WAXAHATCHEE – ” American Weekend “

Posted: February 10, 2018 in MUSIC
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American Weekend, was the 2012 debut album from Katie Crutchfield’s solo Waxahatchee project. Despite being the most rudimentary of her four LP-strong discography, American Weekend is the one I find myself returning to, especially when I feel lonely – not because it offers comfort, but because it offers solidarity, which I suppose is comfort of a different sort. It’s a particularly helpful album to listen to in January, because while it’s an appropriate conduit for the sentiments commonly felt throughout the month, its summery feel is also a distraction from the physical realities of shit weather and central heating. Despite its outdoorsy warmth, however,American Weekend is intimate too.

Take the record’s opener “Catfish”: the recording is fuzzy, the guitar-playing is delicate, the vocal almost a whisper, the poetry of the lyrics recited as if it were the only time they’d ever been said aloud. The song functions as a series of snapshots, of moments captured, brought together abstractly. It remembers better times – closeness, conversation, “Getting high in Portland, Oregon” – and it sets the tone for the entire album. The final two lines on “Catfish” are thus: “It’ll look just like heaven when I get up and leave / You’re a ghost and I can’t breathe.” American Weekend is a set of songs about transience, other people, and the way we process both. To use Crutchfield’s own phrasing: the past, and the figures in it, often resemble a type of heaven once we’ve left them behind.

The tracks on American Weekend often feel like they’re located in the time you spend reflecting on something once it’s happened, when it exists only in your memory. The record’s final track “Noccalula” forms a companion piece to “Catfish”, capturing the simple, painful truth of the passage of time in a rare, plain way: “You’ve got a husband now / I have Waxahatchee Creek / And you used to come here with me,” Crutchfield sings, an entire past contained in the longer breath she takes before the third line.

Crutchfield’s lyrics on American Weekend are as emotionally dense as they had been for P.S. Eliot, one of the bands she played in with her sister Allison before starting Waxahatchee. The dramatic scene Crutchfield paints on “Noccalula” – of a sole woman standing against the vastness of nature, left to herself by the players of her past – is one instance of her ability to cram so much impact into only a few words. Later on the song, she notes more abandonment (“Allison’s only calling me when her life’s falling apart,” she sings of her sister). Indeed, loneliness (and aloneness, because they’re not the same thing) feel like the default setting for American Weekend, making for an absorbing sonic environment. There is no way to listen to “Bathtub,” for example, without feeling like you too are naked and alone, exposed to sun streaming onto your body through a window cracked open 45 degrees, your skin slick with water and your own dirt.

And even the one track that reads as a sweet, present ode to companionship, “Be Good,” is crisp at its edges with sadness. On the surface, it’s a breezy disavowal of Anything Too Serious, all sunny chords, smitten late night phone calls: “You don’t wanna be my boyfriend / And I don’t wanna be your girl,” the lyrics attest. Maybe it’s just me and my own projections, but Crutchfield’s refusal of a real relationship, one outside of the non-committal “world” she and her subject have built for themselves, isn’t that persuasive, but it is one I know by heart. One section reveals her reservations:

Sometimes it’s simpler to allow a good thing to remain a good thing, crystallised in time, a perfect season to look back at – that’s what Crutchfield decides for the romance on “Be Good.” One phrase quoted above, however, stands out. “I’ll disappear.” For me it brings to mind the ways in which some relationships drain you, wringing out your essential self until you have managed to squeeze into a mould of what someone else wants. Katie Crutchfield can see it coming on “Be Good,” so she avoids it, choosing instead to retain herself, even if it means inhabiting loneliness from time to time.

CAR SEAT HEADREST – ” My Boy (Twin Fantasy) “

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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Car Seat Headrest has unveiled the final single before the release of his new album Twin Fantasy, which is out on the 16th February on Matador Records.

This time it is the album opener My Boy (Twin Fantasy), which kicks off with a sparse, plaintive declaration of “my boy, we don’t see each other much”, and blossoms into a towering sonic climax, with the mantra of “It’ll take some time, but somewhere down the line / We won’t be alone”.

It is our favourite so far from the reimagined version of his album originally released in 2011.

CITADEL FESTIVAL 2018 Gunnersbury Park London Sunday 15th July 2018

Posted: February 10, 2018 in FESTIVALS, MUSIC
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Tame Impala to headline Citadel Festival 2018

Citadel Festival have announced Australian psych-rockers Tame Impala as the 2018 headliners for Citadel 2018. The band’s headline slot will mark their first show in London since February 2016.

Taking place on Sunday 15th July at Gunnersbury Park, Citadel Festival blends live music with theatre, arts, talks and workshops.

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VARIOUS ARTISTS – ” Popkiss TBTCI meets Sarah Records “

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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In this crazy and aggressive world in which we live today, we necessary need more and more love, a little love, love for life, love for people, love, simply love.

And with this feeling that TBTCI and all the wonderful bands present in this project, honor first, the superb and seminal record labeel, Sarah Records, and all the wonderful bands that were part of the cast and its history, bands that live in our heart!

And second, we all want to spread love from the beginning of this new year until the last second of 2018.
Do yourself a favor, love, love without limits !!! . My special thanks to all the bands present on this project and of course all the cool bands that were honored, and obviously thank you Sarah Records.

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RON GALLO – ” Really Nice Guys ” Documentary

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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A documentary film about Ron Gallo, and the creation of ‘Really Nice Guys.’ The new EP is available

Starring: Ron Gallo as “Ron” Dylan Sevey as “Dylan” Joe Bisirri as “Joe” Thank you to the supporting cast: Coco Reilly, Alex Collier, Chris Sunday, New West Records staff, The East Nashville Steak Ramblers, Liz Cooper, William Lee, Dominic Billett, Caroline Bowman.

Really Nice Guys is a concept mini album by Thyme Magazine’s ‘Man Of The Year’, Ron Gallo. The release is another thought provoking and inspired instalment, extending an already prolific calendar year by Gallo which saw the release of the critically acclaimed full length album Heavy Meta, as well as the 7” singles, Temporary Slave and Sorry Not Everybody Is You. Really Nice Guys finds Gallo exploring new sonic frontiers and instrumentation in the form of what might be called a conceptual art piece. Whatever you call it is wholly original and Gallo continues to melt faces and free minds. For fans of Parquet Courts, Ty Segall, Courtney Barnett, Mac Demarco etc.

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DARLINGSIDE – ” Audiotree Live Session “

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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Darlingside is a Massachusetts-based ensemble gearing up to release their sophomore album Extralife on February 23rd. In this group, there is no lead singer, but a complete blending of all four voices, sharing lyrics that were written as a “group stream of consciousness.” We can feel the collective heart of the group in this song as they reflect on the past, all while so gracefully moving forward.

The REGRETTES – ” Come Through “

Posted: February 10, 2018 in MUSIC
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hellooooo hello HELLO! here’s the moment you’ve all been waiting for. drum roll please… our new song “come through” is out today! not only is our new song out today, but the video directed by the fantastic goddess angel claire vogel, is out as well. we are really proud of this one. For many of us, Nirvana’s “Smells Like Teen Spirit” was a lot more representative of our high school years than Katy Perry’s “Teenage Dream.” Luckily for young adults, and honestly anyone who enjoys quality music, up-and-coming rock band The Regrettes is pumping out honest, relatable hits that don’t shy away from life-changing experiences, both good and bad. In fact, it’s those very experiences that inspire lead singer Lydia Night, 17, when she sits down to write.

you don’t have to be a teenager or young adult to get The Regrettes. The band — comprised of Night, Genessa Gariano (20, guitar), Sage Chavis (20, bass), and Maxx Morando (19) — just released it’s dreamy, ’70s-inspired music video for “Come Through,” which is a song Night said is all about the sometimes messy power dynamics in relationships.
“It’s really easy when you’re in an insecure time in your life to let someone walk all over you,” Night said. [This song is about] how you get used to that without even realizing it. This was about realizing that was happening in my life and kind of standing up for myself. It’s really just about not being someone’s bitch.”
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Lydia • Genessa • Sage • Maxx

HOOKWORMS – ” Microshift ” Best Albums Of 2018

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC
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It was  just like being in a disaster movie.” That’s how Hookworms singer Matthew “MJ” Johnson remembers Boxing Day in 2015, when the river Aire burst its banks, engulfing the band’s studio and rehearsal space. He was having lunch at his parents’ house several miles away at the time. The moment he heard the emergency flood alert, Johnson abandoned the meal and drove through rising water to the studio, which was soon five feet under. “The electricity was off and there was an eerie calm,” he says. “It was genuinely scary. I’ve got strong legs through cycling but I kept getting knocked over.”

Because the building, in the Kirkstall area of Leeds, was on a flood plain, he’d been unable to get insurance (even though the last flood had occurred in 1866). By the time he went back two days later to assess the damage, the waters had taken his car, much of the band’s back catalogue, their new recordings and – since he ran the place as a commercial studio – his livelihood. “I looked around,” he says, “and there was nothing left.”

Two years on, the studio has been rebuilt, courtesy of crowdfunding, friends and other bands who rallied round. Hookworms have now poured their frustrations into Microshift, a glorious, electronic-psychedelic third album with motorik grooves and euphoric choruses. After two previous albums of brain-scrambling, fuzzy psych-rock, it is being widely heralded as a triumph. The Guardian called it “their most accessible work and their most intense”, while the Times, in another five-star review, hailed it as “an instant classic” comparable to such benchmarks as the Jesus and Mary Chain’s Psychocandy and Spiritualized’s Ladies and Gentlemen We Are Floating in Space.

Not that the down-to-earth quintet are getting carried away. “The album got three stars in Crack magazine,” laughs Matthew “MB” Benn, the band’s synth player (an audiologist by day). They’ve learned to not take anything for granted. Microshift has a hymnal, giddy energy, akin to the ecstasy that can follow agony, which feels very appropriate – because floods aren’t all they’ve had to deal with.

“So much has gone on that I think there is a Hookworms curse,” says Benn. “We’d had such a terrible few years. So we wanted the music to be upbeat, uplifting.”

When the group formed amid the bustling Leeds DIY scene in 2009, lady luck initially smiled. The Brudenell Social Club booked Hookworms to support Wooden Shjips before they’d even heard a note. Then Alex Turner of Arctic Monkeys started saying how much he liked Wooden Shjips. “So,” recalls Benn, “we played our first ever gig to a sold-out venue.”

Almost immediately afterwards, things started going wrong. Equipment was lost or malfunctioned, cars broke down, the band’s bank account was defrauded and a former booking agent sent them an abusive letter declaring: “You will never be successful.” Incredibly, Johnson’s first studio – a place in Armley he rented after quitting his office job to chase a childhood dream – also flooded. “The roof collapsed,” he says. “And it turned out the landlord hadn’t told anyone I was there, because the building had already been declared uninhabitable.”

None of this stopped Hookworms becoming the most promising Leeds band since the heady days of Kaiser Chiefs. But when their 2013 debut, Pearl Mystic, was acclaimed as a masterpiece, Johnson was horrified, having fully expected to end up with hundreds of unsold copies under his bed. “I had impostor syndrome,” he says. “If we were making perfect records, where could we go from there? And I didn’t think it was perfect.”

The frontman has battled “chronic depression” since his teens and was thoroughly unprepared when a comment in a press release he hadn’t expected many people to read (about a “half-hearted suicide attempt”) went viral. All he will say about the incident now is that it was “a cry for help”. Deep down, he says, “all my songs are about mental health”.

After rushing their second album, 2014’s The Hum, the band resolved to take their time with the third, spending the label advance on electronics to take their sound in a new direction. But during recording, the sound engineer – a close friend – died. He had loved their track Negative Space, having heard it in its early stages on one of the last occasions they were together. It is now Microshift’s surging opening song – and all about him. It hinges on the euphoric line: “I always see you when I’m down.” Says Johnson: “Soon after he died, I was in the supermarket and saw him. Then you realise it’s not that person.”

Ullswater, a frenzied electro shimmer of a track, refers to the Lake District beauty spot where Johnson’s father used to take him before he developed Alzheimer’s. “My dad was – is – into poetry,” he says. “When I was very young, he introduced me to Dylan Thomas, Sylvia Plath and then Neil Young. A lot of those things went on to really shape my life, so it was important to get the lyrics right. Alzheimer’s is talked of with shame, in the way cancer was in the 1960s. But that absolutely needs to change, because it’s going to affect so many of us.”

Other songs on Microshift address male anxiety, body image and – on Opener – toxic masculinity. Given its subject matter, why does Opener sound so joyous? “I’m arguing that it’s OK for males to admit to failings. Even now, there’s still this notion that the man is the breadwinner – this 1950s, 60s culture that I find really weird.”

These are refreshing subjects for pop, but Johnson is keen to let it be known he despises the notion of the tortured artist: he says he writes some of his best songs when he’s happy. “There’s a certain type of man who reads Bukowski and wants bad things to happen to him so he can write terrible, deep lyrics. Personally, I’d rather be totally sane and stable and never have made any music than be depressed and make music that people like.”

The band members have yet to give up their day jobs, and feel grounded by their employment (pub work, teaching, Citizens Advice). Nor do they have a manager. Benn has taken over the role, answering emails and booking hotels. “We were being ripped off by promoters,” he says. “I was naive. It’s been a steep learning curve.” He’s not the only one doubling up: bassist Johnny “JW” Wilkinson looks after graphic design, while guitarist Sam “SS” Shjipstone keeps the books.

It’s rare to see a pop act have such a disregard for careerism, but Johnson points out that making records at their own pace – without management or label pressure – means they can carry on for as long as they want. “I never want to have to do gigs all month to pay the rent,” he says. “We can make a record like Microshift – but then our next one might be incredibly difficult and uncommercial. And that doesn’t matter. That’s really important to us.”

Two years after the flood, Johnson remains in “a ton” of debt but has enjoyed rebuilding the studio. “I taught myself joinery,” he says proudly. “I’d never done anything like that before.”

Hookworms suddenly seem to have a lot to look forward to. Do they think Microshift is lifting the curse? “It’s hard to see what else could go wrong,” says Benn. “I’d better not tempt fate.”

THIS WEEKS ESSENTIAL NEW RELEASES Friday 9th February 2018

Posted: February 10, 2018 in CLASSIC ALBUMS, MUSIC, THIS WEEKS ESSENTIAL PURCHASES
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There are some storming new release’s tomorrow. There’s albums out from Franz Ferdinand, Ezra Furman, Joan As Police Woman, Brigid Mae Power, MGMT, Son Lux,GoGo Penguin, Fu Manchu, Susanna and a ‘Best Of’ from Bring Me The Horizon (with a very limited red vinyl version still available). Reissues? Of course! How about coloured vinyl from Lords Of The Underground ,Or the first three Ramones albums? Or a fantastic compilation of Nina Simone early recordings?. 

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Brian Fallon – Sleepwalkers

SLEEPWALKERS sees Brian Fallon once again pushing timeless rock ‘n’ roll into the modern era, recasting British Invasion rock, first generation UK punk, and American pop and soul into a near irresistible sound he’s dubbed – with a nod and a wink towards The Who – as “Heavy R&B.”

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Ezra Furman  –  Transangelic Exodus

Transangelic Exodus Ezra Furman’s second album for Bella Union, is a new landmark for the American singer-songwriter: “not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. A queer outlaw saga.” The music is as much of an intense, dramatic event, full of brilliant hooks, with an equally evolved approach to recorded sound to match Furman’s narrative vision. In honour of this shift, his backing band has been newly christened: The Boy-Friends are dead, long live The Visions. In other words, the man who embodies the title of his last album Perpetual Motion People is still on the move… Or in the vernacular of the new album, on the run. His musical DNA remains intact – a thrilling, literate form of garage-punk rooted in The Velvet Underground, Jonathan Richman and ‘50s rock’n’roll.
Standout tracks include the album’s lead single Driving Down To LA, a sparse, but explosive, mix of doo-wop and digital crunch. Another is the haunting Compulsive Liar. Transangelic Exodus addresses another kind of coming out, as Furman addresses his Jewish faith on record much more openly than before, from the shivery ballad God Lifts Up the Lowly (which includes a verse in Hebrew) to the exquisite Psalm 151 and the line “I believe in God but I don’t believe we’re getting out of this one” in Come Here Get Away From Me, a heady blend of rock’n’roll rumble and ghostly clarinet. Crossing between love, gender, sexuality and religion, and singing in solidarity with the innocent, persecuted, oppressed and threatened, Ezra Furman has soundtracked the current fear and loathing across America like no other, while pushing ahead with his own agenda, always on the move.

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Jay Som –  Jay Som

Jay Som is the moniker of San Francisco-based musician Melina Duterte who, at 22, has already self-released a debut album: a collection of finished & unfinished songs titled “Turn Into”, signed to Polyvinyl Records, and is opening for Mitski across the US and Canada. “Turn Into” sees a wide release this July via Polyvinyl (and vinyl/CD later this year). “Turn Into” was recently described by Pitchfork as “deceivingly textured and intricate pop songs—flush with nimbly intertwined guitar melodies and distressed fidelity”. While Gold Flake Paint said of Duerte: “Melina Duerte is a wizard. Quite how she manages to eek such lustrous, iridescent wonder out of a collection of scraps (“finished and unfinished songs”) is proof that what lies in her songwriting is something mystical, an intangible force of feeling that floods the rooms and walls within which it finds itself”.

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MGMT – Little Dark Age 

MGMT release their fourth album Little Dark Age – the follow-up to their 2013 self-titled album is released via Columbia. It features production from Patrick Wimberly (formerly of Chairlift) and Dave Fridmann (Flaming Lips, Spoon, Tame Impala). MGMT are back and more creative, robust, toned and energised in years. The best songs have that eccentric edge but with the pop layer of 2008 debut Oracular Spectacular. Opener She Works Out is a mangled, sunshine pop take on Air’s Sexy Boy whilst You’re Small is an Alice in Wonderland take on the Beatles Across the Universe. It’s a record that embodies a whole world of vulnerability, confusion and unsteadiness without losing shape. Little Dark Age is back to MGMT’s crowd pleasing best.

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Twin Peaks – Sweet ’17 Singles

Throughout the second half of 2017, Chicago’s Twin Peaks released a run of a half dozen limited-edition 7″ singles the band affectionately dubbed Sweet ’17. Only 300 copies of each 7″ were made, and subscriptions sold out almost immediately. But due to popular demand, Twin Peaks have compiled all of the songs from the series onto a LP release. Sweet ’17 Singles follows in the footsteps of Down In Heaven, the band’s 2016 full-length release, which expanded on the garage-inspired sounds of 2014’s Wild Onion.

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Bat Fangs –  Bat Fangs

NC/DC superghouls Bat Fangs pick up where Roky & the Aliens blasted off — cranking acid-soaked ’80s hard rock for the living and the dead. Making heady heavy music for third eyes and stiff upper lips, Betsy Wright (Ex Hex) shreds ‘n’ howls over Laura King’s (Fleshwounds, The Moaners) deep-thunder drums. Let the Bat Fangs sink in!

Ron Wood & Ronnie Lane – Mahonneys Last Stand OST

What do two Faces do when their lead singer (bon vivant Rod Stewart) doesn’t show up for the Ooh La La recording sessions? They work on a soundtrack for an obscure film by actor and friend Alexis Kanner (most famous for his guest roles on the late-’60s TV series The Prisoner), and draft the uppermost rank of British rock royalty to play on it!

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Franz Ferdinand – Always Ascending

Always Ascending’ is nothing short of a rebirth. The album’s ten songs are a triumphant recasting of one of everyone’s favourite groups, bursting with fresh ideas and vigorous sonic experimentation. Always Ascending is the new album from Franz Ferdinand. the album’s 10 songs are a triumphant recasting of the group, bursting with fresh ideas and vigorous sonic experimentation. Always Ascending recorded at RAK Studios, London and Motorbass in Paris, with the help of French producer extraordinaire Philippe Zdar (Cassius, Phoenix, The Beastie Boys), the mutual affection between band and producer seeping into every dazzling groove. Always Ascending shows Franz Ferdinand broadening their palate, as exuberant as it is euphoric, creating a sound that singer, Alex Kapranos, refers to as “simultaneously futuristic and naturalistic.”

Joan As Police Woman – Damned Devotion

A new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. ‘Damned Devotion’ finds Joan Wasser at her rawest yet. Brand new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. A beautiful soul-searching record and the one that Joan has spent her whole life building up to.

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Various Artists Revolutionary Spirit – The Sound of Liverpool 1976 – 1988

Extensive 5CD / book set exploring the ‘second wave’ of music on Merseyside, from 1976-1988 Features classics, rarities, album tracks and previously unreleased gems from Echo And The Bunnymen, Teardrop Explodes, OMD, The La’s, Frankie Goes To Hollywood, Dead Or Alive, China Crisis, A Flock Of Seagulls, Wild Swans, Big In Japan and many more. 5CD and 56 page A5 book format contains many artists’ own sleeve-notes, previously unseen photographs and essays from key observers and participants in the city’s music scene – Bernie Connor, Mike Badger, Yorkie and Joe McKechnie. Curated and designed by the people who brought you Scared To Get Happy, Still In A Dream, Manchester – North Of England, Silhouettes And Statues and many more extensive box sets. A remarkable journey through the music of a generation inspired and enabled by punk rock to step out from behind the shadow to the Fab Four. Packed with first-hand artist sleeve-notes, insightful essays, imagery and brilliant, essential music, this is a story long in need of telling.

Robert Plant – Live At David Lynch’s FESTIVAL OF DISRUPTION (DVD)

Eagle Rock Entertainment release Robert Plant & The Sensational Space Shifters Live At David Lynch’s Festival of Disruption. Filmed as part of one of Los Angeles’s most anticipated cultural events, David Lynch’s inaugural Festival of Disruption took place at the Ace Hotel Theatre, LA in October 2016, raising funds for The David Lynch Foundation.

Performing with The Sensational Space Shifters since 2012, Robert Plant continues to shift the musical goalposts, blurring the lines between rock, blues, folk & world music and finding new life in exotic beats and African rhythms. With a set including a new take on beloved Led Zeppelin classics, stripped down versions of ‘Black Dog’ and ‘Whole Lotta Love’ are met with a rapturous response from the packed theatre audience, with whom Plant enjoys a genuine rapport. Also included are ‘Babe, I’m Gonna Leave You’ and ‘Going to California’, alongside solo standouts ‘Turn It Up’, ‘The Enchanter/Rainbow’ and ‘Little Maggie’. This is a rare opportunity for fans to witness the legendary frontman as they’ve never seen or heard him before. This David Lynch curated event aims to feature artists with ‘knowledge and mystery’, undoubtedly Robert Plant has an abundance of both

9th February
Bring Me The Horizon – ‘2004-2013’ limited vinyl 2LP
Bring Me The Horizon – ‘2004-2013’ 2LP
Don Broco – ‘Technology’ limited picture disc 2LP & CD box set
Europe – ‘Out Of This World’ limited blue vinyl LP reissue
Brian Fallon – ‘Sleepwalkers’ 2LP
Franz Ferdinand – ‘Always Ascending’ limited coloured vinyl LP
Fu Manchu – ‘Clone Of The Universe’ LP
Ezra Furman – ‘Transangelic Exodus’ coloured vinyl LP
Gogo Penguin – ‘A Humdrum Star’ limited coloured vinyl 2LP
Holy Motors – ‘Slow Sundown’ LP
Joan As Police Woman – ‘Damned Devotion’ limited pink vinyl LP
Brigid Mae Power – ‘The Two Worlds’ LP
MGMT – ‘Little Dark Age’ LP
OST – ‘Three Days Of The Condor’ limited gold vinyl LP reissue
Ramones – ‘Ramones’ remastered LP reissue
Ramones – ‘Leave Home’ remastered LP reissue
Ramones – ‘Rocket To Russia’ remastered LP reissue
Nina Simone – ‘Mood Indigo: The Complete Bethlehem Singles’ LP & 7″
Son Lux – ‘Brighter Wounds’ limited coloured vinyl LP
Susanna – ‘Go Dig My Grave’ LP
The Wombats – ‘Beautiful People Will Ruin Your Life’ LP
Betty Wright – ‘I Love The Way You Love’ LP reissue

Ron Wood & Ronnie Lane – Mahoney’s last Stand OST CD

Toto – 40 Trips Around The Sun CD, 2LP

Johnny Greenwood – Phantom Thread CD
Chicane – Chicane – Sun:Sets 2018 2CD
Robert Plant And The Sensational Space Shifters – 
Live At David Lynch’s Festival Of Disruption DVD

VARIOUS ARTISTS – ” Revolutionary Spirit The Sound of Liverpool 1976-1988 “

Posted: February 9, 2018 in CLASSIC ALBUMS, MUSIC
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Cherry Red celebrates the post-Beatles spirit of Liverpool on this 5-CD book-style box set featuring hits and rarities from artists including Echo and the Bunnymen, The La’s, Frankie Goes to Hollywood, A Flock of Seagulls, and more.  The extensive book features rare photos, artists’ own memories, and essays reflecting on this creatively fertile period for the famed musical city.

Extensive 5CD/book set exploring the ‘second wave’ of music on Merseyside, from 1976-1988

Features classics, rarities, album tracks and previously unreleased gems from Echo And The Bunnymen, Teardrop Explodes, OMD, The La’s, Frankie Goes To Hollywood, Dead Or Alive, China Crisis, A Flock Of Seagulls, Wild Swans, Big In Japan and many more.

5CD + 56pp A5 book format contains many artists’ own sleeve-notes, previously unseen photographs and essays from key observers and participants in the city’s music scene – Bernie Connor, Mike Badger, Yorkie and Joe McKechnie.

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