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'a' Recordings
The Bang Girl Group Revue 'Soul Shangri-La'
£12.99
'a' Recordings
The Bang Girl Group Revue 'Soul Shangri-La'
£12.99
Angeline King and Derek See began The Bang Girl Group Revue (hereafter The Bang for short) in 2009, driven by their love of 1960's soul, girl group and beat music and style. The group became an immediate success on the live circuit with their reinvention of little known soul/ beat gems and a handful of original tunes, written in the style of the 1960's.
While The Bang went through several early lineup changes (one of which was captured on the debut 45 RPM single "Another Notch On His belt" which quickly sold out), it gelled beautifully for the recording of their debut LP, "Soul Shangri-La". The album was recorded at a private all analog studio in the San Francisco bay area, and the group is proud of the fact that there is no digital processing of any sort used on the album. While The Bang would never deny that their music is based firmly in the 1960's, they have seen firsthand through live performance that it is a sound that spans generations and appeals to not only those who lived through the era and mod revivalists but also those in their teens and twenties who may be getting a first taste of the soul of this music.
The Bang made a conscious decision to record our album using not only the technology of the era that their music is drawn from but also, more importantly, recorded it in a way that shows the strengths of the band. The ladies' vocals were all tracked together; the three of them gathered around two microphones (whoever was lead singer had her own mic while the backings where sang into the same mic). This is the way it was done, and it presents not only a complete performance but also the natural blend of the group. There are points where Angeline and Tisha Joy's harmonies are so close they sound as though they are one voice overdubbed!
The music performed by the gentlemen was recorded by the band, together, in the same room. Nothing compares to the passion and heart that a group of musicians create when they are in the same room, making eye contact, watching physical communication. This is the root of the "magic" of the old recordings, and The Bang captures the heart and soul of the era with just enough of a contemporary edge.
Tracklisting:
1. Another Notch On His belt
2. Losing Control
3. No Matter What You Do
4. Make It For The Door
5. Let Me Down Easy
6. Love's Gone Bad
7. Drink In Hand
8. Not Your Fool
9. In The Basement
10. You Got My Love
11. You Better Watch Out
12. I'm A Good Woman
13. Needle In A Haystack
14. Hold On
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v'a' Recordings
The Brian Jonestown Massacre - Abandon Ship (Martian Meltdown Mix) Vinyl 10"
£14.99
Available on black vinyl 10”.Visit product page →
To coincide with the Brian Jonestown Massacre’s North American & Australasian tour 2023 is the release of two new exclusive tracks by the band.
Recorded in Berlin & remotely in 2023, the opening track “Abandon Ship (Martian Meltdown Mix)” runs at over 11 minutes and plays at 33 rpm, “Maybe Make It Right.” the B side is nearly 4 minutes & plays at 45 rpm.
With Anton Newcombe (Vocals/ Guitars) Hakon Adalsteinsson (guitar), & Uri Rennert (drums) playing on this offering. Emil Nikolaisen (Serena-Maneesh / BJM) & Ryan Carlson Van Kriedt (Asteroid #4 / BJM) on engineering duties.
The release comes in a heavyweight PVC bag with the artwork being a J card so you can see the vinyl
Tracklisting:
Side A
Abandon Ship (Martian Meltdown Mix)
Side B
Maybe Make It Right. -
Available on 180 grm Clear Vinyl LP with a pack of 6 colour pencils so you can colour in your own album cover . The CD comes in two different designsVisit product page →
Recorded in Berlin & remotely between 2020 & 2021 , the band returns with their 20th full-length studio album.
The album was recorded in Berlin By Anton Newcombe , joining him in the studio for this album were Hakon Adalsteinsson (guitar), & Uri Rennert (drums).
The band in 2022 have been touring and completed a 34 date tour in North America with Mercury Rev and the Magic Castles which was very successful , with 3 festival appearances in the summer of 2022 in Angers, France, Graz , Austria & Switzerland which were also successful.
With this the band went on tour in Europe which started in September 2022 with many sold out shows .
Tracklisting:
1. Do Rainbows Have Ends
2. Nothing Can Stop The Sound
3. The Light Is about To Change
4. Fudge
5. Cross Eyed Gods
6. As The Carousel Swings
7. The Mother Of All Fuckers
8. All The Feels
9. Your Mind Is My Café
10. Stuck To Yous -
Numbered and limited to 1000 copies each worldwide.Visit product page →
Recorded in Berlin & remotely between 2020 & 2021, the opening track "The Real" is from the forthcoming album "Fire Doesn't Grow On Trees" the second track "Where Do We Go From Here?" is exclusive to this release.
With Anton Newcombe (Vocals/ Guitars), Ryan Carlson Van Kriedt (keyboards), Hakon Adalsteinsson (guitar), Hallberg Daði Hallbergsson (bass), & Uri Rennert (drums) playing on this offering. It is 30 years since the release of their first single She Made Me / Evergreen. Released in 1992, the band continue to deliver the sound of the Brian Jonestown Massacre.
Cover artwork by Anthony Ausgang.
Tracklisting:
Side A
The Real
Side B
Where Do We Go From Here? -
'When you are compelled to do the right thing, when you live by some internal code, and you don't shy away from standing up to and in the face of adversity or against the mob or the man no matter what that might mean to "your fame or prospects", it's doing the right thing... for some it might be taking a knee, or even a baton or bullet. That's a fire inside you, and it doesn't grow on trees. I create my own culture because it is what I need and what I feel isn't being provided. It doesn't exist unless I participate.' – Anton NewcombeVisit product page →
ANTON NEWCOMBE – frontman, songwriter composer, studio owner, multi-instrumentalist, producer, engineer, force of nature – returns with the Brian Jonestown Massacre’s 19th full-length studio album Fire Doesn't Grow On Trees, which will be released on 24th June 2022 on his own label A Recordings.
It has been 30 years since the release of their first single She Made Me / Evergreen. Released in 1992, as the British music press descended on the US to anoint the next US guitar band as flavour of the month and major labels were on the hunt for the compliant hopefuls to be their latest quick fix, Anton Newcombe had an idea: say no. As leader of the Brian Jonestown Massacre, Newcombe had already established himself as a visionary songwriter, a man to whom making music wasn't a lifestyle choice or a hipster haircut but the very fabric of existence itself, and he had observed in silent horror as his peers meekly acquiesced to everything – yes to contracts, yes to management, yes to suggestions, yes to this, yes to that, yes, yes, yes. But he was different. Anton Newcombe was going to say no to everything. "I just knew I would be more successful in a certain way by saying no, just being contrary because I figured that if people liked me they were gonna like me anyway," he says. "Or dislike me. It doesn’t matter."
Brian Jonestown Massacre's shoegazing-tinged debut album Methodrone was released in 1995 and since then numerous band members have joined Newcombe on his sonic escapades, but he has remained the sole constant, the creative mastermind at the centre of one of music's most fascinating bands. There have been a further 18 albums under the Brian Jonestown Massacre moniker since then, each embarking on their own mind-expanding adventure and exploring the outer realms of rock'n'roll; psychedelic rock, country-blues, snarling rock’n’roll, blissed-out noise-pop and more.
Along the way, Newcombe has established himself as a once-in-a-lifetime talent who saw the direction in which mainstream indie-rock was heading and opted to take the long way round. He's emerged as - revolutionary force in modern music, an underground hero. There was no other way, this was how it had to be. "My only option with everything in life has always been that you just jump into the fire," he declares. "It doesn’t matter what it is."
It's with that spirit that he’s hopped around the globe, from the West Coast to New York, from Manhattan to Iceland, and then to Berlin, where he’s lived for 14 years and has two flats, one to live in and one that's been converted into his studio. He goes there six days a week to work and write and record and produce and it's where the fantastic new BJM album Fire Doesn’t Grow On Trees was made. In an era where one band bleeds into the next and production all seems to be pulling from a similarly beige-y sonic palette, here is a record that crackles with excitement and possibility, the fuzz of those 60s Ampeg amps, the exhilarating swirl of guitars and keyboards and Newcombe in the middle of it all, conducting the chaos.
Fire Doesn't Grow On Trees is the beginning of a thrilling new phase for Newcombe and his band. Joining him in the studio for this album were Ricky Maymi (guitars), Ryan Carlson Van Kriedt (keyboards), Hakon Adalsteinsson (guitar), Hallberg Daði Hallbergsson (bass), Uri Rennert (drums) and Sara Neidorf (drums).
After a hugely prolific 2010s that saw the release of eight long-players and one mini-album, Newcombe had been going through a period of writer’s block when one day he picked up his 12-string guitar in the studio and album opener and lead single The Real came out of him. Like the kraken, it was as if he’d summoned it. "All of a sudden, I just heard something," he says. "And then it just didn’t stop. We tracked a whole song every single day for 70 days in a row."
Four minutes into Fire Doesn’t Grow On Trees, there are two lines that sum up its fearless spirit. "Fight the beast until it dies, raise your sword up to the sky!", sings Newcombe as an explosion of fuzzy guitars, thrumming organs and rolling drums collide around him. As soon as Newcombe wrote it, he knew The Real had to open the new album. "That line is like fantasyland!" he laughs. "It's the little kid in me, full on St George shit. It's as much a declaration of anything that I could ever muster. A lot of the album is about affirmation by just living. Existentially, this time period has felt pretty dark so it’s about fighting the good fight. I’m singing to empower other people. First of all, I’m getting whatever I need out of it, but I can see it as something other people can identify with."
These are songs fuelled with the heady feeling of capturing a moment – from the hot-footed country sway of It's About Being Free Really to the hazy grooves of What's In A Name, from the garage stomp of Silenced to the widescreen 60s-pop of Wait A Minute (2:30 To Be Exact). Nothing was pre-written. Like The Real, everything was conjured up by where an instrument took Newcombe when he picked it up. "I could sit at the piano, the organ, any instrument, and get an idea all of a sudden. I would play for one second with the band to get a grasp of the idea, and then we would unplug the amps and put on the headphones, plug in and track it. Then I would go, 'guys leave the room', sing the words in my head and then record them. Everything's off the top of my head, just like one-take Jake. I surprised myself."
Fire Doesn't Grow On Trees is a brilliant album, but there is no such thing as a defining statement in Anton Newcombe's world anymore, just more chapters that contribute to the tale. "Nobody can stop me, I'm not asking somebody, I'm not making the rounds at Warners, saying 'please put out my record!'. It's just for me," he says. He hopes he can be an inspiration to others. "I would love to see more groups, people playing music in the UK and everywhere else because I really enjoy it. That's the only reason I need. It's the only reason to do stuff." That hits to the core of what makes Anton Newcombe and Brian Jonestown Massacre tick in 2022. He'll keep jumping in that fire. That's how he rolls. Savour it.
Tracklisting:
1. The Real
2. Ineffable Mindfuck
3. It's About Being Free Really
4. What's In A Name
5. Silenced
6. Before And After land
7. You Think I'm Joking?
8. #1 LUCKY KITTY
9. Wait A Minute (2:30 to be exact)
10. Don't Let Me Get In Your Way
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