Posts Tagged ‘Spacemen 3’

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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

 

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Fucked Up Inside is the first live album ever issued by Spiritualized, it was originally released as a limited edition (1,000) mail order only LP in 1993. Recorded on tour in 1992 while supporting Spritualized’s debut release Lazer Guided Melodies this is the first album to document the power of the band live and has long been an out of print collector’s item since it’s initial release. Includes three songs from Lazer Guided Melodies, two from the future Spiritualized album Pure Phase, plus the Spacemen 3 favourite Walking With Jesus. The live recordings come from the Crest Theatre in San Diego and the Hollywood Palladium in L.A. on the nights of 19th and 21st November 1992 on the North American Rollercoaster tour with the Jesus and Mary Chain and Curve.

Yeah! Re-mastered by John Rivers at Woodbine Studios especially for vinyl release. This is a milky clear coloured heavyweight 180 gram vinyl LP in an embossed and hot foil finished sleeve. Spacemen 3 heads should also check out the ‘Taking Drugs To Make Music..’ coloured vinyl and the Spectrum Record Store Day other releases..

Spiritualized – 06 – Shine A Light (Clear Light/Clear Rush) [live]. From the 1993 live and now out of print album Fucked Up Inside. It was originally available only via mail order, now reissued for Record Store Day 2018.

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Huge release List this week and the big reissue of the week is  St. Jude by Manchester darlings, The Courteeners, plus grab a listen to the beautifully accomplished LP and CD version of the acoustic reworks of the very same album. It’s a testament to their flexibility that the instruments can be stripped back and still be every bit as anthemic . Daniel Avery, whilst not necessarily rocking the spring vibes, has kept his sound concise and melodic, with a few surprises thrown in there for good measure on his latest, ‘Song For Alpha’. Goat Girl have blown all of us away with their rocking but finely balanced blend of punk rock, garage and indie rock and/or roll. It’s a superb debut album, and one that will be played for a long time to come catch them on tour this week.

There’s the new Unknown Mortal Orchestra album too, it is everything you’d expect. Riffs, brilliantly athletic vox and grooves throughout, all bolstered by their singular instrumental style. Another stormer in this week is the new one from Hinds, pitting their snarling three-part vocal onslaught against the clashing, fuzzed-out guitars and snappy, insistent drums, much like in their previous iteration, but injected with the experience of dealing with and touring their hit debut album.

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Goat Girl  –  Goat Girl

Across 19 tracks in just 40 minutes, Goat Girl’s self-titled debut creates a half-fantasy world out of a very dirty, ugly city reality.

Goat Girl belong to a burgeoning, close-knit south London scene, born in venues like The Windmill in Brixton and including bands like Shame, Bat-Bike, Madonnatron, Horsey, Sorry, and many more. “We help each other – I put you on, you put me on – because we genuinely like each other’s music. We’d played gigs all over before but never really settled in a comfortable environment, which is what The Windmill is. It’s an important place for us, it was the first space that our music made sense to exist within. It’s a safe space where music is genuinely listened to and appreciated, and where laws and licensing haven’t reached over to ruin the venue.”

This live freedom enabled the band to think without constraints when it came to recording. Goat Girl enlisted producer Dan Carey (The Kills, Bat For Lashes, Franz Ferdinand) to help them capture their vision, set a goal to write and record a piece of music in a day in effort to capture that raw first-creation moment, and chose to record to tape.

It’s a very English album — sharp-eyed observations like The Kinks, louche rage like The Slits — but it’s also full of swampy, swaggering guitars and singer Lottie’s filthy drawl. Each member brings a diverse range of influences and contributions, ranging from krautrock to bossa nova, jazz to blues. They resist being boxed in to an indie, guitar-based genre, and focused intensely on the layers and textures of each song as well as the different contexts they could sit within.

The result, Goat Girl, succeeds in conjuring a complete world all unto itself, and is arranged in segments — divided by improvised interludes — that offer glimpses of an even stranger parallel universe. With each song acting as its own story of sorts that features different settings and characters, listeners are transported therewithin. It’s dark yet cheeky, varied yet cohesive, and striking in its vision; this world is populated by creeps and liars, lovers, dreamers, and wonderful lunatics. Lead single “Cracker Drool” is at once jaunty and sinister, a foreboding tale full of swirling guitar, echoing vocals and synthetic drum hits that stumbles and gurgles straight into “Slowly Reclines,” an equally menacing and considerably heavier track. “Creep” is, predictably and grimly enough, inspired by actual events: Creep on the train / I really want to smash your head in.

On “Country Sleaze,” she sings about sex in a way that embraces visceral reality and defeats shame. “If you say you’re sexually free, as a woman, society still deems that a bad thing. But really it’s a beautiful thing to be confident in yourself – to know that you can have sex and it doesn’t have to mean anything and that doesn’t make you a bad person.” Ellie smiles: “That song is quite disgusting, in a good way. It’s not trying to be nice, it’s not a love song.” Goat Girl is altogether an album crafted with intention, and invites imaginations to run wild; it draws listeners in to its half-fantasy world from the slow fade, eerie instrumental intro “Salty Sounds,” to the gorgeous, unsettling closer “Tomorrow” — a rendition of the song featured in Bugsy Malone — which ends with dawn-chorus birds and the feeling of new possibilities after a long and messy night.

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The Shacks  –   Haze

One of the best debut albums of 2018. Fronted by 19-year-old singer / bassist Shannon Wise and 21-year-old guitarist / producer Max Shrager, The Shacks are already well on their way to becoming one of the year’s big breakouts, and their remarkable debut album, Haze, solidifies their status as a band with ability to deliver on the well-deserved buzz.

Produced together by Shrager and Big Crown co-founder Leon Michels (who’s played with Bradley, Sharon Jones, and Fields in addition to working with The Arcs, Lana Del Rey, and countless others), the album was recorded in bits and pieces between Shrager’s basement and Michels’ Diamond Mine studio, which the Observer dubbed “the Shangri La of Soul.” Haze opens with the title track, which is, appropriately enough, the first song Shrager and Wise ever wrote together. It’s a spare, smoky tune that shimmers and sparkles as it shifts in and out of focus, and it’s an ideal gateway into the immersive world of The Shacks.

The 13 songs featured on Haze plays out like the soundtrack to some long lost 16mm film, beckoning you into their grainy, saturated world of analog beauty. In the short time that they’ve been together, The Shacks have already made an impressive mark. Their hypnotic cover of Ray Davies’ This Strange Effect soundtracked a global iPhone commercial, one which actually stars Wise herself, and their self-titled EP earned the band dates with St. Paul and The Broken Bones, Chicano Batman, and their Big Crown Records label mates Lee Fields and The Expressions.

3CD – Rough Trade Exclusive Version. CD one is the album. On the second CD is The Shacks Self-Titled EP, Selections Previously Issued Only On 7″ Vinyl And Complete Instrumentals From Haze. And on CD three is the Rough Trade exclusive bonus 9 track CD – The Shacks EP Instrumentals.

LP+ – Rough Trade Exclusive. 1000 Copies only on Coke Clear Vinyl with Download (featuring just the main album) and Rough Trade Bonus CD.

LP – Black Vinyl with Download (featuring just the main album) and Rough Trade Bonus CD.

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Island  –  Feels Like Air

Following the release of their hypnotic new single Try, the London-based Island release their debut album Feels Like Air on Beatnik Creative and French Kiss Records. Mellow, not melancholy, their deep rhythms roll with light and shade that’s uplifting and makes you want to move, but no sooner will have you stood still and beguiled in their scenic musicality. It’s totally captivating, hypnotic and emotional. It mixes the intensity and stadium filling potential of U2 with delicate soundscapes and an intense, throaty vocalist.

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Son Volt  –   Search – Deluxe

Led by the songwriting and vocals of Jay Farrar, Son Volt was one of the most instrumental and influential bands in launching the alt-country movement of the 1990’s. Originally released in 2007, and out of print for the past several years, this deluxe reissue of The Search features bonus content. The Search takes Jay Farrar’s signature juxtapositions of the arcane and the modern to provocative extremes, contrasting the blue highways of a disappearing cultural landscape with a perilous world in which the center no longer holds – a world of information overload, of clueless leaders carrying out sinister agendas, of “Hurricanes in December – earthquakes in the heartland / Bad air index on a flashing warning sign,” as the artist sings ruefully on The Picture. The Search’s 14 songs locate and vividly portray the prevailing modes of the human condition in the first decade of the 21st century: cynicism (Beacon Soul), reflection (The Search), restlessness (L Train, Highways and Cigarettes), yearning (Adrenaline and Heresy), paranoia (Automatic Society), despair (Methamphetamine) and conditional hopefulness (Underground Dream, Phosphate Skin). By turns melancholy and exhilarating, the album further cements Farrar’s status as one of rock’s most eloquent chroniclers of contemporary existence.

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Haley Heynderickx’s   –  I Need to Start a Garden

Haley Heynderickx’s highly anticipated debut album. Haley has a wonderful voice and the lyrics are poetic and heartfelt. Musically it’s sometimes reminiscent of early Velvet Underground in that many of the songs quickly build into frenetic and emotive climaxes. The difference here is that these crescendos dissolve into tender moments of unabashed vulnerability, rather than fragmenting into splinters of drug-fueled confusion. It’s beautiful and heartfelt. For fans of Velvet Underground, Angel Olsen and Cat Power.

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Eels  –  The Deconstruction

After a four year wait, Eels release their highly-anticipated new album The Deconstruction via E Works. “Here are 15 new Eels tracks that may or may not inspire, rock, or not rock you. The world is going nuts. But if you look for it, there is still great beauty to be found. Sometimes you don’t even have to look for it. Other times you have to try to make it yourself. And then there are times you have to tear something apart to find something beautiful inside.” Eels singer-songwriter E (Mark Oliver Everett).

2×10″ – Double Translucent 33rpm Yellow Vinyl.

2LP – Double 45rpm Translucent Pink Vinyl Deluxe Boxset. Printed box on uncoated paper. CD Digitpack. 28 page perfect bound lyric booklet with exclusive photos. 12” artwork print. A4 digital handwritten Rusty Pipes lyrics signed by E and E Tip and Strip pen.

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King Crimson  –  Live in Vienna, December 1st 2016

Three CDs featuring the complete concert from Vienna on Dec. 1st 2016 mixed from the original multi-track tapes. CDs Presented in concert sequence with discs 1 and 2 featuring the complete first and second sets. CD 3 features Vienna encores plus the long awaited live recorded debut of Fracture by the 2016 line-up as performed in Copenhagen. CD3 also features a series of soundscapes edited into newly sequenced pieces. Drawn from the introduction music (composed / improvised afresh for each night) and featuring Robert Fripp, Mel Collins and Tony Levin, this essential component of current live King Crimson shows also receives its most complete presentation to date. Presented in a 4 fold-out digifile package with 16 pages booklet featuring tour photos and notes by David Singleton and housed in a slipcase

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Zola Jesus  –  Okovi – Additions

Limited Gray and Black Starburst Vinyl. Zola Jesus’ Okovi: Additions LP offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists. Johnny Jewel turns Ash to Bone into a late-night cinematic torch song, Tri Angle Records composer Katie Gately’s Siphon is a dark choir of warping angels, black metal band Wolves in the Throne Room’s take on Exhumed makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares’ Aaron Funk) makes Soak feel like an aching classical standard – until it starts warping in on itself and goes somewhere else entirely. The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.

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Fenne Lily  –  On Hold 

Over the last couple of years Fenne Lily has made a real name for herself as a songwriter, surpassing over 30 million streams for her five self-released singles and supporting the likes of Marlon Williams, Charlie Cunningham and many more across Europe. Despite the first song she wrote at the age of 15 proving an almost instant hit upon release, she’s not rushed into releasing her debut collection, instead taking time to perfect her songs and develop her sound while living in Bristol and continuing to perform around the continent. Deciding she wanted to get out of the city to record the album, Fenne travelled to see some musical friends on The Isle of Wight where she formed a band and recorded a number of tracks in a basement studio with upcoming producer James Thorpe. Returning to Bristol to finish the tracks with long-time collaborator Dave Dixon (Tamu Massif) and Ali Chant (Youth Lagoon, Perfume Genius, PJ Harvey) her debut album has taken shape and is now ready for release.

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Hop Along –  Bark Your Head Off, Dog

Written over the course of 2016 and 2017 and recorded in the summer of the latter year by Frances Quinlan (songwriter/vocalist/rhythm guitar), Tyler Long (bass), Joe Reinhart (guitar), and Mark Quinlan (drums), the album addresses disappointment, particularly in man’s misuse of power, and relates accounts from the periphery — one’s attempts to retreat from the lengthening shadows of tyrants, both historical and everyday. It considers what it’s like to cast off longheld and misguided perceptions, yet without the assurance of knowing what new ones will replace them. Much like on Hop Along’s first and second records, Get Disowned and Painted Shut, Quinlan seeks in real time to work through these issues.

Throughout the album, one gets the sense that Quinlan is wandering in the thicket of a forest—a state of being that will feel familiar to long time listeners—and on this outing, she hasn’t left a trail of breadcrumbs behind her. The album’s artwork, which Quinlan painted herself, invites the listener into that forest, as well. “There is a terror in getting lost,” she says, “the woods are at the same time beautiful and horrifying.” This curious wandering gives the album, both lyrically and musically, a heightened dimensionality.

Bark Your Head Off, Dog is, without question, Hop Along’s most dynamic and textured record yet. Self-produced and recorded at The Headroom in Philadelphia by Reinhart and Kyle Pulley, Bark Your Head Off, Dog features the familiar sounds that have always made the band allergic to genre: grunge, folk, punk, and power pop all appear, with inspiration from ELO to Elvis Costello to ‘70s girl group vocal arrangements. This time around, they’ve added strings, more intricate rhythms, lush harmonies (featuring Thin Lips’ Chrissy Tashjian), along with a momentary visit with a vocoder. In more than one place, Mark Quinlan drums like he’s at a disco with Built to Spill.

Most significantly, Bark Your Head Off, Dog shows the band at its strongest and most cohesive. Hop Along (which originally began as Quinlan’s solo project under the moniker Hop Along, Queen Ansleis) has never sounded so deliberate, so balanced. “So strange to be shaped by such strange men” is a line that repeats on more than one song on the album. “I’ve been thinking about that a lot. That I just deferred to men throughout my life,” Quinlan says. “But by thinking you’re powerless, you’re really robbing yourself. I’m at a point in my life where I’m saying instead, ‘Well, what can I do?’”

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Wye Oak –  The Louder I Call, The Faster It Runs

The Louder I Call, The Faster It Runs – the triumphant fifth album by Wye Oak – begins with an explosion. For a few seconds, piano, drums, and a playful keyboard loop gather momentum; then, all at once, they burst, enormous bass flooding the elastic beat. “Suffering, I remember suffering,” sings Jenn Wasner, her voice stretched coolly across the tizzy. “Feeling heat and then the lack of it, but not so much what the difference is.” The moment declares the second coming of Wye Oak, a band that spent more than a decade preparing to write this record – their most gripping and powerful set of songs to date, built with melodies, movement, and emotions that transcend even the best of their catalogue. Louder is the third record that Wasner and Andy Stack, who launched Wye Oak in Baltimore, have made while living in separate cities – she in Durham, North Carolina, he in Marfa, Texas. They flew to one another for a week or so at a time, hunkering in home studios to sort through and combine their separate song sketches. These shorter stints together produced less second-guessing and hesitation in their process, yielding an unabashed and unapologetic Wye Oak. The result is the biggest, broadest, boldest music they’ve ever made. Louder pursues a litany of modern malaises, each track diligently addressing a new conflict and pinning it against walls of sound, with the song’s subject and shape inextricably and ingeniously linked.

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Mien  –  Mien

Debut album by MIEN, the exciting new four piece band comprised of The Black Angels’ Alex Maas, The Horrors’ Tom Furse, Elephant Stone’s Rishi Dhir and The Earlies’ John-Mark Lapham. The seeds were sown for this collaboration as long ago as 2004, when Rishi Dhir (Elephant Stone) found himself in a chance encounter with Black Angels frontman Alex Maas whilst performing sitar with his former band on a bill at SXSW in Austin with The Brian Jonestown Massacre. Not long afterwards, he would also stumble across electronics guru and producer John Mark Lapham from Anglo-American band The Earlies, via a shared love for one song – the ‘classic sitar banger’ by The Association, ‘Wantin’ Ain’t Gettin’.

Some years later, another piece of the puzzle came into place, when Dhir was now playing bass with The Black Angels in 2012, and found the band sharing several bills with The Horrors. Thus he made the acquaintance of Tom Furse, and yet another pact was made to work together. Several traversals of the globe by both plane and audio-file later, the result is an album that sees this quartet transcending their origins whilst maintaining a cohesive unity borne of a desire for outward exploration.

John Mark’s vision, as he puts it, was “imagine the Black Angels as Nico in her 80’s industrial phase mixed with George Harrison and Conny Plank.” – true to form, it’s an album that finds equal room for radiant groove-based propulsion and ambient dreamscapes alike – as comfortable with the murky hallucinogenic voyage of ‘You Dreamt’ as the powerful widescreen sweep of ‘(I’m Tired Of) Western Shouting’, yet with songwriting acumen as potent as the production values are expansive and exploratory. This may have been a record put together at a distance – yet the chemistry between these four figures is manifest amidst a kaleidoscopic series of atmospheres and excursions whereby the fertile songwriting of the golden age of ‘60s psychedelia is transmitted into a transcendental realm above and beyond the second decade of the 21st century.

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Unknown Mortal Orchestra  –  Sex and Food

Where are we headed? What are we consuming, how is it affecting us, and why does everything feel so bad and weird sometimes? These are some of the questions posed on Ruban Nielson’s fourth album as Unknown Mortal Orchestra, Sex and Food. Recorded in a variety of locales from Seoul and Hanoi to Reykjavik, Mexico City, and Auckland, Sex and Food is a practical musical travelogue, with local musicians from the countries that Neilson and his band visited pitching in throughout.

Sex and Food is the most eclectic and expansive Unknown Mortal Orchestra release yet, from the light-footed R&B of Hunnybee to the stomping flange of Major League Chemicals. If You’re Going to Break Yourself and Not in Love We’re Just High chronicle the effects of drugs and addiction on personal relationships, while the lyrics Ministry of Alienation drip with modern-day paranoia like the silvery guitar tones that jewel the song’s structure. The modern world, and all the thorny complications that come with living in it, loomed large on Ruban’s mind while making Sex and Food. A statement of selflessness, to be sure-but make no mistake: Sex and Food reaffirms the vitality of Ruban’s voice in today’s musical landscape.

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The Courteeners  –  St Jude Re:Wired

Courteeners mark the 10th anniversary of their debut album with a new, fully re-recorded version of the seminal record. St Jude Re:Wired has been produced by Liam and Joe Cross. Originally released in April 2008, St Jude charted at no 4 in its first week and went on to win the inaugural Guardian First British Album award, beating albums by Duffy, Adele and Glasvegas. The record saw Courteeners present to the world outside a first set of songs that perfectly soundtracked modern life in the UK.

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Suede  –  Suede – 25th Anniversary Edition

Brett Anderson believes that Suede’s debut album, winner of the Mercury Music Prize in 1993, probably has more cultural resonance than any other of their albums, as a pre-cursor to Britpop and a supplanter of grunge. It is also home to four ground-breaking singles. This deluxe edition features the album; the b-sides; a CD of demos, monitor mixes (several previously unreleased) and the band’s first BBC radio session, arranged chronologically; plus a concert from February 1993. The DVD features six contemporary TV performances (including their first ever TV appearance), and an hour-long film of Brett and Bernard Butler discussing the writing and recording of the album, all issued for the first time. Also included is a new note by Brett about his memories of the recording of the album, along with the lyrics, hand-written lyric drafts, tape boxes, and photos from the band’s collections.

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Love  –  Forever Changes (50th Anniversary Edition)

Love’s Forever Changes is the psychedelic folk-rock pioneers’ finest achievement. Mostly overlooked when it was released in 1967, today the album is considered an indispensable masterpiece. In 2008, it was inducted into the Grammy Hall of Fame, and – in 2012 – the Library of Congress added it to the National Recording Registry. Love celebrate the acclaimed album’s golden anniversary with an extensive 4CD / DVD / LP collection housed in a beautifully illustrated 12 x 12 hardbound book that features a newly written essay and track-by-track notes by music historian Ted Olsen. Recorded during the Summer of Love in Hollywood, CA, Forever Changes is the group’s most fully realized studio effort, featuring Arthur Lee (vocals, guitar), Johnny Echols (lead guitar), Bryan MacLean (rhythm guitar, vocals), Ken Forssi (bass) and Michael Stuart (drums, percussion). The original album introduced classics like Andmoreagain, Red Telephone, A House Is Not A Motel and Alone Again Or. The set features a few firsts for the album, including the CD-debut of a remastered version made by its original co-producer and engineer Bruce Botnick, as well as the first-ever release of the mono version on CD. Also included are alternate mixes of the album, as well as a selection of rare and unreleased singles and studio outtakes. Botnick’s stereo remaster of the original album makes its vinyl debut on the LP included with this set. It was cut from high resolution digital audio by celebrated audio engineer Bernie Grundman. The DVD that accompanies the anniversary collection includes a 24/96 stereo mix of the album version of the original album remastered by Botnick. Also featured is Your Mind And We Belong Together, a rare promotional video directed by Elektra producer Mark Abramson that was originally released in 1968. Forever Changes: 50th Anniversary Edition boasts more than a dozen rarities, including single versions of Alone Again Or and A House Is Not A Motel that are available now for the first time since 1967. Two other recordings on the set have never been released: the backing track for Live And Let Live and an outtake backing track for

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Spacemen 3 –  Recurring

The fourth and final Spacemen 3 studio album Recurring; the follow up to their seminal Playing with Fire album. By the time the album was recorded, relations between the band had soured to the extent that the record is essentially in two parts; the first seven tracks written and performed by Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.), and the last seven tracks written and performed by Jason Pierce (Spiritualized) punctuated by the cover version of Mudhoney’s When Tomorrow Hits the only track on which both Kember and Pierce appear together.

CD – Presented in a shrink-wrapped 6 panel fold out card wallet featuring the original vibrant cover artwork used on the original US release of this album.

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Richmond Fontaine  –  Don’t Skip Out On Me

Richmond Fontaine and Deline’s singer / songwriter, Willy Vlautin releases his fifth novel, Don’t Skip Out On Me on Feb 1 2018 (Faber and Faber). Like his previous novel Northline it will have an accompanying soundtrack included with the book on CD. While the CD will be included with the book, Décor release the album on vinyl. Don’t Skip Out on Me is magnificent. Willy Vlautin is now one of America’s great writers.’ The Don’t Skip Out on Me soundtrack was recorded early 2017 just after the band called it quits on their final European tour.

LP – 180 Gram vinyl – limited edition of 1000 copies.

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Katie Von Schleicher  –  Glad To Be Here

Glad To Be Here / Party Dawn is the first material the Brooklyn-based songwriter has shared since her critically acclaimed debut album, Shitty Hits, last year. Katie said the following about the tracks: “On a break from touring this winter I went alone to Maryland, where I am originally from, and made these two songs, taking the gear I’ve very happily accrued since making my album Shitty Hits. I built a fire, I set up my gold drum kit, I saw a ton of stars and felt smashed by silence, and it was lonely, so I made these songs. Glad to Be Here is where I find myself right now. Party Dawn is tied to Maryland, to my friend and our adolescence. Both are a bridge toward the subject matter of my next record. Back in New York, my collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) contributed guitar and bass, and Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound) mixed it.”

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The Lucid Dream  –  SX1000

Very limited 12’’ single in yellow disco bag, single sided. The Lucid Dream return in April with the release of new single SX1000, the first taster from the recently completed 4th album. The track is a slice of pure acid house, and will again see them acknowledged for venturing into pastures new, setting themselves apart from ‘genres’, ‘scenes’ or what any other band are currently doing. SX1000, as with the whole album, was penned over the summer 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. 5 months on from those writing sessions and The Lucid Dream have competed their 4th album in 5 years, this track a perfect indicator as to what awaits. A record made for the dancefloor.

Originally released in February 1989 and after having been out of print on vinyl for nearly 20 years Space Age Recordings are pleased to announce an official limited edition vinyl release of the third and penultimate studio album “Playing with Fire” by Spacemen 3 (Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized). Featuring the single “Revolution” first released in November 1988: “one of the best records released by an independent band this year. Adjectives that come to mind are unrelenting, punishing, psychedelic. The razor-blade riffs lead you into a sonic underworld of alienation, desolation and raw power…the band are one of the most interesting around,“a powerful, anthemic “mind-melting crunch”.

Presented in a shrink-wrapped limited edition (1,000 copies only) on heavyweight (180 gram) transparent orange coloured vinyl with printed card inner sleeve exclusively released for Record Store Day 2017.

TRACKLISTING: Side 1: 1. Honey (3:01) 2. Come Down Softly to My Soul (3:46) 3. How Does It Feel? (7:58) 4. I Believe It (3:19) 5. Revolution (5:57) Side 2: 6. Let Me Down Gently (4:29)7. So Hot (Wash Away All of My Tears) (2:38) 8. Suicide (11:03) 9. Lord Can You Hear Me? (4:34)

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Space Age Recordings are pleased to announce the first official limited edition vinyl release of the album “For All The Fucked Children Of This World We Give You Spacemen 3” (Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized).“For All the Fucked Up Children” from the neo-psychedelic trio Spacemen 3 was first released as a bootleg record in 1995. The record consists of Spacemen 3’s first ever recording session from 1984.

The music itself sounds like a primitive version of what the group were to become; the dominating sound of the record is a slow, droning psychedelic blues performed with sparse instrumentation. A drum set is matched with a pair of distorted electric guitars, all of which provide a swirling foundation for Jason Pierce’s vocals. The album’s liner notes replicated here are actually an early review of the band by Gary Boldie, where he contemplates the city of Rugby and finds it an odd source for this new sound, and he declares Spacemen 3 as the “all singing, all dancing answer to the problems of a grey 1985.”

Presented in a shrinkwrapped limited edition (1,000 copies only) on heavyweight (180 gram) transparent milky white coloured vinyl with printed card inner sleeve exclusively released for Record Store Day 2017. TRACKLISTING: Side 1: 1. Things’ll Never Be The Same (4:53) 2. 2:35 (2.57) 3. Walkin’ With Jesus (4:03) 4. Fixin’To Die (8.06) Side 2: 5. T.V. Catastrophe (7.18) 6. Things’ll Never Be The Same (alternate mix)(4:40) 7. Walkin’ With Jesus (alternate mix) (4.00)

Space Age Recordings are pleased to announce an official limited edition vinyl release of the fourth and final Spacemen 3 studio album “Recurring”; the follow up to their seminal “Playing with Fire” album. By the time the album was recorded, relations between the band had soured to the extent that the record is essentially in two parts; the first five tracks on side ‘A’ written and performed by Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.), and the last five tracks on side ‘B’ written and performed by Jason Pierce (Spiritualized). The lead track from the album “Big City” recently featured on the season 27 premiere of ‘The Simpsons’ being the sound track to Homer Simpson’s wild night out on the town, mixing alcohol with prescription drugs.

Presented in a shrink-wrapped limited edition (1,000 copies only) on heavyweight (180 gram) solid red coloured vinyl with printed card inner sleeve exclusively released for Record Store Day 2017.

TRACKLISTING: Side 1: 1. Big City (Everybody I Know Can Be Found Here) (edited version) (10:50) 2. Just To See You Smile (Orchestral Mix) (3:19) 3. I Love You (5:32) 4. Set Me Free / I’ve Got the Key (5:11) 5. Set Me Free (Reprise) (1:50) Side 2: 6. Feel So Sad (Reprise) (2:46) 7. Hypnotized (5:57) 8. Sometimes (6:36) 9. Feelin’ Just Fine (Head Full of Shit) (4:33) 10. Billy Whizz / Blue 1 (edited version) (7:33)

Jason Pierce has urged his fans NOT to buy Spacemen 3 albums on Saturday’s (22nd) Record Store Day event. The band, formed by Pierce and Pete Kember, earned a cult following during the 80’s with iconic records like “For All the Fucked Up Children of This World We Give You Spacemen 3″, “Sound of Confusion” and “Taking Drugs to Make Music to Take Drugs To”

A falling out between Kember and Pierce resulted in the band splitting in 1991 and, as Record Store Day prepares to release three Spaceman 3 vinyls on Saturday, Pierce posted on his Spiritualized Facebook page to explain how a legal battle with former manager Gerald Palmer is resulting in a conflict of interests.

“We would seriously like to ask fans not to buy the Spacemen 3 releases and any merchandise that are being offered for sale on Record Store Day or any of the other Spacemen 3 releases and merchandise offered by Gerald Palmer on Space Age Recordings or any other subsidiary of that label, the statement read. 

“We are currently in legal dispute with Gerald Palmer due to him depriving us of our rights in our music and other intellectual property rights relating to Spacemen 3. Any monies from those sales will go directly to him and help fund his side of the dispute.

“In short… PLEASE DON’T BUY OUR RECORDS FROM SPACE AGE RECORDINGS! “Thanks for listening

“J Spaceman and Sonic Boom together t/a Spacemen 3″

Record Store Day currently have three listings of Spacemen 3 records due to be released for the event, they are:

Spacemen 3 – Playing With Fire
“Originally released in February 1989 and after having been out of print on vinyl for nearly 20 years Space Age Recordings are pleased to announce an official limited edition vinyl release of the third and penultimate studio album Playing with Fire by Spacemen 3.”

Spacemen 3 – For All The Fucked Up Children
Space Age Recordings are pleased to announce the first official limited edition vinyl release of the album For All The Fucked Children Of This World We Give You Spacemen 3.”

Spacemen 3 – Recurring
Space Age Recordings are pleased to announce an official limited edition vinyl release of the fourth and final Spacemen 3 studio album Recurring; the follow up to their seminal Playing with Fire album. ”

thanks to Far Out

Rough Trade’s ‘Book of The Month’ for September 2016 is ‘Playing The Bass With Three Left Hands’ by Will Carruthers. The ex-Spaceman 3 Bassist tells the whole sorry story of that much loved band and the segue into Spiritualised, in one of the funniest and most memorable memoirs ever. You can catch Will himself reading from the book and answering questions in-store at Rough Trade Nottingham on Sunday 25th September – free entry and not to be missed. @fabersocial @faberbooks

radio presenter Greg Foreman introduces another superb episode of his radio show, Greg also plays in the band Pink Mountaintops and is also the musical director of Cat Power’s live band