Archive for the ‘THIS WEEKS ESSENTIAL PURCHASES’ Category

Record Player, Disc, Multimedia, Music

The National return with I Am Easy To Find, there’s black vinyl, indies only clear vinyl 2xLP and deluxe 3xLP pressed on 3 different colours.
New black midi 12″ arrives on Rough Trade.
Brand new 12″ from Interpol.  Limited Dinked Edition of the new album from Black Peaches (featuring Rob Smoughton of Hot Chip). This version is pressed on teal vinyl with an exclusive 7″ and a signed print.
Third Man reissue the long out of print second album by The Raconteurs.
Institute return with Readjusting The Locks on bourbon coloured vinyl, via Sacred Bones.
slowthai unleashes his debut album, limited white vinyl pressing.
Two new David Bowie releases, Boys Keep Swinging 7″ picture disc and the nice Clareville Demos 7″ box set.
Excellent new compilation on Anthology, Sad About The Times, full of 70s psych jammers.

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The National –  I Am Easy to Find

I Am Easy To Find is the band’s eighth studio album and the follow-up to 2017’s Grammy®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was mostly recorded at Long Pond, Hudson Valley, NY with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and more far flung locations. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more.

As the album’s opening track, You Had Your Soul With You, unfurls, it’s so far, so National: a digitally manipulated guitar line, skittering drums, Matt Berninger’s familiar baritone, mounting tension. Then around the 2:15 mark, the true nature of I Am Easy To Find announces itself: The racket subsides, strings swell, and the voice of long-time David Bowie bandmate Gail Ann Dorsey booms out—not as background vocals, not as a hook, but to take over the song. Elsewhere it’s Irish singer-songwriter Lisa Hannigan, or Sharon Van Etten, or Mina Tindle or Kate Stables of This Is the Kit, or varying combinations of them. The Brooklyn Youth Choir, whom Bryce Dessner had worked with before. There are choral arrangements and strings on nearly every track, largely put together by Bryce in Paris—not a negation of the band’s dramatic tendencies, but a redistribution of them.

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Interpol – A Fine Mess

 

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Olden Yolk – Living Theatre

The musical duo of Shane Butler and Caity Shaffer released their debut album as Olden Yolk last year, an alluring concoction of hypnagogic folk and kosmiche rhythms, expanding and refining Butler’s work in his former band Quilt toward a more focused direction. Living Theatre is the follow up to that eponymous debut and more than lives up to its promise.

The songs on Living Theatre were written and recorded during a heavy time of transition and upheaval for the duo, with personal tragedies and a big move from their NYC home to a warmer climate in Los Angeles coloring the album’s inception. Thematically Living Theatre tunes seem to be about how humans react to the ways life is colored by both fate and the consequences of the conscious and unconscious decisions we make. Musically, the duo’s songwriting has gelled into a unified front, relying more on the subtle shifts of melody and rhythm than a barrage of chord changes; Living Theatre’s hooks lap at your feet like a babbling brook, rather than bowl you over like violent waves. The refinement in tunes like Castor and Pollux, Grand Palais and first single Cotton and Cane points to a new frontier for the group; soaring skyward toward the emotionally textural plateaus of trailblazers like The Go-Betweens or Yo La Tengo. There’s a discernible romantic feel to tunes like Violent Days or Distant Episode’s lush arrangements with Shaffer in particular finding her own voice here; poetic, abstract and expressive. Living Theatre showcases a band breaking free from it’s chrysalis, and embracing its next phase of evolution.

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Alex Lahey – The Best Of Club

On her sophomore LP, The Best of Luck Club, 26-year-old Melbourne, Australia native Alex Lahey navigates the pangs of generational ennui with the pint half-full and a spot cleared on the bar stool next to her. Self-doubt, burn out, break-ups, mental health, moving in with her girlfriend, vibrators: The Best of Luck Club showcases the universal language of Lahey’s sharp songwriting, her propensity for taking the minute details of the personal and flipping it public through anthemic pop-punk. Lahey’s 2017 debut I Love You Like a Brother encases Lahey’s knack for writing a killer hook and her acute sense of humor delivered via a slacker-rock package and, in a way, The Best of Luck Club picks up where that record left off. Lahey co-produced the album alongside acclaimed engineer and producer Catherine Marks (Local Natives, Wolf Alice, Manchester Orchestra), and dives headfirst into a broader spectrum of both emotion and sound through polished, arena pop-punk in the vein of Paramore with the introspective sheen of Alvvays or Tegan and Sara. Here, Lahey documents the highest highs and the lowest lows of her life to date. After a whirlwind of global touring in support of breakout debut I Love You Like a Brother, Lahey wrote the bulk of her follow-up in Nashville during 12-hour days of songwriting. There, she found the inspiration for The Best of Luck Club ís concept: the dive bar scene and its genuine energy.”Whether you’ve had the best day of your life or the worst day of your life, you can just sit up at the bar and turn to the person next to you – who has no idea who you are – and have a chat. And the response that you generally get at the end of the conversation is, ‘Best of luck, so The Best of Luck Club is that place.

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Lone Justice – Live At The Palomino 1983

Previously unissued live performance from October 22nd, 1983. Recorded at Los Angeles’ iconic Palomino club. New liners from the band’s Marvin Etzioni and Ryan Hedgecock. Located in North Hollywood, The Palomino hosted Patsy Cline, Johnny Cash, Buck Owens, and many more classic country acts. Later, George Harrison, Elvis Costello, and Green Day played there. It was even featured in Every Which Way But Loose, Hooper, and even CHiPs. But, in the early ’80s, it was a haven for “cow-punk” acts like Lone Justice. Live At the Palomino, 1983 features 12 tracks from the early Lone Justice line-up consisting of Maria McKee, Ryan Hedgecock, Marvin Etzioni, and Don Willens. Songs from their yet to be issued debut are coupled with classic country covers, and songs which have appeared on various collections throughout the years – but never with this live power from this L.A. landmark. Packaging features photos and new notes from Etzioni and Hedgecock, and is issued with full cooperation from the band. Step back into the time when Lone Justice was the band to see, way out in the dusty valley. A timeless performance from a band that helped define a genre: Lone Justice – Live At The Palomino, 1983. They still are the light.

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The Doors – Stockholm ‘68

The Doors, live at Konserthuset, Stockholm on 20th September 1968 The Doors finally visited Europe in September 1968, playing to rapturous audiences in the UK, Germany, Holland, Denmark and Sweden. Many fans agree that they were at their peak on this tour, despite Jim Morrison’s condition being unpredictable from gig to gig. This release contains the final date of the tour, originally broadcast by Sveriges Radio. It includes rare performances of Mack The Knife, Love Street and You’re Lost Little Girl as well as familiar staples of their set, and is presented here together with background notes and images.

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Ronnie Lane – Just For A Moment: Music 1973-1997

This box includes Ronnie Lane’s 4 solo albums – Anymore For Anymore (and singles), Ronnie Lane’s Slim Chance, One For the Road and the cruelly underrated See Me. In addition it features tracks from Ronnie’s Mahoney’s Last Standalbum with Ron Wood and Rough Mix with Pete Townshend. The final disc of the set focuses on Ronnie’s time in the US with live highlights and studio tracks never previously released. The set also featured lots of rare and unreleased material – be prepared to here fantastic cover versions of The Wanderer, Rocket’ 69and The Joint Is Jumpin’as well as unheard Ronnie compositions plus live recordings, tracks for the BBC and highlights from a legendary Rockpalast concert. The set is curated by long time musical associate of Ronnie’s, Slim Chancer musician Charlie Hart. Comprehensive sleevenotes focus on Ronnie the musician, the songwriter, the collaborator and split the post ’73 period into three distinct parts. Writers are Paolo Hewitt, Kris Needs and Kent Benjamin covering Ronnie’s Austin years.

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Traffic – The Studio Albums 1967-74

50 years after Steve Winwood jumped ship from chart toppers The Spencer Davis Group and quit the bright lights in favour of the countryside and jam sessions with Jim Capaldi, Dave Mason and Chris Wood we celebrate Traffic’s influential legacy with this stunning limited edition Island records studio collection. Boasting all 6 studio albums recorded for the label remastered from the original tapes and presented in their original and highly collectible ‘first’ Island pressing form (gatefold sleeves, pink eye labels etc), the set also includes a related and super rare facsimile promo poster for each album.

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David Bowie – Clareville Grove Demos

Following on from Spying Through A Keyhole, in early 1969 at his flat in Clareville Grove, London, David Bowie with John ‘Hutch’ Hutchinson continued to demo Space Oddity and other tracks. This live demo tape session is released as a 7″ vinyl singles box set of six home demos, four of which are previously unreleased recordings. As with the Spying Through A Keyhole vinyl singles box set, the design of each single label is presented to reflect the way David sent many of his demos to publishers and record companies, featuring his own handwritten song titles on EMIDISC acetate labels with cover and print photos by David’s then manager Ken Pitt taken in the Clareville Grove flat. The singles themselves are all mono and play at 45 r.p.m. Due to the nature of some of the solo home demos where Bowie accompanied himself on acoustic guitar, the recording quality isn’t always of a usual studio fidelity. This is partly due to David’s enthusiastic strumming hitting the red on a couple of the tracks, along with the limitations of the original recording equipment and tape degradation. However, the historical importance of these songs and the fact that the selections are from an archive of tracks cleared for release by Bowie, overrides this shortcoming.

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David Bowie – Boys Keep Swinging

2019 is the 40th anniversary of Lodger and first comes the latest limited 7″ picture disc from Parlophone, Boys Keep Swinging.

While originally recording the song, Bowie had hoped to capture a garage band feel with the musicians swapping instruments after a deck of Brian Eno’s Oblique Strategies cards had suggested ‘reverse roles’. So guitarist Carlos Alomar played drums and drummer Dennis Davis played bass.

The version featured on the A side is the 2017 mix by Tony Visconti from Lodger, undertaken for the A New Career In A New Townbox set, as both Tony and Bowie felt they never had the opportunity to give Lodger the mix it deserved in 1979, due to time and studio constraints.

The AA side features I Pray, Ole which was apparently recorded during the Lodger sessions, but remained unreleased until mixed by David and David Richards for inclusion as an extra track on the 1991 reissue of theLodger album. The track has been commercially unavailable since then.

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Working Mens Club – Bad Blood / Suburban Heights

Like a homage to smoke-filled vaults, aging billiard rooms and crumby packets of pork scratchings in the Working Men’s Clubs of days gone by, Todmorden-by-way of-Europe trio Syd, Jake and Giulia are about to fling open the doors of their own millennial social hub with the fresh post-punk of infectious debut single, Bad Blood / Suburban Heights. With the start-stop sound of Talking Heads, Gang of Four and Television,Bad Blood, fuses 70s post- punk with the stomp of Parquet Courts’ positivity and resonates with the start of the weekend...Syd’s half-spoken words jab through Strokes guitar lines with Mark E Smith drawl…it’s the feeling of a Saturday spent scuffing about in thrift stores and hanging out with friends.

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L’Epee – Dreams

This is the debut single release from L’Epee, the band are Emmaunelle Seigner (Ultra Orange and Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) and Lionel and Marie Liminana (The Liminanas). Recorded in Cabestany (France) and Berlin at Anton’s Cobra Studio, this three track 12” single comes in deluxe packaging and precedes the full length album released in June this year.

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Robert Crumb

This week we have the superb new LP from Maps, taking this psychedelic atmosphere and injecting it with a healthy dose of percussive heft and placing more of an emphasis on the jagged time signatures and heady vocal reverbs. Moving beyond this heady mix and into more grounded territory, we get the big new indie release everyone’s been waiting for, and the brilliant ‘Here Comes The Cowboy’ certainly doesn’t disappoint. Filled with all of the smooth and sweet vocal flourishes you’d expect from Mac Demarco, a smooth loungey groove into his already super relaxed sound.

Please check out the new A.A. Bondy this new LP guarantees melodic undercurrent of folk and Americana being all but completely disguised by shadowy synths and cavernous reverbed bass, not to mention a plethora of technological flourishes to really ramp the enjoyment up. The new one from Holly Herndon, bolstered with Herndon’s HUGE vocal presence. Coming soon is the new Raconteurs LP ‘Help Us Stranger’ released on the 21st of June.

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Charly Bliss – Young Enough

Charly Bliss have evolved from the bunch of scrappy upstarts behind their brash punk debut Guppy, to the confident, assured artists who have produced the comparatively dynamic and unapologetically pop Young Enough. But, for lead singer Eva Hendricks, the path of this evolution was fraught, as her lyrics inspired by a past abusive relationship show. Songwriting became a source of respite, and, eventually, redemption. “You go through experiences of loss or extreme pain and you just keep moving,” Eva says. “You look around and go, how has the world not stopped? But it is also powerful. It’s like, I’m still here, I’m not a person who is ruled by pain, I still like who I am.”

Chat Room and Young Enough are new sonic lynchpins, as is the soaring, mini epic, Fighting In the Dark. The delicate synth confessional Hurt Me also felt, as Eva puts it, “like something we hadn’t explored yet.” The entire record sounds like a new realm, from the deceptively easeful confessional Capacityto the propulsive, more classic pop of Hard To Believe. In the end, Young Enough feels joyful and celebratory, but also infused with a new sense of depth and maturity. “I want people to feel strong when they listen to this record,” says Eva. “Like you’re working through some shit but you feel really strong and beautiful, even if you’re in a lot of pain. That’s what I want people to feel. The opposite of broken.” For fans of Veruca Salt, Pixies and The Breeders.

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Holly Herndon – Proto

Holly’s third full-length album Proto isn’t about A.I., but much of it was created in collaboration with her own A.I. ‘baby’, Spawn. For the album, she assembled a contemporary ensemble of vocalists, developers and an inhuman intelligence housed in a DIY souped-up gaming PC to create a record that encompasses live vocal processing and timeless folk singing, and places an emphasis on alien song craft and new forms of communion.

Eternal follows the 2018 release of Holly and Jlin’s collaborative song Godmother (feat. Spawn). The skittering track, which was created by Spawn reimagining the artworks of her ‘godmother’ Jlin in a trained model of her mother’s voice with no editing or sample trickery, was praised everywhere from NPR to The Guardian to New York Times, and elsewhere.

You can hear traces of Spawn throughout the album, developed in partnership with long time collaborator Mathew Dryhurst and ensemble developer Jules LaPlace, and even eavesdrop on the live training ceremonies conducted in Berlin, in which hundreds of people were gathered to teach Spawn how to identify and reinterpret unfamiliar sounds in group call-and-response singing sessions; a contemporary update on the religious gathering Holly was raised amongst in her upbringing in East Tennessee.

Just as Platform forewarned of the manipulative personal and political impacts of prying social media platforms long before popular acceptance, Proto is a euphoric and principled statement setting the shape of things to come.

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Songs: Ohia – Love and Work: The Lioness Sessions

The Lionessis the first Jason Molina project to fully turn away from the battlefield folk and deconstructed Americana of earlier Songs: Ohia recordings. At the dawn of the 21st century, the album felt modern. It aligned Molina with a new set of peers – Low, Gastr del Sol, Red House Painters and, most importantly, the influential Scottish band Arab Strap, whose producer and members were crucial in the creation of The Lioness. The avant-garde tones and arrangements of Arab Strap are absorbed here into Molina’s songwriting to create what would become, for many acolytes, the archetypal Songs: Ohia sound. Love and Work: The Lioness Sessions, the box set reissue, will serve as the seminal log of the era, complete with lost songs, photos, drawings, and essays from those who knew Molina best.

We know Molina was diligent in both love and work. He treated songcraft like a job at the mill, and his approach to romance was not so different. We know that when he fell in love with his wife, he was dutiful in his adoration. There were strings of love letters and poetic gesture. Included in this edition are replicated examples of this relentless love – an envelope with a letter from Molina, a photograph of Molina and his to-be wife, a postcard, a Two of Hearts playing card, and a personal check for one million kisses. Some of these items were gifts he would send to his new love from the road; others, like the 2 of Hearts, were totems he’d carry with him around this time as a symbol for his burgeoning love.

And so, the head-over-heels album that is The Lioness has its workman counterpart. Nearly another album’s worth of material was recorded in Scotland during the album sessions. While similar in tone and structure, the songs seem to deal in the grit and dirt of being. These are songs for aching muscles getting soothed in the third-shift pub. But they’re also examples of Molina’s diligence as he constructs what would be the essential elements of The Lioness. In addition to these outtakes, we also have a 4-track session made weeks earlier in London with friend James Tugwell. Comprised of primarily guitar, hand drums and voice, these songs are raw experiments that mostly serve to illustrate Molina’s well of words and ideas. But then, there is the devastating Sacred Harp hymn Wondrous Love. While he may have had his new love in mind, one can’t help but think of Molina’s legacy as he softly warbles “Into eternity I will sing / Into eternity I will sing.” You don’t have to try too hard to mythologize Molina. He did all the work for you.

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The Dream Syndicate – These Times

There are two phases of The Dream Syndicate. There was the band with revolving lineups that existed from 1982 to 1988 and made four albums includingThe Days of Wine and Roses and have influenced bands and delighted fans in the years since. And then there’s the band that reunited in 2012 and is closing in on its seventh year with nary a lineup change. This 21st Century version of the Dream Syndicate releasedHow Did I Find Myself Here in 2017 to universal acclaim, no small feat for a band reuniting after almost three decades. With that reintroduction and a full year of touring behind them, the Dream Syndicate had the freedom to take it all somewhere new, to dig a little deeper, get outside of themselves a little bit. Their new album These Times feels like a late-night radio show that you might have heard as a kid, drifting off into dreams and wondering the next morning if any of it was real.

So, what does it sound like? If How Did I Find Myself Herewas a 10 pm record, all swagger and cathartic explosion, then These Times is the 2 am sibling, moodier and more mercurial, the band acting as DJs of their own overnight radio station, riffing on an idea of what a Dream Syndicate album could be at this moment in time. It is Radio DS19.

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Lydia Ainsworth – Phantom Forest

Lydia Ainsworth’s third album, Phantom Forest, introduces a lush, complex dream world that the singer, composer, and producer created and inhabited largely on her own. She produced all the songs, and wrote and performed everything on the self-released collection outside of a re-imagined cover of Pink Floyd’s Green is the Colour and 2 other tracks (The Time, Give It Back To You), which started as instrumentals written by Survive’s Kyle Dixon (who composed the Stranger Things soundtrack with his bandmate Michael Stein), to which Ainsworth wrote melodies and added lyrics. Phantom Forest is a beautiful, vast collection that mixes the historical and the hands on, with hooks about the apocalypse and people obsessively using face-recognition software to see what paintings their face match with, in search of some kind of connection. It’s a journey that holds up to close listening (and lyric reading) and to dancefloors, but that can also exist on a purely emotional plane. In all cases, it asks that you listen, and take some kind of action.

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The Beths – Warm Blood

The Beths debut EP – available for the first time on (Pink) Vinyl. This EP is the prequel to their debut album Future Me Hates Me which is much loved release. The Beths’ Warm Blood is a strong contender for the catchiest record you’ve never heard. Formed when four jazz students at the University of Auckland bonded over their shared love of the pop-punk sounds of their youth, The Beths bring new energy to the genre. This 5-song debut EP, a deliriously pleasurable statement of purpose, comes crammed with enough blissful hooks to carry through most bands’ careers.

Listeners for whom the tag “New Zealand indie rock” brings to mind the Flying Nun sound of bands like The Clean and The Chills may be surprised to find Warm Blood’s five unstoppable tunes landing closer to artists like Slant 6 and The Breeders. The nimble guitar work here moves from heavy riffing reminiscent of Sleater-Kinney to hazily bending lines that would make Stephen Malkmus and Mary Timony beam, while the joyous vocal harmonies from all four members bubble and swell to ecstaticcrescendos that channel The Zombies’ Odessey and Oracle.

With impeccable production from guitarist Jonathan Pearce and stellar musicianship across the board, Warm Blood is a non-stop delight. Tracks like lead off track and first single Whatever, the ridiculously addictive standout Idea / Intent, andRush Hour 3, a playful ode to romance in this era of download-and-chill franchise films, take delight in the challenge of breathing new energy into the limitations of the 3-minute pop song.

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Morrissey – Wedding Bells Blues

Limited Clear Yellow 7″ vinyl from Morrissey’s covers album California Sun featuring Billie Joe Armstrong from Green Day on Wedding Bell Blues originally by The Fifth Dimension. Lydia Night of the Regrettes also joins Armstrong and Morrissey on the track. It comes backed by Brow of My Beloved

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Mikal Cronin – Undertow / Breathe

Mikal Cronin is back in the Famous class fold with his beautiful new 7”. This is Mikal’s first new solo material since his excellent album MCIII back in 2015. It’s two tracks of perfect guitar-pop craftsmanship

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Linda Guilala – Estado Natural

Spanish shoegaze trio Linda Guilala’s new single is the third instalment in the Sonic Cathedral Singles Club.

Estado Natural(which translates as ‘natural state’) is the follow-up to last year’s Mucho Mejor and is an indie-pop classic in the making, all driving rhythms and synths swooping and fizzing like Stereolab in a Soda Stream. The flipside, Espacio De Tiempo (‘space of time’), is a much more Lush and laid-back affair. Limited edition of 350 on red vinyl.

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Coming soon is the new Raconteurs LP ‘Help Us Stranger’ released on the 21st of June.

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it’s just over *One* week now till Record Store Day 2019 and the excitement is palpable. People are already eyeing up the sacred list, marking down their order of priorities, and what a bumper year it is this year too – with an unbeatable set of rarities, exclusives, fancy editions and downright collectables to feast your eyes and ears on.

Notable releases this week : music fans were rewarded with some of the most exciting new releases of the year so far. Natalie Mering, aka Weyes Blood, has released a career-defining LP, Titanic Rising, one of the highest-rated albums of 2019 so far. also received this week the highly-anticipated sophomore LP from D.C. rockers Priests, The Seduction of Kansas. In terms of track releases, we heard new singles from Vampire Weekend, The National and Big Thief plus some great cuts from Julie Shapiro, Field Medic and Porridge Radio.

The David Bowie ‘Spying Through The Keyhole’ 7″ box set looks great!
Circa Waves bring out a brand new record – limited blue vinyl.
There’s a new Weyes Blood album that has had excellent reviews – limited red vinyl.
the New Order ‘Movement’ box set looks nice – weighs a ton too.
A second set of Motorhead reissues.
Limited coloured vinyl from Music On Vinyl for Matthew Sweet and Within Temptation reissues.
Black vinyl for The Wannadies ‘Be A Girl’ .

W.H Lung’s dinked n limited “Incidental Music” should be first album of note to receive the attention combining it does, the thrust of Krautrock, the shimmer of psychedelia and all the gung-ho decadence of space rock.

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W H Lung – Incidental Music

W. H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.

That approach was challenged when they released their debut 10” (‘Inspiration!/Nothing Is’) in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.

W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut – the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement ‘Simpatico People’.
“I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”

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Rozi Plain – What a Boost

Rozi Plain has been making music since her brother taught her a few chords on the guitar aged 13. Raised in Winchester, she spent a few years studying art and painting boats in Bristol, where she began collaborating with long-term friends Kate Stables (This Is The Kit) and Rachael Dadd among many others on a thriving local scene. It was there that Rozi made her first two albums, 2008’s Inside Over Here and 2012’s Joined Sometimes Unjoined, each works of deliciously sad and beautiful pop full of heart-wrenching harmonies dotted with unexpected instrumental flourishes. Released in April 2015 on Lost Map and featuring contributions from Hot Chip’s Alexis Taylor among others her last album Friend was a deeply meaningful and wonderfully measured ode to memory, place, companionship and music’s remarkable power as an emotional salve. A companion album of remixes, unreleased tracks and radio sessions, Friend Of A Friend, was released in 2016.

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Luke Sital-Singh – A Golden State

Luke Sital-Singh releases his third album A Golden State on Raygun Records. The album was produced by Tommy McLaughlin (Villagers, Soak), who also produced Luke’s last album, 2017’s Time Is A Riddle, and recorded in Portland’s Jackpot Studios, famously set up by Elliott Smith, where alumni include R.E.M., Stephen Malkmus, and The Decemberists. A Golden State contains new single Los Angeles, plus the 2018 singles The Last Dayand Love Is Hard Enough Without The Winter.

At its most basic, A Golden State is album of California dreaming. The songs therein reflect a new chapter, and a new mindset for Luke. “Overall, there is this ethereal, positive vibe – without being too cheesy,” he says. “There is an Americana fantasy, of wanting to escape to this gorgeous place – but also about what I’m escaping from.” The cover artwork, created by Hannah, a four-colour lino cut of the Venice Beach canals, is taken from her upcoming art book, Coastline.

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Weyes Blood – Titanic Rising

The phantom zone, the parallax, the upside down—there is a rich cultural history of exploring in-between places. Through her latest, Titanic Rising, Weyes Blood, a.k.a. Natalie Mering, has designed her own universe to soulfully navigate life’s mysteries. Maneuvering through a space-time continuum, she plays the role of melodic, sometimes melancholic, anthropologist. Tellingly, Mering classifies Titanic Rising – which was written and recorded during the first half of 2018, after three albums and years of touring – as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). The former relays her imperative to connect with listeners. “The clarity of Bob Seger is unmistakable. I’m a big fan of conversational songwriting,” she adds. “I just try to do that in a way that uses abstract imagery as well.” The Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. (Listen closely to Titanic Rising, and you’ll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) “Something to Believe,” a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. “Belief is something all humans need. Shared myths are part of our psychology and survival,” she says. “Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.” As a kid, she filled that void with Titanic. (Yes, the movie.) “It was engineered for little girls and had its own mythology,” she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of man’s hubris. “It’s so symbolic that The Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization.” Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans. But Weyes Blood isn’t one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. To Mering, listening and thinking are concurrent experiences. “There are complicated influences mixed in with more relatable nostalgic melodies,” she says. “In my mind my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. I’m just making a bigger space for myself.”

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Priests – The Seduction Of Kansas

What is at stake in the seduction of Kansas? Like a gavel or hammer, the question rattles across the second LP from Washington, D.C. rock iconoclasts Priests: Entering their eighth year as a band, Priests—drummer Daniele Daniele, vocalist Katie Alice Greer, and guitarist G.L. Jaguar—remain an inspired anomaly in modern music. A band on its own label—jolting the greater music world with early releases by Downtown Boys, Snail Mail, Sneaks, and Gauche—they are living proof that it is still possible to work on one’s own terms, to collectively cultivate one’s own world. Priests enlisted two primary collaborators in writing, arranging, and recording The Seduction of Kansas. After playing cello, mellotron, and lap steel on Nothing Feels Natural, multi-instrumentalist Janel Leppin (Mellow Diamond, Marissa Nadler) returned to breathe air into Priests’ demos, serving as primary bassist and a fourth songwriting collaborator on The Seduction of Kansas.

The band also found a kindred spirit in producer John Congleton (Angel Olsen, St. Vincent), recording for two weeks at his Elmwood Studio in Dallas. It marked the band’s first time opening up their creative work to collaborate with someone outside of their DC-based community—a decidedly less hermetic approach. Priests found a third collaborator in bassist Alexandra Tyson, who has also joined the touring band. The songwriting process found the group once again analyzing the textures and scopes of albums as aggressive as they are introspective, like Massive Attack’s Mezzanine, Portishead’s Third, and Nine Inch Nails’ Downward Spiral. The first single, “The Seduction of Kansas,” is Priests’ purest pop song to date. It is dark and glittering—though there is still something fantastically off about it, decadent and uneasy at once.

As journalist Thomas Frank explored in 2004’s What’s the Matter With Kansas?, the ideological sway of Kansas has often predicted the direction in which the U.S. will move—whether leaning socialist in the 1800s or going staunchly conservative in the 1980s. Illustrating Kansas’ potent place in our national imagination—as well as “a chorus of whoever is trying to persuade the social consciousness of Kansas”—Greer sings brilliantly of a “bloodthirsty cherub choir” in a cornfield, of “a drawn out charismatic parody of what a country through it used to be,” beckoning that “I’m the one who loves you.” The song does what Priests do best: They make us think, stir us with complexity.

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Son Volt – Union

Led by vocalist, guitarist, and songwriter Jay Farrar, Son Volt became one of the leading bands in the alternative country community, attracting critical praise and an audience that was loyal if not always large. Farrar has collaborated with Ben Gibbard (Death Cab for Cutie), Steven Drozd (The Flaming Lips), Jeff Tweedy (Wilco) and several other well respected artists / musicians. Union is the bands 10th studio album and mixes present and past into strong confluence. The thirteen new songs written by Farrar confront our turbulent politics and articulate the clarity and comfort music can offer in the tumult.

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Lady Lamb – Even In The Tremor

Even in the Tremor marks Spaltro’s latest full-length LP following 2015’s After and it’s a remarkable achievement because, among other things, it’s the first time in her career that Spaltro is singing explicitly about herself. Between confessing a tantrum in a batting cage (Little Flaws), telling the story of her parent’s kiddie-pool baptism (Young Disciple) and singing openly about untangling her girlfriend’s wet hair (Deep Love), Even in the Tremor is deeply rooted in the people and places, extraordinary and mundane, that have shaped Spaltro into the self-determining artist she is today. Known for her keen observations of others, Spaltro now turns her multifaceted ruminations inward; She calls out from dreams, peers into churches, has fits of rage, and struggles to get out of her head long enough to love herself and those around her. Commitment to creating only what is necessary and urgently felt is the key to appreciating Spaltro’s fearless songwriting, as emotional as it is philosophical. Even in the Tremor signifies the arrival of her most sonically soaring and brutally honest album to date.

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Shana Cleveland – Night Of The Worm Moon

Shana Cleveland has been beguiling listeners for years in her role as the superlative front woman for elastic surf rockers La Luz. Now Cleveland is evolving her sound on the new solo full-length Night of the Worm Moon, a serene album that flows like a warm current while simultaneously wresting open a portal to another dimension. As much a work of California sci-fi as Octavia Butler’s Parable novels, Night of the Worm Moon incorporates everything from alternate realities to divine celestial bodies. Inspired in part by one of her musical idols, the Afro-futurist visionary Sun Ra (the album’s title is a tip of the hat to his 1970 release Night of the Purple Moon), the record blends pastoral folk with cosmic concerns. Cleveland dreamt up this premise while living in Los Angeles, a city where – as deftly explored on La Luz’s recent Floating Features – reality and fantasy casually co-exist.

Abetting Cleveland during the recording process was a familiar gallery of co-conspirators: multi-instrumentalist Will Sprott of Shannon and the Clams, original La Luz bassist Abbey Blackwell, Goss, pedal steel player Olie Eshelman, and Kristian Garrard, who drummed on Cleveland’s previous solo effort (with then-backing band The Sandcastles), 2011’sOh Man, Cover the Ground. But whereas that album was internal and contemplative, Night of the Worm Moon occupies a different, vibrant kind of headspace. UFO sightings, insect carcasses, and twilight dimensions are all grist for Cleveland’s restless creativity, and they and other inspirations collide beautifully on the album’s 10 kaleidoscopic tracks–a spacebound transmission from America’s weirdo frontier.

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Gurr – She Says

Gurr return with a new 7 track EP “She Says” released in April 2019. Recorded with New York producer Mathew Molner (Sunflower Bean, Friends) and Berlin based producer Tobi Kuhn at the UFO studios in Berlin.

“We met Sunflower Bean at Latitude Festival in UK and asked them who produced their album “Human Ceremony” as we liked how it sounded retro and modern, they connected us with Mathew and we brought him to Berlin to record with us” says Andreya Casablanca... “After ‘In My Head’ was recorded all in analogue we definitely wanted to have a little bit more room for the production in these songs. We were adding guitars, small synth lines and sounds after laying down the basic tracks.”

The writing of the EP was heavily influenced by the big transitions in the lives of Laura Lee and Andreya Casablanca in the 12 month period after the release of ‘In My Head’, which can be heard in the fake highs of optimism of tracks such as “Of Hollywood” and “Bye Bye”, the melancholia of “She Says” and “Hush” and the angst of Middleton Mall but musically the band draws inspiration across genres, from contemporary dream pop wonders Beach Fossils to psychedelic classics such as The Velvet Underground.

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David Bowie – Spying Through a Keyhole

With 2019 marking 50 years since David Bowie’s first hit, Space Oddity, Parlophone release a 7″ vinyl singles box set of nine previously unreleased recordings from the era during which Space Oddity was first conceived.

The title Spying Through A Keyhole is a lyric taken from the previously unknown song, Love All Around, and though most of the other titles are known, these versions have never been officially released until late last year. Most of the recordings are solo vocal and acoustic home demo performances, unless otherwise stated.

The design of each single label is presented to reflect the way David sent many of his demos to publishers and record companies, featuring his own handwritten song titles on EMIDISC acetate labels. The singles themselves are all mono and play at 45 r.p.m.

Due to the nature of some of the solo home demos where Bowie accompanied himself on acoustic guitar, the recording quality isn’t always of a usual studio fidelity. This is partly due to David’s enthusiastic strumming hitting the red on a couple of the tracks, along with the limitations of the original recording equipment and tape degradation. However, the historical importance of these songs and the fact that the selections are from an archive of tracks cleared for release by Bowie, overrides this shortcoming.

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The Proper Ornaments – 6 Lenins

‘Six Lenins’, the third album release from The Proper Ornaments, sees the band master their seemingly effortless but finely-wrought sound as their songwriting prowess refuses to plateau. Fresh from an US tour in Autumn last year, the London jangle pop group led by James Hoare (also of Ultimate Painting/Veronica Falls) and Max Claps (Toy) went into James‘ home studio in Finsbury Park, London and made their finest recordings to date on a newly-installed 16 track Studer machine – joined by Danny Nellis (Charles Howl) on bass and Bobby Syme (Wesley Gonzalez) on drums. Having escaped deep, twisting tunnels of illness, divorce and drug abuse to release their second record in January 2017, it’s unsurprising they sound sunnier this time around. What their supremely melodic work suggests is a nonchalance or naivety but is in fact an expensively bought slice of coherence and clarity within a constantly shifting backdrop to their lives and landscapes. The band exists as an unassuming and resilient organism in a fiercely competitive, trashed environmental niche. Throughout their years of hard-edged music industry Darwinism, they’ve shown longevity and growth scuttling from the wreckage of their previous guitar bands to become one united organism. “We started writing new songs in the Summer. I was in bed recovering from hepatitis and very broken and tired so couldn’t do anything else apart from playing guitar,” says Max, “and the songs slowly started to appear. In August we realised we had five new songs each and free time, so we decided to record them. The actual recording only took two weeks and it was considerably easier than our previous recordings.” The speed with which “Six Lenins” was made suggests the two songwriters managed to keep a keen focus on what they wanted to achive, further finessing the balance of conflict and collaboration that lends their sweet, succinct tunes their nervous energy. Well-crafted songwriting and a controlled sonic despite a zealous analogue sensibility. The opener ‘Apologies’, sets out stridently and the mood and momentum, even as we weave through some more sombre moments, never dips before soaring with the Velvets-y propeller riff of live favourite ‘In the Garden’ to end the record.

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Circa Waves – What’s It Like Over There?

The new studio album from Circa Waves, titled What’s It Like Over There? via Prolifica Inc. / [PIAS]. Recorded in just one month, and renewing their blossoming co-producing relationship with Alan Moulder (Foals, The Killers), What’s It Like Over There? is an album that’s creatively unshackled and refuses to stay still. It fuses the visceral thrill of rock music with a slick pop sound, its themes of modern ennui, emotional fragility and all the inside-outs and upside-downs of relationships making it a record that could only have been made now. Whilst the anthemic Movies will appeal to the band’s long-standing fan base, the likes of Sorry I’m Yours and Be Somebody Good see Circa Waves experiment with a new progressive sound that will surprise and delight in equal measure. Me Myself and Hollywood touches on the band’s love of R&B, whilst Times Won’t Change Me is a piano-led, Beatles-inspired future hit. What’s It Like Over There? always manages to sidestep genres and easy pigeonholing, but what remains constant is Circa Waves’ ability to create the kind of infectious music that is propelling them towards the top tier of British music.

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The Drums – Brutalism

Brutalism is quite possibly the best collection of songs in The Drums’ ten-year career. The album is defined by growth, transformation and questions, but it doesn’t provide all the answers. Brutalism is a form of simplistic architecture defined by blocks of raw concrete. Brutalism is rooted in an emotional rawness but its layers are soft, intricate and warm, full of frivolous and exquisitely crafted pop songs that blast sunlight and high energy in the face of anxiety, solitude and crippling self-doubt.

Even the fact that Brutalism sounds intentional, focused and efficient is a symbol of how Pierce’s prioritizing of his own health and wellbeing has bled into how he makes music. For the making of this album, between his lake house in Upstate New York and a studio in Stinson Beach, California, Pierce was more open than ever, keeping his control freakery at bay, working with others to produce and record the album. He brought in Chris Coady (Beach House, Future Islands, Amen Dunes) to mix it. If there was a guitar part he wanted to write but couldn’t play, he brought in a guitarist. It’s also the first Drums record with a live drummer. Delegating freed up Pierce’s time to produce a more specific vision.

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Molly Tuttle – When You’re Ready

Award-winning guitarvirtuoso Molly Tuttle, whose debut album, ‘When You’re Ready’ is an insightful, gifted album from a songwriter who was crowned “Instrumentalist of the Year” at the 2018 Americana Music Awards on the strength of her EP Rise, Tuttle has broken boundaries and garnered the respect of her peers, winning fans for her incredible at picking guitar technique and confessional songwriting.

Graced with a clear, true voice and a keen melodic sense, the 25-year-old seems poised for a long and exciting career. ‘When You’re Ready’, produced by Ryan Hewitt (The Avett Brothers, The Lumineers) showcases her astonishing range and versatility and shows that she is more than simply an Americana artist.

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Matthew Sweet – Girlfriend

Matthew Sweet is an American singer-songwriter and rock musician. He was part of the burgeoning music scene in Georgia during the ‘80s, before gaining commercial success in the ‘90s. In 1991 Matthew Sweet released Girlfriend, the pop-rock album which was widely considered an artistic breakthrough. It quickly garnered impressive sales, spawning a top 10 single with the title track. Girlfriend is Sweet’s most commercially and critically successful album to date. Both the title track and Divine Intervention did well on the charts. The album was included as number 61 on Paste’s list of “The 90 Best albums of the 1990s”.

LP – Limited edition of 1.000 individually numbered copies on 180 Gram pink vinyl with Insert.

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New Order – Movement – Definitive Edition

Out of the ashes of Joy Division, the remaining members decided to carry on recording under the name of New Order. The band’s debut album Movement recorded between 24th April to the 4th May 1981 at Strawberry in Stockport and featuring all new material, produced by Martin Hannett was released in 11th November 1981 on Factory Records. TheMovementboxed set includes the vinyl LP with its original iconic sleeve designed by Peter Saville, original album CD in replica mini album sleeve, a bonus CD of previously unreleased tracks, DVD of live shows and TV appearances plus hard backed book all housed in a lift off lid box. The vinyl LP of the original album is cut on 180 Gram and features the 2015 remastered audio, presented in a replica of the original sleeve. The second CD includes 18 completely unreleased tracks made from Demos, Sessions, Rehearsal Recordings and an Alternative 7” version of Temptation Accompanying the set is a 48 Page hard back book which features photos and an essay.

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Karen Dalton – The Karen Dalton Archives Box

Packaged in Ampex studio tape style carboard box. Including for the first-time ever on Vinyl – 3 LP : the 1962 double live album Cotton Eyed Joe remastered…. and the 1963 home recordings album Green Rocky Road remastered. 4 CD – same albums and 1CD of unreleased home recordings including a mesmerizing take on God Bless The Child – 52 Page Book with scans of Karen Dalton Personal archives (writings, photographs, memos) disclosed here for the first time. It also comes with a Large T-shirts and a Download Card.

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Fake Laugh -Honesty / Surrounded

Hot on the heels of his debut LP and follow up 7”, Fake Laugh AKA Kamran Khan delivers yet two more bangers for the kids, in the form of another double A-Side. The driving, dream-pop bop that is Honesty features guest vocals from Poppy Hankin of previous tour-mates Girl Ray, whilst the skittish, social commentary of Surrounded hurtles along set against a backdrop of razor-sharp melodies and instant-hit hooks.

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So, we’re in the final home straight on the lead-up to Christmas, we’ve had some last-minute releases that might just be perfect for that special someone. plus, there is loads to look forward to for next year, back in the present (pun intended), the album at the top of your want list this week ‘Popcorn Lung: a Polytechnic Youth Collection’, which collects rare and exclusive tracks from some of this label’s brightest artists.

If you’re in the mood for something loud, the ever-active Ty Segall has a scuzzy treat for us that’ll blow the winter lurgy clean out of our systems. teaming up with wife & caustic vocalist, Denee Segall, The C.i.a.’s debut leans towards the heavier, punkier side of Ty’s work & features more than enough guitar freakouts to keep us elated. The always brilliant Decemberists’ aptly-timed December ep release features a delicious set of b-sides from the ‘I’ll be Your Girl’ recording sessions. You also get a cheeky little surprise from Aliment’s latest instalment: Barcelona’s answer to Meat wave & Menace beach – noisy & nice punk in equal measure.

The Wave Pictures’ ‘Look Inside Your Heart’ is on cd & vinyl. have a wonderful Christmas & a Happy Vinyl new year,

John Mellencamp, Other People’s Stuff

Other People’s Stuff is a new collection of covers that shows Mellencamp applying his knack for storytelling to ten staples from the American music canon. The material is culled mostly from his own albums, hard-to-find compilations, and documentary soundtracks. Mellencamp also recorded a brand-new version of “Eyes on the Prize,” a standard that he had performed at The White House for the 2010 Celebration of Music from the Civil Rights Movement at the request of President Obama.

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This reissue marks the 10th anniversary of the release of their seminal Self Titled album. This special re-issue includes two never-before-heard outtakes from the Self Titled recording sessions: Baltimore, and Watersider... included on a 7” with the LP (180G), and as bonus tracks on CD.

Cherished by fans and critics alike, this fifteen track opus by the Catskill Mountain based band of brothers boasts classics like Frankie’s Gun, Wonderful Life, Whisky In My Whisky and Don’t Wake The Scarecrow, and remains one of the most influential works of this century’s indie-folk-rock revival.

Hailing from upstate New York’s Catskills Mountains, the Felice Brothers look like their entire approach was based on staring long and hard at the Band’s second album cover: Beards, white shirts, hats and ill-fitting suits. The comparisons to Big Pink/Basement-era Dylan are also inevitable.

Yet this second album proper from the three siblings and their bass player Christmas (an ex-travelling dice player, apparently) is so chock full of whiskey-soaked, ramshackle bonhomie that it’d be a hard-hearted music critic indeed who didn’t succumb to the charms contained therein. The group have somehow taken Americana and wrung out some more good times. It’s time to visit the bar again…

With most of the numbers croaked out by brother Ian, whose vocal chords draw most of the Zimmerman comparisons, this is a collection of songs that are equal parts travelogue, shaggy dog story, drunken lament and filched traditional fare. They’re all captured in gloriously scratchy lo-fi (complete with ambient chat, phone conversations and other audio verite) as befits a band whose last recordings were supposedly completed in a chicken coup on a two-track.

Like Dylan, their self-mythologising puts them not in the modern age, but somewhere in the early part of the last century. Jaunty, piano-led ballads like Greatest Show On Earth or Take This Bread are lifted by parping brass and rollicking choruses, like a night out in a riverfront bar, filled with unfaithful women and gun-toting men (guns are mentioned in just about every song) bent on drunken revenge. Elsewhere the waltz time of Ruby Mae approaches a Tom Waits-like pathos. Whiskey In My Whiskey sounds like a murder ballad that’s centuries old.

Yet all these tales are shot through with a red-eyed humour that sounds as authentic as their beards. This is how they manage to convince the listener. Frankie’s Gun! With it’s truck driving narrative and wheezing accordion is particularly hilarious. Rather than some studious authenticity, they sound like they’re just having a good time. And that’s just about the only recommendation you need to seek out this fine album…

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The CIA – The CIA

“This record is an encapsulation. The omnipresent fear and anger. Why? Why? Why? Why? Why? Why? Why? Why? Why? And what is really going on? Consternation…today… There is difficulty, frustration, strain and a large snake. You can feel the pressure of it breathing on the streets, in media, and in your lunch. This s/t, by The C.I.A., is an urgent musical notice. I feel it immediately. The pointed vocal cadence and lyrics of Denée Segal is a sharp scythe, and the actual time is…now. “I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. In fact, if you took that, mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari Teenage Riot) and even Dinah Cancer (45 Grave) Autopsy era, you can get a feeling. And, similarly to those mentioned, Denée is putting a time stamp on this time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing. “This is survival sound, put on record well backed by Ty Segall and Emmett Kelly, who have added anything-musthappen, mercurial, constantly moving instrumentation. The sounds, consistent with unique monochrome, move like an engine, made gas-tight by piston rings. Sonic rings moving in tight machine patterns. And at the vocal helm is Denée, steering this machine in vocal directions across an exclamation point motorway. No salt, all salt. Traction and reaction. They built a sound machine with, and for each other. Survival sound lifts its head up when it needs to. Thankfully it gets put on record and released when it needs to.” —Tim Presley

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The Yardbirds – 1964 – 1966 Live at the BBC (Vol 2)

Broadcasts from the BBC archives and beyond. Recorded between 1964 and 1966. It features seminal performances by guitarists Eric Clapton, Jeff Beck and Jimmy Page.

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Estrons  –  You Say I’m Too Much, I Say You’re Not Enough

The hotly-tipped Welsh alt-rock outfit Estrons release their much-anticipated debut album You Say I’m Too Much, I Say You’re Not Enough. The record is the culmination of over two years hard touring and honing of a sound that has become theirs and theirs alone.

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New release time once again, and there is a healthy whack of excellent reissues this week, with Kate Bush taking the top spot with Aerial, The Directors Cut and 50 Words For Snow all landing. As well as all of the individual albums, part 2 of the ‘Remastered’ box set seeing it’s release as well as the vinyl counterparts, Remastered In Vinyl Parts III and IV.

This week also the latest in a long line of much anticipated Fall live shows from the mid 90’s with Derby in ’94 and London in ’95 both show the range and excitement of the live show’s they were so well known for.

There is brand new album from Liverpool band ‘The Fernweh’ to be released on James Skelly’s (of The Coral fame) label, Skeleton Key Records. Psychedelic hooks, folky ruminations and shimmering acoustic meanderings. It’s a beautiful thing indeed. Plus A new full-length from Johnny Flynn. 

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Neil Young – Songs For Judy

Songs For Judy is the debut release on Shakey Pictures Records, Young’s own imprint distributed by Reprise Records. Songs For Judy is thoroughly engaging collection of live acoustic performances culled from Neil’s November 1976 solo tour and features twenty-two songs recorded at various cities along the tour. This song cycle of live recordings is particularly powerful and unique. Young had spent much of the year traveling around the world on tour with Crazy Horse. When touring on his own, he recharged and focused on songs that would not surface in recorded form for several years. Of the albums many treasures, No One Seems To Know would not see the light of day until now and it remains unreleased in any other iteration. The raw versions of the tracks found on Songs For Judy reflect an artist completely unvarnished and unafraid to allow the songs to breath and to find their own shape when performed in a solo setting. Songs written in that era would come into focus and then seemingly disappear only to re-enter Young’s orbit somewhere down the road. White Line and Give Me Strength are such examples of finding the light in 1990 and 2017 respectively. It’s also fascinating to hear Young revisit early gems such as Springfield’s Mr. Soul (’67), Here We Are In The Years (’68), andThe Losing End (’69) from some of his earliest solo recordings which remain as timeless as ever.

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Johnny Flynn And The Sussex Wit – Live At The Roundhouse

‘Live At The Roundhouse’ is an electric performance of ten years’ worth of songs; recorded without overdubs, it pays homage to the past whilst pointing propitiously to the group’s future. The album also features a bonus studio cut; the much requested and never released 3-verse rendition of Johnny’s ‘Detectorists’ theme.

Live At The Roundhouse’ is 24 tracks long and pulled from a decade’s worth of music. Fans will hear renditions of songs from Johnny’s “Masterclass” (4/5 The Independent) debut album ‘A Larum’, sophomore ‘Been Listening’, an album “radical in its honesty” (8/10 Drowned in Sound), ‘Country Mile’, “an extremely clever and nuanced record” (Mojo) and his most recent effort, ‘Sillion’, which explored the idea of man’s endeavour to connect with the earth while separated from it; “Another exploratory and remarkably high-caliber LP” (AllMusic 4.5/5). The album also features a bonus studio cut; the much requested and never released 3-verse rendition of Johnny’s ‘Detectorists’ theme. Johnny Flynn and the Sussex Wit are without a doubt one of the most consistently exhilarating live bands around, inspiring an undying devotion among fans and peers who will cherish ‘Live At The Roundhouse’ for its gritty and impassioned renditions of now-classic songs.

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The Fernweh – The Fernweh

Recorded in seclusion on the North Yorkshire coast and transporting listeners on musical journey. Three friends, Jamie Backhouse (guitars), Ned Crowther (vocals and guitar) and Oz Murphy (keys/saxophone) gathered to make the album they always knew they could make, based on a pure and profound love for a golden era for British and US folk rock. Wringing every last drop of their combined experience into a cup that overflows with melody, song craft and deeply evocative imagery of a quintessentially British era of ‘mainstream psychedelia’, they are joined by Maja Agnevik (vocals/flute)and Phil Murphy (drummer).

Melodies and stories inspired by distinctly British, coal-fired version of 60s/70s psychedelia. Layered vocal harmonies, gentle, steam-train percussion and strokes of piano, acoustic guitars and subtle string arrangements are a feature of this sublime and compelling debut. A return journey into Britain’s explosively creative, post-war period. Arriving back in 2018, the band uses such deeply evocative influences to deliver an irrepressible psych-pop-folk non-genre record.

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David Bowie –  Glastonbury 2000

DAVID BOWIE ‘GLASTONBURY 2000’ documents Bowie’s legendary Sunday night headline performance on 25th June at the most famous festival on earth. The legendary full performance released for the first time including many of David’s greatest hits and never before seen footage.

All formats feature David’s diary, originally written for Time Out, which documents him preparing for the show in his own inimitable manner. In addition to newly mastered audio and upgraded video DAVID BOWIE ‘GLASTONBURY 2000’ features new artwork from Jonathan Barnbrook (who worked with Bowie on the sleeves for Heathen, The Next Day & ★) and notes from the renowned author and Bowie fan Caitlin Moran who reviewed the show for The Times.

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Jeff Tweedy  –  Warm

Jeff Tweedy releases Warm, a solo album of all new material via dBpm Records. Warm was produced and recorded entirely by Jeff at his now legendary Loft Studio in Chicago’s  (with help from some of his usual collaborators – Spencer Tweedy, Glenn Kotche and Tom Schick). Warmfollows the acoustic retrospective release, Together at Last (2017), and Wilco’s 2016 album, Schmilco.

It is a tender manifesto of self-doubt, a shout fading into a murmur. It’s a journey beyond self-consciousness and towards mature vulnerability, to an evolved idea of what is musically pure.

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The 1975 – A Brief Inquiry Into Online Relationships

Winners of 2017’s Best British Group at the BRIT Awards, The 1975 release their 3rd album ‘A Brief Inquiry Into Online Relationships.’ 
The album is a follow up to ‘I like it when you sleep for you are so beautiful yet so unaware of it,’ which charted at Number 1 on both sides of the Atlantic going Platinum in the UK in the process.

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Laura Jane Grace & The Devouring Mothers – Bought To Rot

14 tracks spanning Laura Jane Grace’s fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, Bought to Rot stands as the most musically diverse collection of songs Grace has written to date.

Inspired in large part by Tom Petty’s Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Petty was when he created his solo debut masterpiece. In light of his recent passing, Grace was motivated to pay homage to one of her lifelong heroes.

Laura Jane Grace & the Devouring Mothers are Laura Jane Grace, Atom Willard, and Marc Jacob Hudson. Grace is a musician, author, and activist best known as the founder, lead singer, songwriter, and guitarist of the punk rock band Against Me!. Willard, also of Against Me!, is a drummer who has played in iconic punk bands such as Rocket from the Crypt, Social Distortion, and The Offspring. Devouring Mothers bassist Hudson is a recordist and mixer at Rancho Recordo, a recording studio and creative space in the woods of Michigan, and the sound engineer for Against Me

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Batts  –  62 Moons

Batts is the moniker for Melbourne based singer-songwriter Tanya Batt, and this is her mesmerising and melancholic debut EP 62 Moons. Named after the 62 Moons of Saturn, the obsession with space is an underlying theme throughout the record, from the Nasa recording of Saturn’s rings which opens the recording, to the EP title. Batts explains “I had the thought of combining the music we create as humans, with the natural music of things out in space that have existed for billions and billions of years. I want to instil knowledge of space within music to people, but not via lyrics – via sounds.”

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The Fall – The Rough Trade Singles

The Rough Trade Singles collects The Fall’s four singles recorded for this influential label in 1980 and 1983 – How I Wrote ‘Elastic Man’ / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band’s studio LPs. With 7-inches being the era’s vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums.

“Totally Wired” is often cited (and rightfully so) as The Fall’s most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. “How I Wrote ‘Elastic Man'” is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on “The Man Whose Head Expanded” almost suggests danceability, Mark E. Smith’s idiosyncratic shriek on “Kicker Conspiracy” pierces through the twin drumming of Paul Hanley and Karl Burns and the group’s unpredictable / unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release.

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Bill Callahan – Live at Third Man Nashville

Bill Callahan, aka Smog, is simultaneously a staple of strange American country, lo-fi, folk and independent music. His lyricism comes across as challenging and deeply autobiographical, equal parts “poetry leaning on true-to-life darkness” and “three chords and the truth.” So, it is fitting that Callahan’s live set would command the same sense of friendliness-with-difficulty that the recorded songs do. With brief, candid, and charming interludes between older and newer material, an outsider can hear that this performance was obviously a full-bodied (and multi-era) engagement, no space left for distraction. The full album is an experience; make it one you look after.

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DIIV  –  Covers

Originally shared on DIIV’s YouTube channel and then later given away on a limited edition cassette run of 50 copies at an acoustic DIIV show in a synagogue in New York City, Captured Tracks now presents a vinyl version of Zachary Cole Smith’s lauded Sparklehorse and (Sandy) Alex G covers. Pressed on Clear Vinyl and limited to 500 copies to celebrate Captured Tracks’ 10th Anniversary.

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Jason Isbell and The 400 Unit – Live From the Ryman

Americana icon Jason Isbell and his band the 400 Unit release a new live album release. The album is set in none other than the Mother Church of Country Music, the Ryman Auditorium. Live From the Ryman was recorded at Nashville’s famous auditorium, and will feature live versions of songs from Isbell’s three latest releases, Southeastern, Something More Than Free andThe Nashville Sound. Songs included on the project are Last of My Kind, Hope the High Road, Something More Than Free and the Grammy Awards-winning If We Were Vampires, among others.

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The Lucid Dream – Actualisation

The Lucid Dream return with the release of their 4th album, Actualisation. Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream. Actualisation is soaked in the influence of acid house, amalgamated with dub and kosmische. The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor. Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz). The confrontational techno-punk of Alone In Fear opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is. Recent single SX1000 (the first work from the album, unveiled via 12′ vinyl in April this year) is the band’s first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by Ardency, a track already praised by live critics when aired live for the first time earlier this year as ‘even on first hearing, would’ve raised the roof of The Hacienda’. The 2-part opus of Zenith follows, commencing with a space-dub / house instrumental groove before building into a track that will go for your head as much as your hips. Only Breakdown harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. No Sunlight Dub closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum ‘n’ bass / jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.

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Titus Andronicus – Home Alone on Halloween

Limited to 1,300 for world on Orange Vinyl with Download. With Home Alone on Halloween, noted rock band Titus Andronicus celebrate the spookiest of the seasons by staring into the abyss and confronting the bone-chilling terror which lies at the haunted heart of our human experience. Bearing the justly feared catalog number MRG666, the 12-inch EP spans 31 minutes and features three tracks recorded concurrently with the group’s most recent full-length A Productive Cough, offering an autumnal tableauof dread and decay to complement its LP companion’s springtime visions of rebirth and new possibilities. The title track remixes A Productive Cough’s hardest-rocking selection, foregrounding its ominous strings and swelling organ and featuring a soulful new lead vocal from frequent captain Matt “Money” Miller, while Only a Hobo plucks an oft-forgotten gem from the dusty corners of the Bob Dylan songbook to paint a grim portrait of hopes dashed and potential squandered. Eeriest of all is A Letter Home, which, across nearly 17 minutes and more than 1,200 words, drags the listener along for a harrowing descent into the darkness and proves definitively that this ceremony is no mere monster mash.

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Kiran Leonard – Western Culture

Kiran Leonard is a 22 year old musician from Saddleworth, Greater Manchester. Debut album proper Bowler Hat Soup(2014) and follow-up Grapefruit (2016) were both recorded at home, with Kiran playing virtually every instrument himself. Dervaun Seraun (2017), a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice, was an ambitious departure from his usual sound. Western Culture now sees him return to the signature sound of his first two records, yet marks a huge sonic progression thanks to the involvement of his venerable live band on record for the first time, as well as being the first to have been made in a professional studio (Old Granada Studios in central Manchester).

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Novo Amor – Birthplace

Novo Amor, aka multi-instrumentalist, songwriter and producer Ali Lacey comes from deep in the Welsh mountains. Recording, mixing and producing everything in his home studio, Lacey’s emotive vocals and the sounds he uses, often formed through sonic experimentation, make for fantastically atmospheric songs that are moving and striking. On his debut album Birthplace, the sounds of his home bleed in – the chatter of a party across the street, Bonfire Night fireworks, the seagulls that gather on the building site next door. Even the sound of the late-night recording hours kept to avoid the sounds of construction make their presence felt. The songs cover many theme and thoughts – Repeat Until Death deals with friends experiencing drug addiction, Seneca is rooted in the story of a town in Nebraska that tore itself apart over a dispute over how many horses might be kept in a yard.

LP – Single LP made from recycled vinyl, housed in full-colour printed inner sleeve and full-colour printed reverse board outer sleeve. Includes download card and 8-page 12’’ tracing paper booklet, featuring gold Pantone detail to mirror the effect of the original artwork used on the cover. As using recycled vinyl every record will be unique, no two colours will be the same. All cardboard used is FSC certified.

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The Oscillation – Wasted Space

The Oscillation are back with their sixth and most ambitious album to date, Wasted Space. A meditation on the nature of existence in the face of what can be insurmountable odds, Wasted Space finds The Oscillation painting from the darker shades of the kaleidoscopic scale. “The origins of Wasted Space go back to Monographic in 2016,” muses Demian Castellanos – themastermind behind The Oscillation. “That was a very bleak and heavy record and I really needed to move out of that mindset. Making U.E.F freed me up to write a coherent collection of narrative songs and compositions. Wasted Space is a partial continuation of a journey started with U.E.F., but one that re-incorporates more song-based ideas again.”What’s immediately apparent is that Wasted Space sets it stall well away from the prosaic third-eye tropes that have become orthodoxy. Album opener ‘Entity’ establishes the pace with a focus on the dance floor as much as on the navigation of existence. Fusing muscular grooves with an industrial wall of sound,these are bold steps into wholly new territories. “There’s an irony at play here,” considers Castellanos. “It’s a twisted party song, albeit a party for one.” But what a party it is. The mutant disco is bolstered by the rhythmic call-and-response of ‘Drop’, a track that eschews conventional methods of dance sensibility for more instinctive and primal urges. This is music that calls out to the suitably attuned.

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Cloud Nothings – Last Building Burning

Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal with help from Dunn, who Dylan Baldi describes as “technically minded without relying on technology to perfect the live sound.” In that, Last Building Burning is a return to Cloud Nothing’s sharpest form – the unhinged, feverish, guitar-heavy sound that they explode with onstage – without their early angst. “It’s not an angry record,” says Baldi. “It’s a very joyous thing for me. And it feels so nice to scream again, especially when you know people in the crowd will be screaming along back at you.”

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Peter Holsapple vs Alex Chilton  –  The Death Of Rock

Newly discovered recordings of early solo Peter Holsapple and Like Flies On Sherbert–era Alex Chilton. Liner notes by Peter Holsapple and author / filmmaker, Robert Gordon. Previously unseen photos from the collections of Peter Holsapple and Pat Rainer. It’s 1978 at Sam Phillips Recording Service in Memphis, TN. Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician / engineer / friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio. Chilton meanwhile, was knee deep in the making ofLike Flies On Sherbert, also being tracked at Phillips. He told Peter, “I heard some of that stuff you’re working on with Richard . . . and it really sucks.” Alex promised to come by and show Peter “how it’s done.” The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (Bad Reputationand We Were Happy There) and on an album by The Troggs (The Death Of Rock retooled as I’m In Control), so not a loss at all. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.” Liner notes by Peter Holsapple tell the story of these recordings firsthand and author / filmmaker / Memphian, Robert Gordon, helps pull the time and place into focus. Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer.

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Dave Matthews Band – Come Tomorrow

ATO records release Dave Matthews Band’s long-awaited new albumCome Tomorrow. Come Tomorrow is the band’s ninth studio release and its first since 2012’s Away From The World, which debuted at No. 1 on Billboard 200. Working between tours at studios in Seattle, Los Angeles and Charlottesville, Dave Matthews Band chose to record with several different producers, including John Alagia, Mark Batson, Rob Cavallo and Rob Evans. The cover art for Come Tomorrow is by Béatrice Coron, who creates narrative allegories in silhouette to render archetypal stories.

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Insecure Men – Karaoke for One: Vol 1

Insecure Men return with a 10 track covers record, featuring takes on Bruce Springsteen, The Pogues, The Carpenters, Peter Andre et al.

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R.E.M.  –  Live At The BBC

REM grew up with the BBC, and this historic relationship is lovingly celebrated across an incredible collection that beautifully illustrates the career trajectory of one of modern music’s greatest bands. The collection comprises a treasure trove of rare and unreleased live and studio recordings culled from the BBC and band archives. This is a must-have collection for REM fans and an authoritative introduction for newcomers.

9CD – In-studio performances featured in the 8-CD / 1-DVD box set include a John Peel Session (1998), Drivetime and Mark and Lard appearances (2003) and a glorious Radio 1 Live Lounge performance (2008). Live broadcasts include a rough-and-tumble show from Nottingham’s Rock City (1984), the stunning 1995 Milton Keynes Monster Tour (their first after a six-year break), a blistering 1999 Glastonbury headline set and an invitation-only 2004 show at London’s St James’s Church. The DVD kicks off with a sixty-minute intimate retrospective of the band’s legendary performances at the BBC in the Accelerating Backwards film – previously broadcast only in the UK and available commercially for the first time here. Accelerating Backwards also includes revealing interviews with Peter Buck, Mike Mills and Michael Stipe, further testifying to R.E.M.’s long, special relationship with the BBC. The DVD also offers a complete 1998 Later….With Jools Holland episode uniquely dedicated to the band, plus TV appearances on Top of the Pops and more.

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lots of new releases and reissues out tomorrow as well, the major titles including  –

New Ed Harcourt album ‘Beyond The End’.
A limited Morrissey 7″ – ‘Back On The Chain Gang’
A very limited Type O Negative coloured vinyl reissue of ‘Bloody Kisses’.
Three more Bauhaus reissues – The Bela Session, ‘The Sky’s Gone Out’ and ‘Press Eject…’.
Vol.2 of the Marc Bolan ‘Home Demos’ is finally out after some delay.
A very lovely looking Chic box set. along with the vinyl version Boxed Set of the Tom Petty American Treasure

And in other news…….
King Gizzard & The Flying Wizard 
coloured vinyl reissues are flying out – have you got your copies yet?
Mumford & Sons 
latest album is also selling fast on coloured vinyl.
the excellent new album from Marianne Faithfull.
Post Malone – ‘Beerbongs and Bentleys’.   

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Songs: Ohia ‘Love & Work: The Lioness Sessions’ ltd vinyl box set

Songs: Ohia – ‘Love & Work: The Lioness Sessions’ limited translucent purple coloured double vinyl LP.

The release also includes a 16-page booklet with photos and meditations by Jason’s family and collaborators, as well as replications of ephemera from Jason’s guitar case & life from the time (a handwritten love letter, a postcard, a 2 of Hearts playing card, and more)

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Hippo Campus – Bambi

Hippo Campus release their second album, Bambi through Transgressive Records. On their sophomore album Bambi, the St. Paul, Minnesota-bred band navigate that upheaval with deliberate self-reflection. The result is a selection of songs that drift into much darker terrain, but unfold with a frenetic yet fragile beauty that makes even the most painful moments feel glorious. Partly recorded at Steve Albini’s Electrical Audio in Chicago, Bambi finds Hippo Campus working again with producer BJ Burton (Bon Iver, Low, Francis and the Lights), who handled production on their 2017 full-length debut Landmark. And in sculpting Bambi’s distinctly inventive arrangements, Hippo Campus significantly expanded their use of drum machines and synth. Throughout Bambi, Hippo Campus match their relentless self-examination with a joyfully adventurous sonic approach, ultimately transforming the emotional experience of the problems they’re exploring.

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Breeders ‘Safari EP’ ltd 12″ reissue

Being released this November as part of Record Store Day’s sister Black Friday event is a faithful repress of the 12” version of The Breeders’ Safari EP, complete with Shinro Ohtake’s 1983 charcoal drawing Nairobi VIII adorning its cover. Originally released in April 1992, sandwiched between their first two albums (Pod and Last Splash), The Breeders’ Safari EP came at a time when Kim’s Pixies commitments were winding down and her new band were on the cusp of releasing a platinum-selling album.

Their first record to feature Kim Deal’s twin Kelley, the EP was recorded in two studios with the bulk coming from a session in New York, which provided an early version of Do You Love Me Now?, Don’t Call Home and a cover of The Who’s So Sad About Us. The title track, Safari, was recorded separately in London by Kim, Josephine Wiggs and drummer Jon Mattock (Spacemen 3 / Spiritualized).

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Iggy & The Stooges – ‘Rare Power’

The untamed energy of Iggy and The Stooges comes to vinyl for Record Store Day Black Friday on Rare Power, a collection of rare tracks from the sessions that produced their landmark 1973 album Raw Power. Eight of these nine outtakes and alternate mixes are available on vinyl for the first time, and composer Josh Mobley’s remix of Gimme Danger (heard in the best selling video game Watch Dogs) is commercially available for the first time ever.

The Byrds – Sweetheart Of The Rodeo (4 X 12″ Vinyl LP)

By the time Sweetheart Of The Rodeo was released in 1968, The Byrds had already changed the sound of rock music twice; from jangling folk-rock to experimental acid-rock, they constantly sought to push the boundaries of what rock music could be. The 1967 departure of David Crosby left a creative void filled quickly by country music-loving Gram Parsons, whose addition led Roger McGuinn, Chris Hillman and company to record an album comprised mostly of authentic country material in Nashville, with the aid of local session aces (including future Byrd Clarence White). For the first time on vinyl—and on the heels of a 50th anniversary tour of the album by original members McGuinn and Hillman—this Legacy Edition of Sweetheart Of The Rodeo showcases this country-rock masterpiece alongside 28 bonus tracks, including demos, outtakes, rehearsal versions and tracks by Parsons’ pre-Byrds outfit, The International Submarine Band.

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Chris Robinson Brotherhood – Betty’s Midwestern Magic Blends

The Chris Robinson Brotherhood is indisputably one of the hardest working bands in rock ‘n’ roll. 2018 marks the fourth year in a row that they’ll play over 200 shows across the U.S. and Europe. Through that prolific touring schedule, the band has emerged a razor sharp, riveting live unit. Each evening The CRB plays two sets of music with a dynamic, ever-changing setlist. Presenting original material stretching across six studio albums, plus a repertoire of covers that runs from Slim Harpo to Bob Dylan and beyond, it’s only fittng that the band would document this output. They’ve done exactly that through a series of live recordings dubbed, ‘Betty’s Blends’ taking its moniker from legendary Grateful Dead archivist and recording engineer Betty Cantor-Jackson who is called upon to capture The CRB’s performances in multi-dimensional, audio-verite. ‘Betty’s Midwestern Magik Blends’ is the fourth volume from the acclaimed series, gathering highlights from three shows in Milwaukee, Madison and Chicago in October 2016. Available as a vinyl exclusive, 3-LP set with only 3500 copies released, the collection finds The CRB in peak form delivering highlights like “New Cannonball Rag,” “Forever As The Moon” and “Shadow Cosmos,” as well as adapting two from The Rolling Stones: “Down Home Girl” and “Let It Bleed” and the seldom played fan favorite, Steppenwolf’s “Magic Carpet Ride.”

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Violent Femmes – Permanent Record: The Very Best Of Violent Femmes

Permanent Record: The Very Best of Violent Femmes provides a comprehensive overview of The Violent Femmes historic recording career – beginning with tracks from their legendary debut up until their 2000 release, Freak Magnet. The compilation includes the original studio recordings for hit singles such as Blister In The Sun, American Music, Gone Daddy Gone, amongst others, and is a must have for both new listeners and devoted fans alike.

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Jeff Tweedy – Let’s Go (So We Can Get Back)

Through his pioneering work in the legendary country-punk band, Uncle Tupelo, to his enduring legacy as the creative force behind the unclassifiable sound of Wilco, Jeff Tweedy has weaved his way between the underground and the mainstream – and back again.

Funny, disarming, and deeply honest, his memoir casts light on his unique creative process and the stories that shaped his life and career, from a childhood spent in Illinois to the release of No Depression in the early 90s – which set the blueprint for alt-country – and later working with Mavis Staples and, posthumously, Woody Guthrie.

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The Go Betweens – Right Here

Grant McLennan and Robert Forster, the founding members of seminal Brisbane band The Go-Betweens had been close friends and collaborators since their late teens some thirty years before. As it unfolds, we discover how relationships – both creative and romantic – are continually tested, challenged, remoulded and, in some cases, destroyed. The film truthfully exposes all the highs, lows, joy, pain, sorrow and beauty of being in a cult band and of trying to survive the harsh, brutal realities of an at times exploitative music industry. Unflinching, insightful and at times painfully honest, the film tells the story of The Go-Betweens from the inside out, from the people who lived it and from those whose lives were transformed by it.

This Week
Art Brut – ‘WHAM! BANG! POW! LETS ROCK OUT!’ LP
Bauhaus – ‘The Bela Session’ LP reissue
Bauhaus – ‘Press Eject & Give Me The Tape’ ltd white vinyl LP reissue
Bauhaus – ‘The Sky’s Gone Out’ ltd violet vinyl LP reissue
Marc Bolan – ‘Tramp King Of The City: Home Demos Vol. 2’ LP
Bouquet Of Dead Crows – ‘Motus Octo’ splatter vinyl LP
Breeders – ‘Safari EP’ limited 12″ reissue
Mansur Brown – ‘Shiroi’ LP
Lindsey Buckingham – ‘Solo Anthology’ 6LP Box set
Calexico – ‘The Black Light’ ltd clear vinyl 2LP reissue
The Chic Organisation – ‘1977 – 1979’ 5LP + 12″ vinyl box set
Ry Cooder – ‘Mambo Sinuendo’ 2LP
Deep Purple – ‘In Rock’ purple vinyl LP reissue
Deep Purple – ‘Fireball’ purple vinyl LP reissue
Ed Harcourt
 – ‘Beyond The End’ LP
Hippo Campus – ‘Bambi’ ltd coloured vinyl LP
Hozier – ‘Nina Cried Power’ ltd 12″ EP
Durad Jones & The Indications – ‘Live Vol. 1’ blue vinyl LP
Laibach – ‘The Sound Of Music’ gold vinyl LP reissue
Levellers – ‘Levellers’ ltd orange vinyl 2LP reissue
Amy Macdonald – ‘Woman Of The World: 2007-2018’ 2LP
Morrissey – ‘Back On The Chain Gang’ limited 7″
OST – ‘Dredd’ ltd red vinyl LP
OST – ‘End Of Days’ 2LP

Tom Petty – ‘An American Treasure’ 6LP Box Set
Planet B – ‘Planet B’ coloured vinyl LP
Irmin Schmidt – ‘5 Klavierstucke’ LP reissue
Songs: Ohia – ‘Love & Work: The Lioness Sessions’ ltd coloured vinyl box set
Mikael Tariverdiev – ‘Sevnteen Moments Of Spring’ LP
Transmaniacon – ‘The Strange World Of Suzie Pellet’ limited colour vinyl LP

Type O Negative – ‘Bloody Kisses’ ltd silver vinyl 2LP
Vessel – ‘Queen Of Golden Dogs’ LP

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This week we have a superb collection of early material from The Fleet Foxes, including their seminal debut album, a couple EP’s and some well-worth-it B-Sides and outtakes. It’s a hefty swathe of music, and all in a lovely clamshell box affair inc liner notes and booklet.

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J Mascis – Elastic Days

Everyone’s favourite tiny dinosaur is back too, with Mr. Mascis‘ first solo release since 2014’s ‘Tied To A Star’ encompassing aspects of Dinosaur Jr’s rockier moments but imbued with tender folkish acousticry, swooning Americana and soaring rock solos, delivered with the unmistakable gravelly vox we’ve come to know and love from Mr. M. 

Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings and Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J’s own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc) among others. But the show is mostly J’s and J’s alone. For those expecting the hallucinatory overload of Dinosaur Jr’s live attack, the gentleness of the approach here will draw easy comparisons to Neil Young’s binary approach to working solo versus working with Crazy Horse. This is a lazy man’s shorthand, but it still rings true. Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad (Web So Dense) to jazzily-canted West Coasty post-psych (Give It Off) to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges (Drop Me). The album plays out with a combination of holism and variety that is certain to set many brains ablaze.

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In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The BEATLES (soon to be better known as ‘The White Album’). With their ninth studio album, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” Ringo Starr’s “Don’t Pass Me By” marked his first solo songwriting credit on a Beatles album. For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn.

For it’s 50th anniversary, The Beatles release a suite of lavishly presented ‘White Album’ packages. The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio, joined by 27 early acoustic demos and 50 session takes, most of which are previously unreleased in any form.

“We had left Sgt. Pepper’s band to play in his sunny Elysian Fields and were now striding out in new directions without a map,” says Paul McCartney in his written introduction for the new ‘White Album’ releases.

This is the first time The BEATLES (‘White Album’) has been remixed and presented with additional demos and session recordings. The album’s sweeping new edition follows 2017’s universally acclaimed Sgt. Pepper’s Lonely Hearts Club Band Anniversary Edition releases. To create the new stereo and 5.1 surround audio mixes for ‘The White Album,’ Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All the new ‘White Album’ releases include Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin.

“In remixing ‘The White Album,’ we’ve tried to bring you as close as possible to The Beatles in the studio,” explains Giles Martin in his written introduction for the new edition. “We’ve peeled back the layers of the ‘Glass Onion’ with the hope of immersing old and new listeners into one of the most diverse and inspiring albums ever made.”

The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package. The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads. The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson.

The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve.

Much of the initial songwriting for ‘The White Album’ was done in Rishikesh, India between February and April 1968, when John Lennon, Paul McCartney, George Harrison, and Ringo Starr joined a course at the Maharishi’s Academy of Transcendental Meditation. In a postcard to Ringo, who had returned to England before the others, John wrote, “we’ve got about two L.P.s worth of songs now so get your drums out.”

During the last week of May, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings are included in the new edition’s Deluxe and Super Deluxe packages, sourced from the original four-track tapes. Twenty-one of the demoed songs were recorded during the subsequent studio sessions, and 19 were ultimately finished and included on ‘The White Album.’

The Beatles’ studio sessions for The BEATLES (‘White Album’) began on May 30, 1968 at Abbey Road Studios. In the 20 weeks that followed, The Beatles devoted most of their time to sessions there for the new album, with some recording also done at Trident Studios. The final session for the album took place at Abbey Road on October 16, a 24-hour marathon with producer George Martin to sequence the double album’s four sides and to complete edits and cross-fades between its songs. The Beatles’ approach to recording for ‘The White Album’ was quite different from what they had done for ‘Sgt. Pepper.’ Rather than layering individually overdubbed parts on a multi-track tape, many of the ‘White Album’ session takes were recorded to four-track and eight-track tape as group performances with a live lead vocal. The Beatles often recorded take after take for a song, as evidenced by the Super Deluxe set’s Take 102 for “Not Guilty,” a song that was not included on the album. This live-take recording style resulted in a less intricately structured, more unbridled album that would shift the course of rock music and cut a path for punk and indie rock.

The Beatles’ newly adopted method of recording all through the night was time consuming and exhausting for their producer, George Martin. Martin had other duties, including his management of AIR (Associated Independent Recording), and he had also composed the orchestral score for The Beatles’ animated feature film, Yellow Submarine, released in July 1968. After the first three months of ‘White Album’ sessions, Martin took a three-week holiday from the studio, entrusting the control room to his young assistant Chris Thomas and balance engineer Ken Scott. Scott had taken the place of engineer Geoff Emerick, who left the sessions in mid-July. On August 22, Ringo Starr also left the sessions, returning 11 days later to find his drum kit adorned with flowers from his bandmates. While the sessions’ four and a half months of long hours and many takes did spark occasional friction in the studio, the session recordings reveal the closeness, camaraderie, and collaborative strengths within the band, as well as with George Martin.

The BEATLES (‘White Album’) was the first Beatles album to be released on the group’s own Apple Records label. Issued in both stereo and mono for the U.K. and in stereo for the U.S., the double album was an immediate bestseller, entering the British chart at number one and remaining there for eight of the 22 weeks it was listed. ‘The White Album’ also debuted at number one on the U.S. chart, holding the top spot for nine weeks of its initial 65-week chart run. In his glowing ‘White Album’ review for Rolling Stone, the magazine’s co-founder Jann Wenner declared: “It is the best album they have ever released, and only The Beatles are capable of making a better one.” In the U.S., ‘The White Album’ is 19-times platinum-certified by the RIAA and in 2000, it was inducted into the Recording Academy’s GRAMMY® Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.”

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Boygenius  –

Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

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Fleet Foxes  –  First Collection

First Collection 2006-2009 is a special limited edition collection to mark the 10th year anniversary of Fleet Foxes’ debut album.
The collection comprises content spanning the early days of the group’s career, including the eponymous debut album, as well as the Sun Giant EP, The Fleet Foxes EP, and a compilation of B-sides & Rarities.

Available on limited edition 4-disc vinyl, as well as CD, the release also includes an extensive booklet featuring show flyers, lyrics, and artwork from the period.

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Laura Jane Grace & the Devouring Mothers – Bought to Rot

14 tracks spanning Laura Jane Grace’s fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, Bought to Rot stands as the most musically diverse collection of songs Grace has written to date.
Inspired in large part by Tom Petty’s Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Petty was when he created his solo debut masterpiece. In light of his recent passing, Grace was motivated to pay homage to one of her lifelong heroes.

Laura Jane Grace & the Devouring Mothers are Laura Jane Grace, Atom Willard, and Marc Jacob Hudson. Grace is a musician, author, and activist best known as the founder, lead singer, songwriter, and guitarist of the punk rock band Against Me!. Willard, also of Against Me!, is a drummer who has played in iconic punk bands such as Rocket from the Crypt, Social Distortion, and The Offspring. Devouring Mothers bassist Hudson is a recordist and mixer at Rancho Recordo, a recording studio and creative space in the woods of Michigan, and the sound engineer for Against Me

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The Beths  –  Future Me Hates Me

The Beths from New Zealand occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard The Breeders / Jale / Veruca Salt..

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland’s rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. From the irresistible title track to future singles Happy Unhappy and You Wouldn’t Like Me, Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis.

Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing, Wax Chattels brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y. Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. “That’s another New Zealand thing,” Stokes concludes with a laugh. “We’re putting our hearts on our sleeves—and then apologizing for it.” The result is nothing less than one of the standout records of 2018.

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The Wave Pictures -Look Inside Your Heart

The Wave Pictures return with the promised second album of the year, Look Inside Your Heart – a warm, joyous record celebrating friendship, happiness and drunken party times. Like the first album they released this year, the more contemplative Brushes With Happiness, this one was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

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Sun Kil Moon – This Is My Dinner

Prolific singer / songwriter Mark Kozelek presents yet another Sun Kil Moon album, focusing less on actual singing and more on storytelling and observation. The 10-track effort follows the chronological journey of Sun Kil Moon’s November 2017 European tour. After the trek, the band set up shop at TAPF Studio in Copenhagen, Denmark before finishing the record at San Francisco, California’s Hyde Street Studios. In addition to eight original numbers, This Is My Dinner includes a cover of AC/DC’s Rock ‘N Roll Singer (featuring Jordan Cook of Reignwolf) and the iconic theme song to The Partridge Family, Come On Get Happy.

Mary Lattimore and Meg Baird  –  Ghost Forests

Musical conversations between Meg Baird (Espers) and Mary Lattimore are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out Bull of the Woods heavy haze, and modern re-imaginations of epic traditional balladry all while touching on the strange and otherworldly places between these stations.

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Jimi Hendrix Experience – Electric Ladyland 50th Anniversary Edition

In celebration of the 50th anniversary of the Jimi Hendrix Experience’s 1968 album Electric Ladyland. Electric Ladyland was remastered by Bernie Grundman, who did an analog direct to disc vinyl transfer of the original LP, as well as a new 5.1 surround sound mix of the original album by Hendrix’s original engineer Eddie Kramer. The box set includes Electric Ladyland: The Early Takes with demos, studio outtakes, and more. It also includes the 1997 documentary At Last… The Beginning: The Making of Electric Ladyland on Blu-ray and the unreleased live recording Jimi Hendrix Experience: Live at the Hollywood Bowl 9/14/68. The 50th anniversary reissue arrives with a 48-page book featuring Jimi’s handwritten lyrics, poem, and instructions to his record label Reprise, previously unpublished photos from studio sessions by Kramer, and more. The Deluxe Edition comes with new cover art that features a photo of the band at New York City’s Alice in Wonderland statue by Linda McCartneyHendrix’s personal choice for the album art. Electric Ladyland was Hendrix’s last studio album. It included the iconic tracks Voodoo Child, their cover of Bob Dylan’s All Along the Watchtower, Crosstown Traffic, and others. It was the only Hendrix LP to reach No. 1 on the Billboard chart.

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Dave Kusworth  –  World of Dave Kusworth Vol 1 and 2

Career spanning anthology from 1983-2018, includes newly remastered classic tracks from The Jacobites, The Bounty Hunters, The Tenderhooks and The Dave Kusworth Group as well as solo material including a track from the as yet, unreleased new album 22b.The very first time a ‘Best Of ‘has been committed to vinyl. Compiled by Dave himself and designed by long standing designer Dave Twist.

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Alela Diane – The Pirate’s Gospel (Deluxe Edition)

An Album Of The Year when it was first released and it is still an Essential listen. Now with a swanky remastered edition of Alela Diane’s first mythical album including 10 bonus tracks. 2006’s The Pirate’s Gospel was the debut release from singer and songwriter Alela Diane. Hailing from the deep woods and winding rivers of Northern California Gold Rush town Nevada City, Alela grew up singing songs with her parents (both musicians). During a stay in San Francisco in 2003, she began teaching herself guitar and writing her first songs, blending tense, trance-like arpeggios, with warm, thick vocals and meditative lyrics about family and nature. Written in response to a loss of home and familiarity, The Pirate’s Gospel is a powerful document of personal re-evaluation and renewal set against the backdrop of generations past and future, mothers and fathers, life, death, and birth.

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Jethro Tull – This Was – The 50th Anniversary Edition

After several name changes, Jethro Tull played its first show as Jethro Tull in February 1968. Months later, Ian Anderson, Mick Abrahams, Glenn Cornick and Clive Bunker released the band’s debut – This Was. The album debuted at number 10 on the U.K. album chart, but more important, it was the first step in a 50-year (and counting) journey that made Jethro Tull one of the world’s most successful progressive rock bands. To celebrate the album’s 50th anniversary, a special deluxe edition

Recorded during the summer of 1968, This Was is the only Jethro Tull album to feature guitarist Mick Abrahams, who left the group shortly after the album came out to form Blodwyn Pig. The title of the album refers to the band moving away from its early blues-based sound, which was referenced in the original liner notes: “This was how we were playing then – but things change – don’t they?” The album includes songs that have been in and out of Jethro Tull’s live show for 50 years, like My Sunday Feeling and Beggar’s Farm. Also featured are several bonus tracks: Love Story, A Christmas Song. Sunshine Day and Aeroplane. In 1968, BBC Radio featured the band twice on its award-winning program, “BBC Top Gear Session.” Both of those performances – nine songs in total – are featured on the second disc, including live versions of Serenade To A Cuckoo, Love Story and My Sunday Feeling. Rounding out the disc are b-sides, outtakes, radio advertisements, and an unreleased mono mix of Someday The Sun Won’t Shine For You(Faster Version). The final CD features the album’s original U.K. stereo mix and its original mono mix.

The DVD features the original album and bonus tracks remixed by Steven Wilson in 4.1 DTS and AC3 Dolby Digital surround and 96/24 LPCM stereo. There are also 5.1 surround versions of Love Story and A Christmas Song. Also included in 96/24 LPCM stereo is the 1969 stereo mix that was released in the U.S.

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The album of the week shines in every facet of its existence. Phosphorescent (aka Matthew Houck) has meticulously crafted an intensely warm album of americana pop, drawing together a multitude of instrumental textures – from guitars and pedal steels, to synths, to his own voice – and yoking them into perfect harmony. his lush melodies are executed with the utmost sincerity, giving his music a widescreen poignancy.

There are many more tasty treats out this week…big thief vocalist Adrianne Lenker has struck out on her own with an absolute pearl of an album. sweet & understated, this collection of songs poured out of her in the moments between performing & practicing with her band, resulting in her most intimate work yet. that’s on very limited glow-in-the-dark vinyl, for people who like to listen with the lights off. picking up the tempo a little, Molly Burch’s country pop sophomore features that same beautiful, warbling voice channelled through a stronger, more confident set of songs founded upon indelible melodies.. we’ve also been loving the debut from kentucky’s the Other Years, whose angelically pure vocal harmonies, underpinned by a sweet backing of violin & banjo, are a thing of simple beauty. this is the perfect album to come home to after a strenuous day – trust. predictably, Cat Power’s new album is a stone-cold stunner! her largely acoustic set of folk-tinged, blues-tinted songs continue to prove her to be one of the strongest songwriters working today.

Further recomendations Throwing Muses’ Kristin Hersh delivers another powerful solo album of darkly melodic scuzz-songwriting Will Hoge injects his rumbly-voiced country with an invigorating dash of soul and an exhilarating bolt of rock bravado;  it’s also worth knowing that Blood Orange’s ‘negro swan’ is finally in on vinyl, amy helm’s red vinyl lp has finally popped in & settled its round little body into our shelves. & Marie Davidson’s excellent new record – which had me & mark jiving away.

Reissues this week, Bloc Party‘s classic debut ‘silent alarm’ arrives for the very first time on sturdy 180 gram vinyl. john Lennon’s ‘imagine’ gets a new stereo remaster, along with a bounty of alternate mixes & alternate takes that offer tremendous insight into his recording process. and possibily the greatest guitar album ever Television’s very seminal ‘Marquee Moon’ is in on blue vinyl, with a bonus disc of alternate versions – yum!

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John Lennon  –  Imagine (2018 reissue)

this truly unique edition of one of the most iconic albums of all time sees the timeless record remastered with a new stereo remix and some additional non-album singles.

digging through extensive archival content, Yoko and her team deliver us an incredibly personal journey through the entire songwriting and recording process – from the very first writing and demo sessions at John’s home studio at tittenhurst park through to the final co-production with Phil Spector – providing a remarkable testament of the lives of John Lennon and Yoko Ono in their own words. ***the deluxe 2cd comes with an extensive bonus disc of different mixes, demos and alternate takes. *** ***the super deluxe boxset comes with an incredibly vast array of different mixes, demos and alternate takes, the restored ‘Imagine’ and ‘Gimme Some Truth’ films and a 120 page hardcover book documenting the album’s creation***

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Adrianne Lenker – Abysskiss

the big thief vocalist lays down a mesmerising set of songs that are hushed & disarmingly intimate, in which we climb into her consciousness without encountering any barriers & revel in the sweet beauty of her gentle melancholy.

the songs chosen for this collection were the songs that felt the most alive in the room. these are not castaways or b-sides. some of these songs have been alive for years while some were written just days before the recording session. with this collection, Lenker further illuminates to the listening public that she is a songwriter of the highest order, following her voice & the greater voices that pass through her with an unflinching openness & clarity of translation. “it’s an invitation to peer into the hidden spaces of an extraordinary modern songwriter, where calm & quiet moment prompt superlative work”

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Phosphorescent  –  C’est La Vie

Matthew Houck has crafted an electrifying collection of songs that blend a dreamy, psychedelic americana aesthetic with solid pop foundations that never fail to engage.

this album reveals a crystallisation of what made ‘Muchacho’ such a breakout record release — a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative. the magic of Matthew Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. it’s not experimental, exactly, but it’s singular and it’s definitely not traditional. that knack, the through-line across the phosphorescent catalogue, is front and centre here. fans of bon iver, iron and wine, bonnie prince billy, damien jurado and okkervil river will love this! “songs of experience make up Matthew Houck’s heavenly seventh”

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Molly Burch  –  First Flower

a walk through Molly Burch’s most intimate thoughts – broken friendships, sibling relationships and overwhelming anxiety – ‘First Flower’ is a bright, beautiful album peppered with moments of triumph with Burch’s voice as strong and dexterous as ever.

opening track “Candy” is a swinging, playful hit, while “Wild” deals with pushing away fear. title track “First Flower” is classic Burch, a simple love song that gives you goosebumps when she breaks into the chorus. but the album’s true stand-out is “To the Boys”, a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. if you enjoyed angel olsen’s ‘My Woman’, this is the album for you. “more dreamy, torchy country-pop goodness from this Austin breakout”

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Ron Gallo –  Stardust Birthday Party

Ron Gallo’s punk-poet persona remains intact, backed by a generous injection of scuzz and fuzz.

“the details of my path are pointless because everyone’s path is different. it is about me sitting with myself for the first time and confronting the big question ‘what am i, really?’ it’s about the love and compassion for all things that enters when you find out you are nothing and everything. i think at one point i wanted to change the world, but now i know i can only change myself, or rather just strip away everything that is not me to reveal the only thing that’s ever been there. and that’s what this album is about, it’s me dancing while destroying the person i thought i was, and hopefully forever”. fans of oh sees, ty segall and warm drag should check this out

WANDERER

Cat Power  –  Wanderer

Chan Marshall’s return to the folkier, bluesier side of the tracks is very welcome on this lustrous set of understated, yet quietly powerful, acoustic ballads.

produced in its entirety by Marshall, ‘Wanderer’ includes appearances by long-time friends & compatriots, as well as guest vocals courtesy of Lana del Rey & an exquisite cover of Rihanna’s ‘Stay’. the 11 tracks encompass “my journey so far,” says Marshall. “the course my life has taken in this journey – going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. folk singers, blues singers, & everything in between. they were all wanderers, & i am lucky to be among them.” “the set has both strength & a lean, lustrous beauty, tapping Carole King-style classicism & american folk standards”

Fall Into the Sun

Swearin’ – Fall Into The Sun

their scuzztastic reunion has gifted us a blissful set of melodic bangers that go hard on distortion and easy on the ears.

much like the band’s previous albums, Gilbride anchored the recording and producing of the record, but this time around, the band worked to make the process feel more collaborative than ever before. “i feel like this was the first time i could look at a Swearin’ record and say that i co-produced it, and that felt really good,” said Crutchfield. Crutchfield and Gilbride always had an innate ability to mirror the other’s movements in songs, but here, they build a focused lyrical perspective across their songs, one that’s thankful for their past, but looks boldly toward the future. fans of rilo kiley, the beths, speedy ortiz and forth wanderers need to check this out!

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Kikagaku Moyo – Masana Temples

the psych-prog quintet return with a serene set of wah-heavy motifs, seasoned with moments of exquisitely delicate, hushed vocals.

more than the literal interpretation of being on a journey, the album’s ever-changing sonic panorama reflects the spiritual connection of the band moving through this all together. inspecting the harmonies and disparities between their evolving perspectives, the group reflects the emotional impact of their nomadic paths. the music is the product of time spent in motion and all of the bending mindsets that come with it. fans of minami deutsche and sundays & cybele should check this out.

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Kristin Hersh  – Possible Dust Clouds

enveloping the juxtaposition of the concept of ‘dark sunshine’, this brooding solo album expands her off-kilter sonic vision; a squally, squeaky cocktail of discordant beauty.

feedback and phasing gyrate from simply strummed normality, imagine Dinosaur jr and My Bloody Valentine cranking up a Dylan couplet. messing with both extremes of the sonic spectrum: atonal and arrhythmic, a unique sound and a glorious return to form for one of alternative rock’s true innovators. “sometimes the most subversive thing i can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes” – Kristin Hersh, july 2018. “the prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.”

LIVE AT THIRD MAN RECORDS

Father John Misty – Live at Third Man Records

Live at Third Man Records covers songs from the first three of his albums, heard here stripped totally bare, you lucky tikes.  In September last year, Josh Tillman stopped by Third Man’s Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised them with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. They, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion. As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before they started cutting the LP. He began with the debut performance of his newly penned Mr. Tillman(foreshadowing its release as the first single on God’s Favorite Customer 9 months later). They then used the second song as an opportunity to carve a 12” on-the-spot single of Now I’m Learning to Love the War, which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you’ll have to scour the depths of FJM’s fan net. Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare

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Will Hoge  –  My American Dream

Hoge gives it his all on this blazing album of gritty, country soul, newly infused with a furious rock energy.

with ‘My American Dream’, Hoge hopes that others will follow his lead, see the world through someone else’s eyes, and maybe begin to fix the mess we’re living in. “i don’t want to write songs telling people how they should feel” Hoge says. “if anything, maybe there’s a 16- or 17-year-old kid in the small-town south who has rumblings of these feelings but doesn’t have anybody in his little community to go, ‘hey man, think about it like this for a second. here’s another group of people’s perspectives’”. fans of chris stapleton, lydia loveless, steve earle’s ‘copperhead road’ and nikki lane will love this!

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Arc Iris  –  Icon of Ego

the trio’s third is a vividly expressionistic record that reflects their protean talents, creating an avantgarde experimental pop that’s entirely their own.

‘Icon of Ego’ finds a stronger, more experienced band. the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. with heavy synthesiser work by Tenorio and Jocie Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analogue electronic sound that harks back to the ’70s. presiding over these are Adams’ powerful vocals that house the energy under pop forms. fans of cocorosie and deerhoof should check these guys out.

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Terry – I’m Terry

the Melbourne quartet capture their particular kind of witty diy, garage pop beautifully on this lp.

there are few rules in Terry’s world. “they seem to make a song out of whatever sounds good to them. the only stylistic consistency is in their hat wear. terry are like Steely Dan or 10cc. both bands make me queasy after a certain point. Terry probably also make me a bit queasy, singing about police beatings and nationalism and all that. but they’re not out to hurt you. they’re like the kindly bearer of bad news. Terry puts it in terms that speak to me. it’s a tragicomedy.” – fans of the go-betweens, courtney barnett and rolling blackouts coastal fever need to hear this.

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Soccer Mommy – Henry / I’m on Fire

Soccer Mommy aka Sophie Allison puts her own heavenly spin on the boss’ timeless classic, plus reworks the lead track from her obscure 2016 album ‘For Young Hearts’, previously only physically available as a rare cassette release. we think she’s done Bruce proud. Soccer Mommy is a must for fans of snail mail, phoebe bridgers, lucy dacus and julien baker.

LIVE AT THIRD MAN RECORDS

Kevin Morby – Live at Third Man Records

Kevin Morby performs two tracks for third man, stripping them down and revealing something completely new, in relation to their studio counterparts.

Formally a member of New York folk group Woods, Kevin Morby has made a name for himself with his four acclaimed solo releases. these songs, “Destroyer” and “Black Flowers”, come from his third record ‘Singing Saw’. “Destroyer” is an autobiographical minimalistic keyboard ballad, a distant cousin of the full band album version. “Black Flowers” on this single borrows less from the sweeping orchestras of leonard cohen’s catalogue and more from the melancholic austerity of bert jansch.

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The big records releases from Kurt Vile, John Grant, St Vincent and at last The Lucid Dream plus loads of fantastic reissues from Mute and Dark Entries (that Eric Random is amazing) and the next David Bowie box set. Among new artists with records you should be listening too goes to Anna St. Louis, I have to say that I hadn’t heard her before but when I saw the press release compare her to Loretta Lynn, Townes Van Zandt and John Fahey I had to give it a spin. It is sooooooo good. Easily eyeing up a top spot in our albums of the year list. Its one of those records that everyone asks who it is when you hear a song, each track gets better as it goes along until when the album finishes you have just got to stick it straight back on.
I love records that are a surprise and I think you will love it too.

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St. Vincent – Masseducation

A year on (to the week) from the release of the critically acclaimed Masseduction album, St. Vincent releases re-imagined piano versions of the album. Performed with Thomas Bartlett over two days in a studio in Midtown Manhattan, August 2017.

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Kurt Vile – Bottle It In

Kurt Vile is back with his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around America over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips.

Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next.

Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music— not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on Hysteria, how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of Mutinies, how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to Come Again.

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John Grant  –  Love Is Magic

With his fourth solo album, Love Is Magic, Grant has continued evolving, creating his most electronic record yet.

In collaboration with Benge (Ben Edwards), analogue synth expert / collector and a member of electronic trio Wrangler, Grant’s collaborators earlier this year under the collective name of Creep Show on the album Mr Dynamite. Anyone familiar with Grant’s story will recognise his battles – with addiction and health, with trusting love and relationships. From this turbulence he’s forged another riveting collection of often brutal diatribes and confessionals, where humour, fear, anxiety and anger overlap as Grant, with trademark candour, figuratively exposes the machinations of his saturated brain. It’s epitomised by the album’s brilliant opener Metamorphosis, almost as if his warring psyches are facing up to one another, as impervious synth-pop and brain-on-fire imagery (“Tiki bar, rat soufflé, Buik regal, Marvin Gaye”) melts into dream-ballad introspection (“Questions left unanswered, spiritual extortion”) and back to synth-backed mania. The magic of love pervades in two gorgeous, magisterial ballads toward the end of the album,Is He Strange and The Common Snipe – referring to the wader bird that makes a unique ‘bleating’ sound by rubbing its tailfeathers together.

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David Bowie  –  Loving the Alien (1983 – 1988)

The box contains newly remastered versions of David’s most commercially successful period Let’s Dance, Tonight, Never Let Me Down (Original and 2018 Versions), the live album Glass Spider (Live Montreal ’87)’, the previously unreleasedSerious Moonlight live album, a collection of original remixes entitled Dance and the non-album / alternate version / b-sides and soundtrack music compilation Re:Call 4. The highlight of this latest box is the brand new production of the 1987 album Never Let Me Down by Bowie producer / engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass) as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on Shining Star (Makin’ My Love). The seeds of this new reimagining of the albums were first sown in 2008 when David asked Mario McNulty to remix the track Time Will Crawl and record new drums by longtime Bowie drummer, Sterling Campbell along with strings. The track was issued on the iSelect compilation to much acclaim, and in the notes, for that record, David remarked ‘Oh, to redo the rest of that album’. The new re-workings have revealed Never Let Me Down as a very strong collection of songs with a dark thematic thread running through them. Fans listening to Never Let Me Down (2018)would be forgiven for thinking that they were listening to a brand new ‘lost’ Bowie record. Also in each box is the never before released Serious Moonlight live album recorded in Montreal in 1983. Originally mixed at the time by Bob Clearmountain, the double album captures Bowie on what at that time was his most successful tour. The artwork features shots taken by photographer Denis O’Regan. Exclusive to each box is Re:Call 4 and Dance. The former a new compilation featuring remastered contemporary single versions, non-album singles, album edits, b-sides and songs featured on soundtracks such as Labyrinth, Absolute Beginners and When The Wind Blows. Dance features 12 contemporaneous remixes some of which are appearing on CD and vinyl for the first time and is named after an unreleased Bowie remix album that was originally slated for release in November 1985. The box set’s accompanying 128 page book features rarely seen and previously unpublished photos by photographers including Denis O’Regan, Greg Gorman, Herb Ritts and many others as well as historical press reviews and technical notes about the albums from producers / engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith.

11CD – The CD box set includes faithfully reproduced mini-vinyl versions of the original albums, and the CDs are gold coloured rather than the usual silver. Includes 128 Page hardback book. Let’s Dance (remastered) (1CD) Serious Moonlight (Live ’83) (previously unreleased) (2CD) Tonight (remastered) (1CD) Never Let Me Down (remastered) (1CD) Never Let Me Down 2018(previously unreleased) (1CD)* Glass Spider (Live Montreal ’87) (2CD) Dance (1CD)* Re:Call 4(non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (2CD)*

* Exclusive to Loving The Alien (1983-1988)

15LP – LP Box Set includes a 88 Page hardback book. Let’s Dance (remastered) (1LP) Serious Moonlight (Live ’83) (previously unreleased) (2LP)* Tonight(remastered) (1LP) Never Let Me Down (remastered) (1LP) Never Let Me Down (2018) (previously unreleased) (2LP – side 4 is etched)* Glass Spider (Live Montreal ’87) (previously unreleased on vinyl) (3LP)* Dance(2LP)* Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (3LP)*

* Exclusive to Loving The Alien (1983-1988) LP box.

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Primal Scream  –  Give Out But Don’t Give Up – The Original Memphis Recordings

In 1993 Primal Scream went to Memphis to make an album with Tom Dowd and the Muscle Shoals rhythm section, that album never saw the light of day, until now. Following the recent discovery of these tracks in a box lurking in Andrew Innes’ basement, Primal Scream release the original studio recordings from Memphis of the tracks that eventually became their 1994 album Give Out But Don’t Give Up. Teaming up with legendary producer Tom Dowd and the Muscle Shoals rhythm section of David Hood (bass) and Roger Hawkins (drums) at Ardent Studios in Memphis, the resulting recordings from those classic sessions showcase the more country soul, rock’n’roll side to a band who continue to surprise. It’s Primal Scream as you’ve never heard them before. Dowd’s deft production, coupled with the merging of this sublime rhythm section and one of the UK’s best ever bands, led to the creation of nine glorious tracks that run the gamut between blues, gospel and brilliant songwriting, available for the first time.

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Elvis Costello and The Imposters  –  Look Now

Costello returns with his first new collection of songs since his Wise Up Ghost collaboration with The Roots in 2013. It features The Imposters (bassist Davey Faragher along with original Attractions members, drummer Pete Thomas and keyboardist Steve Nieve). The album was co produced by Costello with Latin Grammys winner Sebastian Krys. Two standout tracks are Under Lime and Unwanted Number. The former is a spry, heavily textured pop rocker with Beatles-esque harmonies and horn arrangements on which Costello sings, “It’s a long way down from that high horse you’re on.” The latter is more low-key and boasts a soul groove and lush backup vocals, which allows Costello to belt lyrics about enduring a sour relationship. “I knew if we could make an album with the scope of Imperial Bedroom and some of the beauty and emotion of Painted From Memory, we would really have something,” Costello said in a statement, referring to the 1982 album he recently revisited on the road and his collaboration with songwriter Burt Bacharach. Bacharach co-wrote a few songs on Look Now, and sat in on piano with the Imposters on two of them, Don’t Look Now and Photographs Can Lie. Costello wrote another Look Now song, Burnt Sugar Is So Bitter, with Carole King.

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Arc Iris – Icon of Ego

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

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The Lucid Dream – Actualisation

The Lucid Dream return with the release of their 4th album, Actualisation. Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream. Actualisation is soaked in the influence of acid house, amalgamated with dub and kosmische. The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor. Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz). The confrontational techno-punk of Alone In Fear opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is. Recent single SX1000 (the first work from the album, unveiled via 12′ vinyl in April this year) is the band’s first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by Ardency, a track already praised by live critics when aired live for the first time earlier this year as ‘even on first hearing, would’ve raised the roof of The Hacienda’. The 2-part opus of Zenith follows, commencing with a space-dub / house instrumental groove before building into a track that will go for your head as much as your hips. Only Breakdown harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. No Sunlight Dub closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum ‘n’ bass / jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.

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Anna St Louis  –  If Only There Was a River

If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own.

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The KVB  –  Only Now Forever

The KVB release their sixth album, entitled Only Now Forever via Invada Records. Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait. Will appeal to fans of Depeche Mode, The Soft Moon, New Order, Nine Inch Nails and My Bloody Valentine.

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The KVB  –  Of Desire

The fifth album from UK darkwave duo The KVB is released on Invada Records. Of Desire is Kat Day and Nicholas Wood’s second release on Portishead member Geoff Barrow’s Bristol-based label. It follows a string of releases for operations like Downwards, Minimal Wave sublabel Cititrax and Ukraine’s ~taqueOT, most of which explored a moody shoegaze aesthetic. The recording of In Deep saw the The KVB raid Portishead and BEAK> man Geoff Barrow’s synth collection, as well as roping in Sonic Boom to master it. Their most fully formed record and considered in terms of dynamics, arrangements and instrumentation, taking in influences such as Death In Vegas, Scott Walker and Roxy Music, The KVB have managed to create something that is at once familiar and yet inventive and original.

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Cocteau Twins – Treasure Hiding: The Fontana Years

There was perhaps a sense, after a while, that the world was taking The Cocteau Twins for granted. Late Eighties reviews had routinely described them as The Voice of God, yet 4AD, concerned that we’d get tired of appreciating the rarefied genius which shimmered in front of our noses, would keep reminding us that they were truly special. The irony was that The Cocteaus were themselves evolving, morphing, reconstituting and taking on new shapes. This wasn’t widely registered at the time. It can be now, as The Fontana Years demonstrates a musical marvel which still makes your ears feel like they’re sucking citrus fruits after years of licking ashtrays, while the rings of Saturn crash-land in your front room. This 4-CD set brings together the two albums the band recorded for Fontana along with B-Sides, EP’s, Radio One sessions and the odd rarity. The set was mastered at Abbey Road from the original tapes and approved by Robin Guthrie. Housed in a study box designed by James Issacs – the booklet contains photos a discography from the era as well as a sleeve note by noted author Chris Roberts.

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Beta Band  –  The Three Eps (20th Anniversary Remaster)

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band’s catalogue last year, Because Music reissue their releases, with a double vinyl edition featuring the EPs Champion Versions, The Patty Patty Soundand Los Amigos Del Beta Bandidos with remastered tracks and coloured vinyls, to celebrate the 20th anniversary of the 1998 compilation.

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Tokyo Police Club  – TPC

If the universe had tilted the tiniest bit, there would be no TPC – the not-quite self-titled fourth (and best) Tokyo Police Club album. By 2016, singer-bassist and chief songwriter Dave Monks had settled into life in New York City; he made a solo record and did some co-writing. Drummer Greg Alsop was living and working in L.A. Keyboard player Graham Wright and guitarist Josh Hook remained in the band’s native Canada. Tokyo Police Club created songs via e-mail, thinking they had enough natural chemistry and experience to make that setup work. But eventually, the lack of friction meant there was less musical spark, and it dawned on everybody that the end was near. There was resignation, not anger, when Wright, Alsop, and Hook told Monks they were done with the band. After putting aside the idea of splitting up and back-burnering their commercial expectations, there was just one thing left to do: go to church. Specifically a church in rural Ontario, where the foursome could recapture the energy of their early years by playing in a room together. Songs that Monks had written were abandoned when they didn’t feel right for this new energy, and TPC started to take shape, built on camaraderie and esprit de corps.

Monks’ friends could once again help shape his songs into TPC songs, and the batch that ended up on the record aren’t quite like anything they’d done before. Album opener New Blues signals that Tokyo Police Club doesn’t need a racing tempo to introduce themselves; Pigs takes a sneering look at record-business politics; Simple Dude is unabashedly horny. Not giving a fuck—or, more accurately, only giving a fuck about those things closest to your heart—paid off. It’s the channeling of energy, which flows into every song on TPC, that makes the record their best. They’re through being cool, through doubting themselves, and through wasting time on ancillary things. TPC is self-titled, almost, because it’s Tokyo Police Club circa 2018—scarred but smarter, fully re-energized.

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Peter Holsapple vs Alex Chilton – The Death Of Rock

Newly discovered recordings of early solo Peter Holsapple and Like Flies On Sherbert–era Alex Chilton. Liner notes by Peter Holsapple and author / filmmaker, Robert Gordon. Previously unseen photos from the collections of Peter Holsapple and Pat Rainer. It’s 1978 at Sam Phillips Recording Service in Memphis, TN. Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician / engineer / friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio. Chilton meanwhile, was knee deep in the making ofLike Flies On Sherbert, also being tracked at Phillips. He told Peter, “I heard some of that stuff you’re working on with Richard . . . and it really sucks.” Alex promised to come by and show Peter “how it’s done.” The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (Bad Reputationand We Were Happy There) and on an album by The Troggs (The Death Of Rock retooled as I’m In Control), so not a loss at all. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.” Liner notes by Peter Holsapple tell the story of these recordings firsthand and author / filmmaker / Memphian, Robert Gordon, helps pull the time and place into focus. Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer. Produced by Cheryl Pawelski with mastering by Mike Graves at Osiris Studio and Jeff Powell at Take Out Vinyl / Sam Phillips Recording Service in Memphis, who brings it all right back to where it started.

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John Hiatt  –  The Eclipse Sessions

The Eclipse Sessions, John Hiatt’s newest album, offers up his strongest set of songs in years. Long celebrated as a skilled storyteller and keen observer of life’s twists and turns, Hiatt can get at the heart of a knotty emotion or a moment in time with just a sharp, incisive lyric or witty turn of phrase. The 11 tracks presented in The Eclipse Sessions, from the breezy opener Cry To Meto the stark Nothing In My Heart, the lost-love lamentation Aces Up Your Sleeve to the rollicking Poor Imitation Of God, demonstrate that the singer-songwriter, now 66, is only getting better with age, his guitar playing more rugged and rootsy, his words wiser and more wry. Hiatt goes all in with The Eclipse Sessions. There’s a grit to these songs – a craggy, perfectly-imperfect quality that colours every aspect of the performances, right down to Hiatt’s vocals, which are quite possibly his most raw and expressive to date. “They ain’t pretty, that’s for sure,” he says about the creaks and cracks that punctuate his phrases in songs like Poor Imitation Of God and One Stiff Breeze. “But I don’t mind a bit. All the catches and the glitches and the gruffness, that sounds right to me. That sounds like who I am.” The Eclipse Sessions is the sound of an artist not only living in but also capturing the moment.

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Spacemen 3 – Forged Prescriptions

Forged Prescriptions is a double album by Spacemen 3, containing alternative takes and demo versions of songs from their album The Perfect Prescription, plus some previously unreleased tracks. In his liner notes

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Jeff Buckley –  Live In Pilton UK, June 24, 1995

Recorded in Pilton, Somerset, England at the legendary Glastonbury Festival – running nearly 50 years now, since 1970 – on June 24, 1995, this is one of Jeff Buckley’s most famous live recordings. Raw, heavy, heartfelt, and deeply emotional, the set is comprised almost entirely of Buckley originals, mostly off of 1994’s Grace as well as one unreleased track and an unexpected cover of the MC5. Required live listening for any fan of this great 90s artist gone way too soon, who left only a small but nearly perfect legacy of recorded music.

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The Rolling Stones – The BBC Sessions 1963-1965

Amazing early live BBC recordings from The Rolling Stones, even including recordings made before the release of their first record. Essential stuff for any fan of the greatest rock and roll group of all-time, including a ton of their great early R&B and blues cover versions! Including early Stones classic covers like Memphis, TN, It’s All Over Now, and Hi-Heel Sneakers, this is a party on wax. Nothing beats early Stones with Mick and Keith wailing and the band as amped up as they ever were! Classic.

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Small Faces – The BBC Sessions 1965-1966

Collecting some of their earliest BBC sessions onto one disc this is Steve Marriott and his Small Faces at their absolute rocking R&B rave up best. Featuring classic originals like Watcha Gonna Do About It, E Too D, and Understanding, as well as killer covers of Motown and Otis Redding, this set is guaranteed to get you go-go’ing on the dancefloor. The greatest UK blue eyed R&B group of all-time at their live best.

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The Kinks – The BBC Sessions 1964-1967

Spanning tracks from the classic 1964 self-titled debut to their 1967 masterpiece Something Else by the Kinks, this collection features nearly two dozen Kinks klassics, recorded live on the BBC. With stunning sound quality and a near perfect group of songs, hear the Davies Bros and Co. at their live, raw best. From the psych-pop brilliance of David Watts to the foot-pounding R&B of All Day And All Of The Night this collection runs the full spectrum of The Kinks’ sound. Essential live cuts from one of the top British Invasion and psychedelic era groups!

This Weeks Releases —-
Anna St. Louis – If Only There Was A River – Woodist
Daniel Brandt – Channels – Erased Tapes (Indie Exclusive)
John Grant – Love Is Magic – Bella Union (Deluxe)
Kurt Vile – Bottle It In – Matador (Indie Exclusive)
Yves Tumor – Safe In The Hands Of Love – Warp
Factory Floor – A Soundtrack For A Film – Heart Of Data (Indie Exclusive)
A Certain Ratio – The Graveyard & The Ballroom – Muts (Indie Exclusive)
Silicon Teens – Music For Parties – Mute
William Basinski & Lawrence English – Selva Oscura – Temporary Residence (Indie Exclusive)
Goatman – Rhythms – Rocket Recordings (Indie Exclusive)
Groundhogs – Blues Obituary – Fire Records (Indie Exclusive)
The Fall – I Am Kurious Orange – Beggars Banquet
Eric Random – A Boy Alone – Dark Entries
Talking Drums – Courage – Dark Entries
Cyrnai – To Subtle Drive – Dark Entries
Tess Parks & Anton Newcombe – Tess Parks & Anton Newcombe – A Recordings
Holger Czukay – Rome Remains Rome – Gronland
Holger Czukay – Der Osten Ist Rot – Gronland
Haley – Pleasureland – Memphis Industries (Indie Exclusive)
Exek – A Casual Assembly – Superior Viaduct