh Sticks records. But ‘noise pollution’, sure: that comes up. I’ve even used it myself. So look away now if you must: ‘Straight Up: Noise Pollution C88-90’ is a selection of some of the most loved/despised/ignored tracks released by The Pooh Sticks on however many records it was before it all went wilfully ‘American’ sometime around dotted-lining for BMG mega-corp in 1991.
The record has highlights and lowlights. You and me, we’d probably agree on most of them. We chose a reasonable cross-section, I think (although there could’ve been more tambourine), including:
- “On Tape” - zeitgeist-nailin’ strum and strangle.
- “I Know Someone Who Knows Someone Who Knows Alan McGee Quite Well” - long title
- “Teenage High” - breathy sweetness sneaked onto the depraved Sympathy For The Record Industry label.
- “Dying For It” - the Vaselines cover which beat Nirvana by a full two years (though theirs sold better).
... and more! It’s like Christmas (no, blocking up the chimney won’t help: we’ve cut spare keys). And all of this in a nice gatefold sleeve, and on Steve McQueen’s- eyes blue vinyl. And there’s even a repro poster for the March ’89 Pastels/Pooh Sticks/Vaselines gig up London way (“I swear I was there”, people say).
On behalf of the group, I hope you enjoy it. No, really. It was all a long time ago but I remember we had fun. Maybe you were even there having fun with us.

Spanish producer Vilchezz debuts on slash with one of KI/KI's longest awaited dancefloor hits to date. The title track Camelo's is doing rounds in her DJ sets for a couple of years and is easily the highlight of many gigs, finally the day is now there to present it on her own slash label.

It all started just with a Soundcloud demo a year ago when Fasta Danza crew member Vilchezz shared some of his new music with KI/KI. Now residing in Budapest, his new EP also marks a significant change in styles for Vilchezz, with his new works leaning more towards energetic, trance tinged hard grooves. And that's exactly the sweet spot where he meets KI/KI and her slash imprint. After playing the Camelo's demo inside-out around the world a full release is now finally formed. A full pack backed with another original Eskorbuto - which feels like a future classic uplifting trance drifter - and three remixes another chapter on slash is there.

For the remixes KI/KI and Vilchezz invited Oslo based trance producer and UTE.REC label co-owner Filip Storsveen aka Oprofessionell. He turns Camelo's into a magnificent introvert eyes closed club weapon. Where Glasgow's Animal Farm resident AISHA comes in fierce with a powerful early 00's twist combined with an impeccable psy drive. And to finalize the pack, fast rising star CAIVA reworked Eskorbuto by adding her own vocals to the original and by doing so she adds an impressive, emotive festival banger to a well rounded set of modern trance gems.

I Am Not There Anymore folgt auf das 2017 erschienene Music For The Age Of Miracles (das nach einer siebenjährigen Pause der Band erschien), wobei die neuen Aufnahmen 2019 begannen und stückweise bis 2022 fortgesetzt wurden - zum Teil wegen der Pandemie, aber auch, weil die Band den Raum für Experimente haben wollte. "Wir haben uns schon immer für andere Musik als Gitarrenmusik interessiert", sagt Sänger, Texter und Gitarrist Alasdair MacLean. Diesmal hat er - zusammen mit dem Bassisten James Hornsey und dem Schlagzeuger Mark Keen - Elemente des Post-Bop-Jazz, der zeitgenössischen Klassik und der elektronischen Musik einbezogen. MacLean meint: "Nichts von alledem war in der Lage, seinen Weg in unseren Sound zu finden, außer auf die beiläufigste Art und Weise, in der schwächsten Ausprägung." I Am Not There Anymore bestätigt die Stellung von The Clientele unter den großen Stilisten der Popmusik, indem es geschickt von Bild zu Bild, von Stimmung zu Stimmung wechselt, und zwar auf eine Weise, die sich sowohl neu als auch klassisch anfühlt, während The Clientele als Band in neue klangliche Gefilde vorstoßen. Im Laufe der 32-jährigen Karriere von The Clientele haben Kritiker und Fans ihre Lieder mit Worten wie "ätherisch", "schimmernd", "dunstig", "hübsch" und "zerbrechlich" beschrieben. Alasdair MacLean, hat seine eigene Interpretation der Wirkung, die seine Musik erzeugt. "Es ist das Gefühl, nicht da zu sein", sagt er. "Was wirklich in allen Clientele-Platten steckt, ist das Gefühl, nicht in dem Moment zu sein, in dem man sich befindet." I Am Not There Anymore evoziert regelmäßig das, was MacLean "das Gefühl, nicht real zu sein" nennt. Viele der Songs wurden von MacLeans Erinnerungen an den Frühsommer 1997 inspiriert, als seine Mutter starb.

I Am Not There Anymore folgt auf das 2017 erschienene Music For The Age Of Miracles (das nach einer siebenjährigen Pause der Band erschien), wobei die neuen Aufnahmen 2019 begannen und stückweise bis 2022 fortgesetzt wurden - zum Teil wegen der Pandemie, aber auch, weil die Band den Raum für Experimente haben wollte. "Wir haben uns schon immer für andere Musik als Gitarrenmusik interessiert", sagt Sänger, Texter und Gitarrist Alasdair MacLean. Diesmal hat er - zusammen mit dem Bassisten James Hornsey und dem Schlagzeuger Mark Keen - Elemente des Post-Bop-Jazz, der zeitgenössischen Klassik und der elektronischen Musik einbezogen. MacLean meint: "Nichts von alledem war in der Lage, seinen Weg in unseren Sound zu finden, außer auf die beiläufigste Art und Weise, in der schwächsten Ausprägung." I Am Not There Anymore bestätigt die Stellung von The Clientele unter den großen Stilisten der Popmusik, indem es geschickt von Bild zu Bild, von Stimmung zu Stimmung wechselt, und zwar auf eine Weise, die sich sowohl neu als auch klassisch anfühlt, während The Clientele als Band in neue klangliche Gefilde vorstoßen. Im Laufe der 32-jährigen Karriere von The Clientele haben Kritiker und Fans ihre Lieder mit Worten wie "ätherisch", "schimmernd", "dunstig", "hübsch" und "zerbrechlich" beschrieben. Alasdair MacLean, hat seine eigene Interpretation der Wirkung, die seine Musik erzeugt. "Es ist das Gefühl, nicht da zu sein", sagt er. "Was wirklich in allen Clientele-Platten steckt, ist das Gefühl, nicht in dem Moment zu sein, in dem man sich befindet." I Am Not There Anymore evoziert regelmäßig das, was MacLean "das Gefühl, nicht real zu sein" nennt. Viele der Songs wurden von MacLeans Erinnerungen an den Frühsommer 1997 inspiriert, als seine Mutter starb.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cuts 'Selim' and 'The Man' being anthems of the scene.

The Ohio-born player’s first album as a leader was on the Jazzland label in 1962 with “Nice And Easy”. His second, three years later, on Riverside, "The Village Caller", made him a star in the jazz world. When Riverside encountered difficulties, co-owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba.

The first of these, "The Loop", featured his regular trio partners, organist Milt Harris and drummer “Peppy” Hinnant. This line-up was augmented on some tracks by former Miles Davis pianist Wynton Kelly and bassist George Duvivier. A 7” version of the title track actually spent five weeks in the Billboard Hot 100 in January 1966. As for the album, as well as the acid jazz cut 'The Man', it features a stunning version of Duke Pearson's 'Cristo Redentor' and the dancefloor-friendly 'Possum Grease' and 'Hot Sauce'. The band also stretch out on extended track ‘The Shyster’.

“The Loop” is a classic album and Ace’s pressing is the first time it has been legally reissued on vinyl.

The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
One of the best albums by the ill-fated trio of Bill Evans with bassist Scott LaFaro and drummer Paul Motian.

Penguin Guide To Jazz review:
"All the Vanguard music is informed by an extra sense of discovery, as ifthe musicians were suddenly aware of what they were on to and werecelebrating the achievement.

This is music which continues to provokemarvel and endless
study." - Richard Cook & Brian Morton

Attia Taylor is a NYC based musician, writer, and content producer. She is the founder of Womanly Magazine, The Dorothy and a member of The Art Dept Collective. Her work is rooted in social justice, art, and design, to bring inclusive and culturally relevant content to sound, print and digital realms. She is passionate about building and cultivating communities through journalism, music, storytelling, and research. "Space Ghost" is her debut solo album, recorded with Jeff Ziegler (Kurt Vile, The War on Drugs) in Philadelphia.

Alva Noto’s award winning score for the 2022 German documentary film ‘This Stolen Country of Mine’ directed by German filmmaker Marc Wiese features nineteen compositions to be released on NOTON in April 2023.

The documentary film explores the question of a state's sovereignty in the face of foreign powers. The film portrays Ecuadorian resistance fighters and journalists who oppose the sell-off of an extensive part of the country's resources to Chinese investors.

Alva Noto's music subtly accompanies the struggle of a mountain village, immersing us into the film’s narrative and pathos. Across nineteen compositions, the music exposes and holds back when the images and statements of the protagonists speak for themselves, reflecting the dark shadows and the glares of hope of communal resistance.

The documentary was the recipient of the German Documentary Film Music Award 2022.

Focus track #19

'Ritual Reprise' is the closing composition of Alva Noto's award-winning score for the 2022 German documentary film 'This Stolen Country of Mine.' The piece merges minimal digital textures with emotional resonances, taking the listener to a sonic path filled with a serene tenor. The tone is set on the slow-burn haze of gloaming ambient-electronica scapes, compounding under a unified cinematic soundscape of warm digital ambiances and liquified electronics.

Die australische DeathCore-Combo Thy Art Is Murder lauschte viel Slipknot und Hatebreed und reicherte die aggressive Melange mit den genretypischen Growls und einem fetten Death Metal-Riffing an.

In »Reign Of Darkness« ziehen sich die Gewitterwolken dunkel zusammen, um sich dann in »The Purest Stain Of Hate« komplett zu entladen. Eine astreine Knüppelorgie, die keine Gefangene nimmt. Der anschließende Track »Vile Creations« wiederum besticht mit dem Hardcore-immanenten Groove, der in den zehn Tracks der Platte immer wieder auftaucht. Der letzte Track, »Doomed From Birth«, schließt sogar atmosphärisch die Klammer zum Auftakt.

[n] B7. Alain Goraguer – Les Hommes [La Grande Co-Existence]

Ramona Lisa is the current alias of Chairlift's Caroline Polachek. Her new album Arcadia is Polachek’s first self-produced solo record and the first release by Pannonica, part of the Bella Union family. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls "Pastoral Electronic Music". The making of Arcadia was a year¬long process that began and ended in an empty studio in Rome's Villa Medici and while on tour with her band, Chairlift. The record was made entirely on a laptop without instruments or external microphones - all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms. Although the album was created on a laptop, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek's vocal at it's most delirious and intimate yet.

Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from MLDVA & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.

MLDVA were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.

The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.

With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.

Bir Adım Öte is MLDVA & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.

Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.

In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.

The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.

MLDVA & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. MLDVA & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

Preservation Act 1 is a concept album and the 12th studio LP by The Kinks, originally released on RCA on 16 November 1973.

Preservation is the bands most ambitious project - a rock opera that uses the charming, small-town nostalgia of Village Green as a template to draw the entirety of society and how it works.

Epic opener ‘Morning Song’ sets the scene and mood for the record, followed by a classic sounding Dave Davies’ riff, ‘Daylight’, which echoes themes and sounds tones of one their most recognisable and highly acclaimed albums, ‘The Village Green Preservation Society’.

Standout tracks are the endearingly lazy ‘Sitting in the Midday Sun’ and the beautiful ‘Sweet Lady Genevieve’ – both strong contenders for overlooked Ray Davies masterpieces.

A critically acclaimed album, reviewed by Rolling Stone at the time as "A highly listenable, enjoyable album".

This release is a faithful reproduction of the original 1973 album, on heavyweight 180g vinyl. A must-have for any Kinks fan and its first vinyl re-press, apart from a limited edition 2008 US edition, since the original 1973 LP release.

Released in 1975, Schoolboys In Disgrace is The Kinks fifteenth studio album.

The album is a return to the Kinks simpler, traditional rock sound from the more theatrical style of their recent releases of the time, and combines rock ‘n roll with harder rock, ‘50s pop and doo-wop.

The album is a nostalgic trip through childhood and
tells the origin story of Mr. Flash, the villain from previous Kinks titles, with well-known tracks such as ‘I’m In Disgrace’, ‘No More Looking Back’ and ‘Schooldays’.

Faithfully reproduced heavyweight vinyl 1LP and first repress, apart from a limited edition 2008 US run, since its original release in 1975.