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FIRST TIME ON VINYL, LIMITED EDITION OF 500!Visit product page →
This diverse production and sharp lyrical feast resonate K-Lash s trademark status as a lyrical connoisseur and one of the pioneers of the UK hip hop scene. It s what old fans will love and new fans will enjoy. Four words : beats, bars, flows, jokes.
Dat Time sets the undertone for the album with heavyweight producer Beat Butcha providing that raw gritty beat which will have you snapping your neck in agreement with every drum kick and snare. K-Lash equally brings fire to this track with punchlines galore and an intoxicating chorus, making it a certified anthem this year.
In contrast there are songs like Got To Be Right, produced by Show And Prove, with its soulful almost West Coast classic laid back vibe, sprinkled with Klash s descriptive word play and effortless delivery. It will transport the listener back to that Sagas feel, but with a new found energy.
Ftlt , the title track for the album, features production from up and coming producer B Clever, who K-Lash met in Portishead through fate. They have been working closely ever since, and Ftlt' has all the ingredients needed for a classic underground hit. Raw intro, raw beat, raw bars...check, check, check. Banger!
The album also features production from DJ Whoo Kid & Red Spyda, Beat Butcher, Last Resort and more. This is a confident comeback that illustrates Klashnekoff s legendary status and assertive originality. He describes it as new energy, same essence.
Classic production and lionhearted lyrics, juxtaposed with an array of effortlessly comical skits make Ftlt an impressive addition to Klashnekoff s catalogue, showcasing all his different talents. Here is an accomplished artist that can produce seriously good music without taking himself too seriously. And the album speaks for itself.
There's no theme to the album, just vibes. Half of it was made in London when I was thinking a bit more introspective, and the other half when I was outside London and more relaxed. So it s a combination of both vibes, but more to the point it s just good music. Ftlt..F*** The Long Talk!
Tracklisting:
1. Intro
2. Dat Time
3. Wobble Wobble [Skit]
4. Brand New Day
5. Do It Like
6. Clear My Throat [Freestyle]
7. Got To Be Right
8. FTLT
9. DJ Meloss Part 1[Skit]
10. Match Time
11. DJ Meloss Part 2 [Skit]
12. Stick N Move
13. In At The Deep End
14. Life In The Bits
15. Battle
16. Cause & Effect ft Gentleman [Freestyle]
17. Heed My -
First-generation American Primitive guitarist Richard Osborn studied with Robbie Basho in the late 60's.Visit product page →
40 years later, Osborn finally recorded, appearing on Tompkins Square's 'Beyond Berkeley Guitar' comp in 2010.
'Endless' is his first widely available solo guitar album. "[Osborn has] an unhurried, quiet spirit of adventure, a love of ringing strings and slowly revelatory meditations on the natural world."- Acoustic Guitar
"He's a student of mine and he's better technically than me or Fahey." - Robbie Basho -
Available on 180gm black vinyl.Visit product page →
Iceland's Singapore Sling formed in 2000 and are highly lauded as one of the innovators of experimental psychedelia and rock and roll as we currently know it.
Their ninth full-length Kill Kill Kill (Songs About Nothing)'is set for release February 24th via Fuzz Club Records.
The LP is a haunting and claustrophobic affair, drifting from the sleazy rock'n'roll splendour of previous releases for a more discordant and experimental pastiche.
Unremitting, scuzzy bass-lines roil deep into your conscious, snarling beneath the echoing, atonal vocals of Henrik and the chugging, vapour-trail guitars - this is Singapore Sling at their most sinister, immersive and unforgiving.
Tracklisting:
1. Shake Shake Shake
2. Scum Scum Scum
3. Fuck Everything
4. Bop Bop Boo
5. Evil Angel
6. Sonic Haus
7. Surrounded By Cunts
8. Riffermania (Kill Kill Kill)
9. Nothing And Nowhere
10. Nuthing's Theme -
1975 Private-press LP now remastered from the original tapes. In his own words, today : I was once told that one should first write about one's own experiences, then, expand to documenting the observed experiences of those around, and, finally write about what one imagines.Visit product page →
Am I Really Here All Alone?encompasses all of the above. Something else I realized in writing lyrics is that sometimes it is good to be transparent about the meaning and others times, not so much. "Unusual Day" is an example of me being honest struggling to develop and maintain a relationship, but ultimately realizing it was not going to succeed.
"Watercolours" documents a crushing experience, but is couched in metaphor. I hope that listeners will relate through their own experiences, and because my reality is implied, not specified, will not be limited to mine.
"Sweet Georgia" is an example of me, as a writer, leaving my personal space. I think of it as an attempt to clone William Faulkner to Bobbie Gentry.
"The Magic Within You" is actually a commission where I was asked to write a song for a benefit to be performed by Doug Henning, the groundbreaking stage magician and friend. I once heard John Prine complain that there was no point in writing a 'train song' because Steve Goodman had already written the perfect one with "City of New Orleans".
Naturally, I had to write "Back Home, To You", my idea of a train song where I tried to capture the movement of the train in the rhythm of the guitar. As for the other six songs, to me, they all reflect realities, experienced, observed and imagined.
Descartes said, "I think, therefore I am." However my question is, "Am I Really Here All Alone?" - Philip Lewin, 2017
"Phil Lewin's homespun debut is a loner folk masterpiece; accidentally psychedelic, lit by heartbreak and timeless in its sadness and hope."
- Jeff Conklin, WFMU -
LP with download postcard, plain black inner.Visit product page →
So complex and substance-affected was their evolution, Bardo Pond have been creating their dreamy riffs for 26 years alongside a myriad of side projects and their prolific Record Store Day releases.
Returning with a career defining album, Under The Pines'sees them delve into the subconscious with their transcending cosmic post-rock. Over 41 minutes The Pond's fermentation, their languid throb and textured groove (flute, violin, Isobel Sollenberger's haunting vocals) sounds like cathartic dream pop wrapped in a delicately constructed barbwire shroud.
'Playing fuzzed out stuff of stoner dreams since the mid 90s,' (thanks Pitchfork) and beyond the mentions of free jazz, the avant garde, Sun Ra and The Book Of The Dead, Bardo Pond's remarkable career and exemplary output has seen them gain fans from all corners of the pond.
In 2010 Lou Reed and his wife Laurie Anderson invited them to perform at the Vivid festival they curated at the Sydney Opera House, not forgetting they were recently handpicked to support Jesus & Mary Chain at London's Roundhouse as part of Mogwai's 20th Anniversary and Stewart Lee chose them for the All Tomorrow's Parties festival which he curated just last year.
Hailed for their space rock, drone, shoegaze, noise and/or psychedelia, and in a super lengthy interview in Ptolemaic Terrascope enthused (back in 2001) that they were somewhere between John Cage's silence on 4'33 and Japanese noisenik Merzbow's total ear splitting cacophony.
One of their finest albums to date and nearly three decades on, Bardo Pond are in it for the long haul and remain one of the most significant underground rock bands of our time.
Tracklisting:
1. Crossover
2. Out Of Reach
3. My Eyes Out
4. Moment To Moment
5. Under The Pines
6. Effigy -
Teengirl Fantasy, the duo of Logan Takahashi and Nick Weiss, return with 8AM', their first full-length since 2012's Tracer'. 8AM'is music that replicates that headspace when you've seen the sun come up, but sleep is still way off. It's music of the in-between time, between tonight and tomorrow, when you're not ready to let the feeling of right here and right now go.Visit product page →
Your body is spent, but your spirit holds on to the memory. A new energy or a different route. The album takes the dream-state of Teengirl Fantasy's 2010 album 7AM'deep into the next day, stretching ambient themes in multiple directions, scattering with the morning light.
8AM'is Teengirl Fantasy's most introspective and abstracted work so far. It still pulses with the muscle memory of house and disco, slow-motion sub bass, chiming synth melodies, and the airy, perfumed chords of early techno, but takes a line of flight away from songs, immersing the listener in a gently invigorating space.
Pieced together from evocative fragments and longer beat-driven tracks, the music is melodic and dreamy, yet sharp and clear. The only vocal comes from Khalif Jones (f.k.a. Le1f) who draws the album back from its gentle turbulence into a time and place on 'Seeds'.
8AM'places the listener in a chilled delirium; one saturated with light, like when the glare from the sun's too bright but you can't stop squinting at it.
Tracklisting:
2LP
Side A:
1. Glare
2. Crash Soft
3. Telepaths
4. We Out
5. It was already light out
6. Where I Went
7. All of the Time
Side B:
8 Star-rise
9 Don't
10 Seeds (ft. Khalif Jones)
11 En Route
12 Wet Eyes and Exhilaration
CD:
1. Glare
2. Crash Soft
3. Telepaths
4. We Out
5. It was already light out
6. Where I Went
7. All of the Time
8. Star-rise
9. Don't
10. Seeds (ft. Khalif Jones)
11. En Route
12. Wet Eyes and Exhilaration -
Visit product page →Vinyl 2xLP contains Bonus Tracks not on the CD.
Andy Summers rose to fame in the early 1980's as the guitarist of the multi-million record selling rock band - The Police.
The Police were the number one band of the time and dominated the music scene and the media in the 80s with several number one records.
Summers'innovative guitar playing created a new paradigm for guitarists in this period and has been widely imitated ever since. Prior to the Police, Summers played with various bands in the London scene, including The Animals, Soft Machine, Kevin Coyne and Kevin Ayers. After the band's dramatic exit from the music scene, Summers continued to develop his interest in photography as well touring, recording as a solo artist, composing for films (including 2010, Down and Out in Beverly Hills, The Wild Life and Weekend at Bernie's), writing books, and exhibiting his photography.
Over the years, Summers has collaborated with many fellow musicians as well as a number of fellow-guitarists, including Robert Fripp, John Etheridge, Victor Biglione, Benjamin Verdery, Roberto Menescal , Fernanda Takai and Rodrigo Santos..
Triboluminescence: Triboluminescence is the follow up recording by Andy Summers to his 2016 release Metal Dog. In this latest release, Summers once again delves into the deep exotic textures which characterized Metal Dog saying that part of his quest is always to find fresh if not alien sounds that avoid all the standard electric guitar clichés.
'We are now living in a world of a billion guitarists 'he says 'so the struggle to swim upstream, sound different and make original music has become more difficult, but then maybe that is a good challenge. I play for an audience of one - yours truly.
Maybe it's the music of narcissism-although that's not how I think of it- but I have to end up with something that I like outside of commercial concerns - but if you in the game these days you face a barrage of likes and dislikes. Everyone is a critic now - ¦'But if Summers takes a position on his music he proves it with the disparate exotic threads and lyricism heard on the tracks of Triboluminescence - generated from non-standard tunings - hammered guitars in tandem, looping , baritone guitar , terz guitar percussion and fretless bass and cello.
Summers plays all instruments on the album apart from cello by Artyom Manukian
Tracklisting:
1. If Anything
2. Triboluminescence
3. Adinkra
4. Elephant Bird
5. Shadyland
6. Haunted Dolls
7. Gigantopithecus
8. Pukul Bunye Bunye
9. Garden Of The Sea
Bonus side of tracks not featured on the CD version:
10. Help From Jupiter
11. Sweet Milk
12. Better Than Earth
13. Do Aliens Really Eat Dark Carbon
14. Cool Red Dwarf
15. Garden Of The Sea -
(Both formats limited to 300 copies) - Kinematik is an instrumental rock band from Lebanon, whose music blends elements of 70's psychedelia, progressive rock and post-rock. It was formed in the winter of 2014 by Anthony Sahyoun (guitars) and Rudy Ghafari (keyboards) as a rock/electronic project with no incentive to perform but only to compose music.Visit product page →
By the summer of 2014 the duo had evolved into a 5-piece band with the addition of Akram Hajj, Roy Khazen and Gerard Rechdan in the rhythm section. Rechdan left the band in the winter of 2015. Kinematik's rock sound is both diligent and intuitional, ranging from raucous improvisational psychedelic rock to steady and mechanical electronic grooves, with frequent post-rock climaxes.
Immediate points of comparison include Explosions in the Sky and Loop, as well as Can (for the tendency towards Motorik beats) and Tortoise (for the intricacies of their layered compositions).
Kinematik composes instrumental pieces that feature dynamic contrast, strong melodic lines, a heavy use of distortion and effects, and some reliance on electronics and synthezisers.
Their audio-visual performances have earned them a solid reputation and massive local following over the years, both on account of the musicians'vibrant stage presence and Cynthia Jesse Osbornel-Hasbani's original animations and live veejaying.
Following a series of live performances all over Lebanon, the band started collaborating with renowned Lebanese producer Fadi Tabbal from Tunefork Studios (Postcards, Bunny Tylers, Safar, Filter Happier, etc.), who produced their debut LP ALA'.
In order to preserve the raw and vital feel of Kinematik's live performances, the album was recorded on reel to reel tape, a recording process that has not occurred in Lebanon for the last decade.
Tracklisting:
Side A:
1. Kelmeh Oula
2. Lalochezia
3. Hhx
4. Ana Baher
5. El'et
6. Aawaynet Nazar
Side B:
7. Kelmeh Oula
8. Lalochezia
9. Hhx
10. Ana Baher
11. El'et
12. Aawaynet Nazar -
From adversity can come triumph, and from catharsis inspiration. Such has been the case for Gnoomes, the threesome hailing from Perm, Russia, whose second release for Rocket Recordings, Tschak!'arrives in the wake of considerable turbulence and tumult within their personal lives and society itself, all of which has only been fuel for a creative epiphany that has seen them create a deeply evocative work rich with vibrant experimentation and saturated in a widescreen sense of wonder.Visit product page →
It may only have been eighteen months since Ngan!', the band's first release for Rocket, whose self-styled stargaze'approach marked a glorious collision between melodic sweetness, skysurfing guitar experimentation and motorik magnificence, yet the band have already moved on to a sonic landscape still more adventurous and ethereal on Tschak!', not to mention an emotionally resonant approach that's bewitching to witness.
Taking in torrents of guitar noise and electronic extrapolations both blissfully kosmische and aggressively abrasive, it exists outside of all or any convenient genres, a vivid and singular work by three dreamers-at-heart forced to manifest their vision into a psychic defence to the circumstances surrounding them.
Working in splendid isolation thanks to a studio space provided by their work for a local radio station, the band had time and space for the alchemical process of creating Tschak!'entirely on their own terms. Central to the this were a collection of Russian synths that they gathered, whose eccentric arpeggios and analogue textures form crucial ingredients on songs like Severokamsk'and the title track, arriving at a sound that forms a star-crossed and timeless marriage between the experimentation of krautrock and the lineage of Warp Records.
Forging forth into unknown realms both physical and metaphysical, Gnoomes recently completed a UK tour - including an appearance at Liverpool International Festival Of Psychedelia (full European tour planned for spring 2017).
Yet with the dreamlike radiance of the potent and otherworldly Tschak!'on their side, this adventure is already well on its way.
Tracklisting:
Side A:
1. Super Libido
2. Maria
3. Cascais
4. Severokamsk
5. Tschak!
Side B:
1. City Monk
2. In the Park
3. One Step
4. ADSR Eugraph
5. B-Day -
Silver/Lead is the 15th studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut performance. Yet it's about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post-punk.Visit product page →
Colin Newman and Matt Simms'guitar work is alternately jagged and luminous, while bassist Graham Lewis's ear-catching lyrics are vivid yet oblique. Meanwhile, drummer Robert Grey provides a virtual masterclass in percussive minimalism. But it's how the various instruments mesh together that really counts. And Newman's production cre-ates a sonic space in which even the smallest gesture is accorded some recognition.
Highlights include the optimistic dazzle of Diamonds In Cups', with its almost T. Rex-style buzz and chug, and the moody swing of This Time'. Elsewhere on the musical spectrum, there's the menacing widescreen grandeur of Playing Harp for the Fishes'and breakneck-paced guitar pop of Short Ele-vated Period'.
Wire are one of the world's most ground-breaking bands, their influence acknowledged by bands as diverse as Blur, Sonic Youth, R.E.M. and Savages. But they have never been interested in exploiting past glories. For Wire, there is only ever one possible direction: forwards. So it's perhaps not surpris-ing that over recent years, they've played strings of sold-out shows, achieved career-best record sales, and been cited as a strong influence by yet another generation of bands.
Wire's last three albums garnered nothing but rave reviews.
From 2013's strangely beautiful Change Becomes Us ('It's fantastic.' - Pitchfork) to the crackling motorik of 2015's Wire ('It's all really well turned, potent and crisp.' - The Guardian), and last year's punchy mini-album Nocturnal Koreans ('It's a cracker and sounds defiantly modern.' - The Quietus).
Consequently, although it may be being released on the band's 40th anniversary, Silver/Lead is an album which has nothing to do with the past and everything to do with the future.
Tracklisting:
1. Playing Harp For The Fishes
2. Short Elevated Period
3. Diamonds In Cups
4. Forever & A Day
5. An Alibi
6. Sonic Lens
7. This Time
8. Brio
9. Sleep On The Wing
10. Silver/ Lead -
Debut record from Group Zero (Cathal Cully - Girls Names). Using synthesizers and drum machines, 'Structures And Lights' glistens with subtle Euro sophistication - pairing cold-wave optimism alongside freaky and brutal tracks for the more open-minded DJs and dancefloors.Visit product page →
Written, recorded and mixed intermittently over four years, the narrative of Structures And Light'is bound by a deepening connection with electronics, instrumentation, and the studio. With no imminent touring schedule or release deadlines, Cully built a modest home setup and began producing on his own again - 'It was as an exercise in my own development and it was fun. It brought the naivety and spontaneity back to making music'.
Initially, it was for his personal consumption alone - selfishly indulgent. In fact, this first collection of Group Zero music - along with a library of other ideas and sketches - was thought to be eternally lost and all but forgotten until a chance conversation with Touch Sensitive led to the tracks being salvaged and subsequently restored. The genesis of this newly discovered musical freedom coincided with a viewing of Pyramid of Light'by Heinz Mack from the post-war Dusseldorf based Group Zero art movement which resonated deeply. 'It stirred up questions and emotions which I could not get from a book or a screen. It was the direct relation between me, the light and the physical object hanging on the wall. New moments of beauty locked in the memory. I was in awe.'
Cully was also taking influence from a range of contemporary electronic producers - on labels such as LIES, Diagonal, Optimo Music, Blackest Ever Black, and PAN: 'These records felt as much in keeping with post-punk traditions and my own DIY background whilst tapping into the primitive ideas of masters such as Cluster, Suicide, Malaria! and the proto-techno of pre-club music.' Just as a structure obscures or reflects light furnishing us with new ways of seeing; the propulsive rhythms in 'Structures And Light'reveal subtle differences on each repeated cycle.
This is music to go away from and travel to. 'Here's a record from a Belfast bedroom that sounds nothing like the city, past or present. It's made with synths and drum machines, and it glistens with subtle Euro sophistication. Day breaks: dig those fast linear movements and rhythms (The Fantasist'). Then fall for the unexpected guitar line in Pursuit'; a gentle kind of cold wave optimism. Night heals: there's pummelling repetition'here too, for the club freaks or shut-ins. Slow, industrial shocks that give way to Pyramid of Light's stark new-age burst. It's a record for the present - full of gorgeous themes that dream unwired.'
Tracklisting:
1. The Glaze Over
2. The Fantasist
3. The Pummelling Repetition Inside
4. Pursuit
5. I Dream Unwired
6. Saturnine Adorations
7. Pyramid Of Light
8. Love And The Present
9. Vernissage -
Few artists have the ability to totally seduce over a few spins like Italy's Herva.Visit product page →
What may seem messy at first listen starts to fall into sharper definition and Hyper Flux'makes a very strong case for being his most seductive and mature record yet. The album has dismantled the broken beats of his early records and drifts, dives and shivers, its beats blended into the haze, everything approached from unusual angles with none of the music sounding entirely digital as it smudges between manipulated live instrumentation and field recordings coupled with synthesis and space - there's a warm heart at the centre of this music. Of making the album he says 'I challenged myself to play real instruments. I have a lot of guitars and weird acoustic instruments at my home and also my Dad's.
He's primarily a guitarist and an inventor of instruments, so I have lots of those. Anyway I'm not a pro but I'm able to play drums quite well and I'm not that bad on guitars and bass too, but the weirdo instruments are the best, you are even more free to reinvent how to play them since no one else knows how to.'
The deep ambience of the albums opener Esotic Energy'melts into the shivering 4/4 pulses of Jitter'. Nasty MF'pits a sludgy house beat against rough vocal samples whose aggression is disarmed by bell-like melodies, matching one earthiness for another.
Rule The Sun'melts pattering drums and distorted chords with distant piano, while 'Multicone'takes things down with relaxing undulating chords and clicks and cuts.
The centrepiece of the album is the space cruise of Lly Spirals'which sounds like early 80s boogie blasted into the stratosphere. Things start to get weird with Solar Xub's drifting jazz, punctuated with scratchy beats and noise.
Cops Twerk'is a rattling piece of uptempo techno with flickering rave chords and a vocal that sounds like police radio whereas Peach'is a bristling piece of ambient house, all reverbed hits and reversed stabs over a scuttling broken drum kit.
Dedicated'featuring the vocals of Mar G. balances loose chords and a reversed break against her plaintive, striking vocal.
Hyper Flux finishes the way it started, with the distorted chords of Zykmed', echoing dust and hiss played out over a gentle nostalgic melody.
2LP
Side A:
1. Esotic Energy
2. Jitter
3. Nasty MF
Side B:
1. Rule The Sun
2. Multicone
3. Lly Spirals
Side C:
1. Solar Xub
2. Meta Wave
3. Cops Twerk
Side D:
1. Peach
2. Dedicated (ft. Mar G)
3. Zykmed
CD:
1. Esotic Energy
2. Jitter
3. Nasty MF
4. Rule The Sun
5. Multicone
6. Lly Spirals
7. Solar Xub
8. Meta Wave
9. Cops Twerk
10. Peach
11. Dedicated (ft. Mar G)
12. Zykmed -
Visit product page →Rebekka Karijord's sixth studio album, Mother Tongue, was largely written following the traumatic arrival, three months early, of her first baby. Its extraordinary eleven songs track her experience with uncommon honesty and unshrinking courage. Like a collection of short stories, it chronicles the events surrounding her pregnancy and the agony of nearly losing her daughter, but it's much more than an album about childbirth. Mother Tongue is about instinct, about belonging, and about finding one's own emotional language.
'I never know what my records are about until they're almost done,' Rebekka Karijord admits of Mother Tongue's provenance in a typical, if wry, display of candour. 'It's like a subconscious collecting process, shooting arrows into the dark and then getting out there to see where they have landed. This time, however, it was a bit different - ¦'
The album was recorded in Hawaii, Stockholm & Oslo during 2015 and 2016, and produced, arranged and edited by Karijord with help from Elias Krantz as technician, co-producer and mixer.
Other contributors include Mariam Wallentin (Wildbirds & Peacedrums), Linnea Olsson and Nina Kinert (vocals) Jacob Snavely (bass and electronics), Christopher Cantillo (drums), Joe Williamson (upright bass) and regular contributor Anders Scherp (drums & tuned percussion).
Tracklisting:
1. Morula
2. Waimanalo
3. I Will Follow You Into The Wild
4. The Orbit
5. Your Name
6. Six Careful Hands
7. Home
8. Stones
9. Statistics
10. Mother Tongue
11. Mausoleum -
4LP Casebound book-back set, comes with high-quality download card. 4CD is a book-back set.Visit product page →
Signifying a return to form that heralded one of the most prolific periods of his life, this special collection features some of Jansch's finest work. Living In the Shadows includes an extra disc of demos, alternate versions and never-before heard tracks, transferred from Jansch's personal tapes, alongside the three studio albums of the 1990s: 'The Ornament Tree', 'When The Circus Comes To Town' and 'Toy Balloon'. Both studio albums and DAT transfers, remastered by Brian Pyle.
This trio of works represents quite different facets of Jansch's talent; where Circus'is a bluesy, late-night sounding party, Ornament'is altogether more subdued, drawing on Maggie Boyle's bodhran, flute and whistles to creative a sound that is nothing if not celtic. Toy Balloon'falls somewhere in the middle, with that feeling of intimacy that is so Bert. Despite these apparent contrasts, the unifying element is of course, Jansch's guitar.
There is an ease about these albums that suggests a musician that has found himself very at home''just a simple soul', to quote the man himself. The real draw here for many Jansch fans will be disc four: unreleased tracks (including'let joy be unconfined!'one with John Renbourn), as well as alternative takes of familiar songs from the '90s period. Chosen specifically for their contrast to the studio versions, these tracks are often more stripped-down or without the embellishment typical of the era.
Mostly recorded at Bert's home studio, this unheard and unreleased collection, transferred from Bert's own DAT tapes, has a intimate quality that is incredibly moving.
Tracklisting:
Disc 1 - The Ornament Tree
1. The Ornament Tree
2. The Banks O'Sicily
3. The Rambling Boys Of Pleasure
4. The Rocky Road To Dublin
5. Three Dreamers
6. The Mountain Streams
7. The Blackbirds Of Mullamore
8. Ladyfair
9. The Road Tae Dundee
10. Tramps And Hawkers
11. The January Man
12. Dobbins Flowery Vale
Disc 2 - When The Circus Comes To Town
1. Walk Quietly By
2. Open Road
3. Back Home
4. No-One Around
5. Step Back
6. When the Circus Comes to Town
7. Summer Heat
8. Just a Dream
9. The Lady Doctor from Ashington
10. Stealing the Night Away
11. Honey Don't You Understand
12. Born with the Blues
13. Morning Brings Peace of Mind
14. Living in the Shadows
Disc 3 - Toy Balloon
1. Carnival
2. She Moved Through the Fair
3. All i Got
4. Bett's Dance
5. Toy Balloon
6. Waitin' & Wonderin'
7. Hey Doc
8. Sweet Talking Lady
9. Paper Houses
10. Born and Bred in Old Ireland
11. How It All Came Down
12. Just a Simple Soul
Disc 4 - Picking Up The Leaves
1. Morning Brings Sweet Peace Of Mind Alternate Version,
2. Back Home Demo,
3. Just A Dream Alternate Version
4. Instrumental I Unreleased
5. When The Circus Comes To Town Demo
6. No-One Around
7. Lily Of The West Demo
8. Fool's Mate Demo
9. Paper Houses Demo
10. Another Star Demo
11. Little Max Unreleased
12. Merry Priest
13. Instrumental II Rough, With John Renbourn, Unreleased
14. Instrumental II With John Renbourn -
Proper Ornaments is the project of James Hoare (Ultimate Painting, Veronica Falls) and Max Oscarnold (Toy, Pink Flames). Debut LP Wooden Head'(FortunaPop 2014) perfected the unique slant of their previous work. James and Max started out writing the follow-up in January 2015.Visit product page →
On Foxhole'they've sliced away a whole stratum of their sound, removing some distortion and lowering the frequency of plectrum strokes to allow more nuanced, piano-led ideas to emerge. The title isn't a reference to Television's jaunty proto-punk record but seems to be more of a dark, protective interior, a head space sketched out on Jeremy's Song'. While their particularly recognisable production style (a bright, frozen counterpoint to the airless mixes one encounters more often) remains, three things stand out as likely reasons for the shift in mood.
By the time they got around to recording again in James'bedroom in Finsbury Park that Summer, the instability around the recording of Wooden Head'(and the five years before) had slid into a deep and seething acrimony. Second, they both bought pianos. Third, when the band, with Daniel Nellis and Bobby Syme joining on bass and drums went to record at Tin Room in Hackney in June, the pinch wheel on the 8 track machine was broken and somehow no one noticed.
All but one recording, The Frozen Stare,'was hopelessly warped, so they went and did it all again from scratch back at James'. 'We ended up doing the whole thing there as the atmosphere suited the direction of the foxhole and we were more comfortable working on it in our own time,' says James. That's why the record has a laid back, conversational, not imposing or anxious feel in my opinion. If Always There'was the most melodically fluid but dimly lit point of the first record, there are another half album of songs here at least that are as strikingly gorgeous and unsettling.
Memories,'Just a Dream,'The Frozen Stare'and When We Were Young'are in this mould, as is the icy, slightly devastated goodbye that closes the record The Devils,'filled out with piano reminiscent of Big Star's Third'or Lou Reed's Berlin'and cracked double bass. What was in evidence in two of their earliest songs - You Still'and Are You Going Blind?' - an understated, poetic play of moral sensitivity against a callous distance, of warmth and hostility, has reached its most sustained expression yet and gives their pop moments of a haunted love song quality along the lines of Del Shannon, Lesley Gore or Roy Orbison.
Bridge by a Tunnel'and 'I Know You Know', on the other hand, share in the breezily abstracted character of 2014 single Magazine,'the later laying a sardonic (non)apology - I know you know, things could've been different/but they're not'over careful daubs of slide guitar. Cremated'is also guitar-lead, and reaches an early apogee of morbid oblivion baiting, while 1969'is a really perfectly recorded grand sweep of sound that recalls Serge Gainsbourg and Harvest'-era Neil Young.
Proper Ornaments hold the attraction of seeming to not try very hard at all and achieve something outstanding nonetheless.
RIYL: The Velvet Underground, Elliott Smith, Veronica Falls, The Bats, Ultimate Painting, Toy.
Tracklisting:
1. Back Pages 2
2. Cremated (Blown Away)
3. Memories
4. Just a Dream
5. 1969
6. The Frozen Stare
7. Jeremy's Song
8. When We Were Young
9. Bridge By a Tunnel
10. I Know You Know
11. The Devils -
Don't Get Lost was fully recorded & produced at Anton's new Cobra Studio in Berlin. It is the 16th full length release from the Brian Jonestown Massacre recorded from March 2016 to October 2016.Visit product page →
With band members Ricky Maymi, Dan Allaire, Collin Hegna & Ryan Van Kriedt. Also Emil Nikolaisen from the Norwegian band Serena-Maneesh & Pete Fraser (The Pogues, New Young Pony Club) on saxophone joins the band on this album, plus vocal performances from Tim Burgess (Charlatans), Tess Parks and Shaun Rivers.
A new dynamic is heard on this album mixing the shoegaze/psychedelic sound with more experimental twists on some tracks you might hear PIL (Metalbox), Primal Scream, or even Ornette Coleman.
14 tracks that will twist and turn through the known and the unknown Brian Jonestown Massacre.
Anton Newcombe has been a very busy man these past 2 years, kicking off with the critically acclaimed Brian Jonestown Massacre album 'Revelation' in May 2014. After a successful UK and European tour, the BJM followed this up with the '+-' EP (Nov 2014). 2015 saw the release of 'Musique de film imaginé' (April); an imaginary film soundtrack album featuring the track 'Bonbon' which has, ironically, been used in 'Dheepan'; the Palme D'or winner at Cannes film festival 2015.
In June, Anton and Tess Parks embarked on a well received tour of the UK and Europe to support the release of 'I Declare Nothing'. Anton finished the 2015 with a BJM mini-album release entitled 'Mini-Album Thingy Wingy' . In 2016 The band released 2 singles and the critically acclaimed Third World Pyramid . The band have been touring the world since November 2015, playing Australia , New Zealand , and then in 2016 USA , Canada , Europe , Chile & Argentina.
Vinyl 2xLP Tracklisting:
Side A:
1. Open Minds Now Close
2. Melodys Actual Echo Chamber
3. Resist Much Obey Little
4. Charmed I'm Sure
Side B:
5. Groove Is In The Heart
6. One Slow Breath
7. Throbbing Gristle
Side C:
8. Fact 67
9. Dropping Bombs On The Sun
10. UFO Paycheck
Side D:
11. Geldenes Herz Menz
12. Acid 2 Me Is No Worse Than War
13. Nothing New To Trash Like You
14. Ich Bin Klang
CD Tracklisting:
1. Open Minds Now Close
2. Melodys Actual Echo Chamber
3. Resist Much Obey Little
4. Charmed I'm Sure
5. Groove Is In The Heart
6. One Slow Breath
7. Throbbing Gristle
8. Fact 67
9. Dropping Bombs On The Sun
10. UFO Paycheck
11. Geldenes Herz Menz
12. Acid 2 Me Is No Worse Than War
13. Nothing New To Trash Like You
14. Ich Bin Klang -
Gross Net release their debut album "Quantitative Easing" through Touch Sensitive Records (David Holmes, Cherrystones) on Friday 25th November. Initially a guitar/bass/drum-machine duo of Philip Quinn (Girls Names) and Christian Donaghey (Autumns), Gross Net was conceived as an output for ideas alternative to their other groups. After the release of their first cassette EP on Art For Blind Records (Perfect Pussy, The Altered Hours) and Donaghey's subsequent departure to concentrate fully on Autumns, Quinn took up the Gross Net mantle solo.Visit product page →
Released via his own Austerity Drive Records imprint earlier this year came Outstanding Debt, a collection of re-commissioned tracks from aborted releases. Quinn: "Previously I thought it unideal for me to work alone but now I find the freedom liberating. I can come up with somewhat extreme ideas that would probably be vetoed in a more band situation. In a way I feel like one of those companies that don't pay any tax; I can do whatever the fuck I want.'
Beautiful boys, ghosts, exorcisms, resurrections, sex, mental disorder, the boredom that comes with being 'dole-scum'; Gross Net now singularly stalks the lineage of electronic body music. Utilising analog synthesisers, sequencers, virtual studio technology, a slew of effects, voice, and some electric guitar, Gross Net channels everything from Throbbing Gristle's Tesco Disco', to the fear and futurism of the European Cold Wave, through amyl-nitrate powered strobe-lit dance floors and empty, decaying industrial halls.
"I'm keen to leave mistakes in, or what people may perceive as mistakes. I also try to do things in as few takes as possible, not only for the sake of my own interest but to bring some human aspect back in amongst all the electronics. You're hearing performances, moments in time recorded, not something that's been pieced together from numerous attempts.' "I want to do something different. I see so much homogeneity in music and in general these days that I want to stand apart, show that there's another way or at least hold a mirror up to what's going on.
Gross Net has definitely become far more electronic and working with equipment that was outside my comfort zone has allowed me to break new ground in terms of my own imagination.' 'I'm also keen to use themes which reflect the times we're living in, certainly the darkest days I've seen in my lifetime. Sometimes I feel like I'm just constantly wading through a cultural and political cesspit. I'm choking. Some of the lyrics are a bit on the nose, but they're honest and I mean them. There's some humour in there too, after all, if you didn't laugh you'd hang yourself".
Pairing dark and brutal rhythms with existential and world-weary themes, Gross Net is the sound of the post- Brexit dystopia of now, the antidote to the endless whitewash of indie groups in their matching Topshop outfits, and a riposte to the messianic false prophets pontificating a financial ruse as a grand truth. "We're all fucked basically."
Tracklisting:
1. Citadel Ghosts
2. The Body
3. Shave With A Cold Blade
4. Beautiful Boy
5. Data Transfer
6. Currency Transfer
7. Citalopram
8. Side Effects
9. Dead Industry
10. Still Life -
Visit product page →The duo of Malka Spigel of Minimal Compact and Colin Newman of Wire, Immersion is a true collaboration, with no delineation between who plays what.
Through the nineties Immer-sion released three acclaimed albums of expansive instrumental electronica.
Tracklisting:
Side A:
1. Fireflys
2. Nanocluster
Side B:
3. Spinner
4. Living On An Island
