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Search Result for Genre ROCK
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3LP/4CD/SHIRT BOX
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MEGAUK 030BOX
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$130.00
PREORDER
RELEASE DATE: 9/27/2019
Massively delayed, label says it possibly arrives sometime in 2019, format may change. The Karen Dalton Archives Box includes for the first-time ever on vinyl: the 1962 double live album Cotton Eyed Joe remastered (on two LPs) and the 1963 home recordings album Green Rocky Road remastered. Also includes three CDs of the same material along with one CD of unreleased home recordings which includes a mesmerizing take on "God Bless The Child". Includes a 52-page book with scans of Karen Dalton Personal Archives (writings, photographs, memos) disclosed here for the first time. DVD of a film interview of Greenwich Village Folklore Center founder (1957-1973) Izzy Young by Megaphone label's Stéphane Bismuth about the Greenwich Village folk scene and Karen Dalton; Double-sided DVD with one side NTSC format/one side PAL format Includes digital download card.
Press about Cotton-Eyed Joe (1962/2007) and Green Rocky Road (1963/2008):
"All the informality of someone thinking aloud, which suits her signature vocals perfectly. In overdubbing, she seems to consider tempos and time signatures almost as restricting as a real studio. A particularly personal statement, a career marker."
"Like a lost book of the Old Testament. Less like a folk record and more like a warp in the space-time continuum. The most beautiful and harrowing album you'll hear this year. The results are startling. Her rendering of 'Katie Cruel' on In My Own Time has been hailed as definitive but she improves it here. Bewitching."
"Proving her masterly command of both the material and the audience."
"Using her uncluttered fingerpicking and keening phrasing to a reimagine a pair of lesser known Ray Charles numbers to devastating effect."
"Sounds great. The set captures a side of Dalton that her original releases never could. Such a personal statement it's far more challenging."
"An invaluable treasure" --Pitchfork, 8/10.
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LP
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BBI 010LP
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$26.50
PREORDER
RELEASE DATE: 8/2/2019
After releasing his debut solo album Two Months In Ben Woolley's Room in 2018, Lachlan Denton directed his focus back to The Ocean Party. After finishing off their next record and in the midst of organizing its release Lachlan's brother and Ocean Party band mate, Zac Denton, tragically and suddenly passed away. The band released The Oddfellows' Hall as well as an EP of Zac's final Ocean Party recordings, titled Nothing Grows, and put their band of ten years to rest. In a state of shock and confusion Lachlan put his thoughts to music, working through his emotions and looking for solace in a time of immense sadness. A Brother though born from grief, is work of catharsis and a stunning reflection on a loving relationship between brothers. To record the album, Lachlan assembled a band now collectively known as Studio Magic, featuring Ambrin Hasnain (Cool Sounds, Pregnancy, Skydeck), Dainis Lacey (Cool Sounds), Liam Halliwell (The Ocean Party, No Local), Rose Kean, and Anila Hasnain, to live track the album at his Coburg home and Halliwell's home studio in Preston. Mixed and mastered by Halliwell, the album has a live charm that lends itself to the honest and personal nature of the songwriting. The clean instrumental interplay and Denton's deft pop hooks perfectly juxtapose against the devastatingly direct lyrical content, creating songs that are equal parts sad and hopeful. A Brother is also a tribute to an incredible person and songwriter taken from us far too soon. Features a cover of a Zac Denton original, "Spat Out", taken from Zac's own solo work under the Hobby Farm moniker.
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2CD
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LMS 5521304
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$15.50
PREORDER
RELEASE DATE: 7/19/2019
Double-CD version. Deluxe edition. Digibook (hardcover). Includes 48-page booklet with rare photos, new sleeve notes, and lyrics. Shakespears Sister present Singles Party (1988-2019), a comprehensive singles collection containing two brand new tracks plus rarities, unheard tracks, and remixes. Includes the huge hit singles "Stay", "You're History", "I Don't Care", and "Hello - Turn Your Radio On". In 1989 and 1992 respectively they achieved two Top 10 albums in the UK: Sacred Heart and Hormonally Yours. Following one of the most dramatic break ups in pop history, Siobhan and Marcella have reunited and written music together for the first time in over 25 years. Singles Party includes two new songs. The band's newest single "All The Queen's Horses", featured here, is produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) and features members of The Bad Seeds. Deluxe edition version compiles 32 tracks over two CDs; Features Catz 'n Dogz, HMD, Shep Pettibone, BTO, and Brothers In Rhythm.
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BANG 131LP
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$26.50
PREORDER
RELEASE DATE: 7/19/2019
Originally released only on CD in 1993, here is The Ugly Truth, the masterpiece from cult Australian artists Louis Tillett and Charlie Owen (The Beasts of Bourbon). Acoustic album with piano and guitar where Louis Tillett prints his most intimate, dark and emotional art in the shape of precious melodies, supported and backed by Charlie Owen. This album is absolutely mandatory for all fans of Louis Tillett and The Beasts of Bourbon. It was necessary to be released on vinyl, no doubt. 150 gram vinyl; edition of 300.
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HPS 105LTD-LP
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$31.00
PREORDER
RELEASE DATE: 7/19/2019
LP version. Limited edition color vinyl. Yawning Man continue to establish their exceptionally unique approach to rock music on their latest album, Macedonian Lines. This follow-up to the critically acclaimed Revolt Against Tired Noises (HPS 081CD/LP/LTD-LP, 2018) shows a further maturing of melody, dynamics, and emotion in the band's song writing. Yawning Man's roots lay at the foundation of the desert rock and stoner rock sub genres however the music the band creates is truly organic and visceral, conjuring a flowing imagery and an emotional response. On this release, the band has a darker and massively heavier sound than past recordings as most of these tracks were developed in live performance and then fully realized in the studio. Yawning Man returned to Gatos Trail Studio in the Joshua Tree Desert in California to record this album and the space and beauty of the surroundings is ever present in every track. Heavy, beautiful, and delicate. Gary Arce, Mario Lalli, and Bill Stinson continue to expand and dig deep with every track. Formed in the late 1980s, the lineup of Arce, Lalli, and Stinson rounds out their yearlong active recording and touring schedule. Arce and Lalli's background together date back to the start of Yawning Man with Stinson's background steeped in the SST Records world through performing and recording with Greg Ginn and Chuck Dukowski of Black Flag for several years. Yawning Man is acknowledged and recognized throughout the underground heavy music community as a key piece in the developments of the desert/stoner rock subgenres. While their contemporaries gravitated toward the heavy riffs of grunge, and post punk, Yawning Man leaned in another direction with their unique and organic, cinematic compositions and psychedelic improvisations, the perfect soundtrack to encompass the spacious moonscape atmosphere of the well documented "generator parties" of their area in the late 1980s.
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BANG 135LP
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$26.50
PREORDER
RELEASE DATE: 7/19/2019
Detroit high-energy rock at its purest essence! Niagara (Destroy All Monsters) and Ron Asheton (The Stooges), among other great Detroit musicians, recorded this killer album back in 1996. Now it is finally reissued on vinyl with two added tracks to the original vinyl release, remastered in order to get its purest sound, and new artwork courtesy of Mrs. Niagara Detroit and Mr. Colonel Galaxy. And guess what? This is an extension of Destroy All Monsters with absolutely killer guitars in line with The Stooges' Funhouse with the unique stamp and signature of Mr. Ron Asheton. Ten classic shots which need to be in your record collection right by The Stooges, Destroy All Monsters, MC5, Sonic's Rendezvous Band, Radio Birdman, The New Christs, Bored!, etc. 150 gram vinyl; edition of 500.
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CD
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LMS 5521303
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$12.50
PREORDER
RELEASE DATE: 7/19/2019
Shakespears Sister present Singles Party (1988-2019), a comprehensive singles collection containing two brand new tracks plus rarities, unheard tracks, and remixes. Includes the huge hit singles "Stay", "You're History", "I Don't Care", and "Hello - Turn Your Radio On". In 1989 and 1992 respectively they achieved two Top 10 albums in the UK: Sacred Heart and Hormonally Yours. Following one of the most dramatic break ups in pop history, Siobhan and Marcella have reunited and written music together for the first time in over 25 years. Singles Party includes two new songs. The band's newest single "All The Queen's Horses", featured here, is produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) and features members of The Bad Seeds.
Standard edition comes in a jewel case.
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LP
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HPS 105LP
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$23.00
PREORDER
RELEASE DATE: 7/19/2019
LP version. Yawning Man continue to establish their exceptionally unique approach to rock music on their latest album, Macedonian Lines. This follow-up to the critically acclaimed Revolt Against Tired Noises (HPS 081CD/LP/LTD-LP, 2018) shows a further maturing of melody, dynamics, and emotion in the band's song writing. Yawning Man's roots lay at the foundation of the desert rock and stoner rock sub genres however the music the band creates is truly organic and visceral, conjuring a flowing imagery and an emotional response. On this release, the band has a darker and massively heavier sound than past recordings as most of these tracks were developed in live performance and then fully realized in the studio. Yawning Man returned to Gatos Trail Studio in the Joshua Tree Desert in California to record this album and the space and beauty of the surroundings is ever present in every track. Heavy, beautiful, and delicate. Gary Arce, Mario Lalli, and Bill Stinson continue to expand and dig deep with every track. Formed in the late 1980s, the lineup of Arce, Lalli, and Stinson rounds out their yearlong active recording and touring schedule. Arce and Lalli's background together date back to the start of Yawning Man with Stinson's background steeped in the SST Records world through performing and recording with Greg Ginn and Chuck Dukowski of Black Flag for several years. Yawning Man is acknowledged and recognized throughout the underground heavy music community as a key piece in the developments of the desert/stoner rock subgenres. While their contemporaries gravitated toward the heavy riffs of grunge, and post punk, Yawning Man leaned in another direction with their unique and organic, cinematic compositions and psychedelic improvisations, the perfect soundtrack to encompass the spacious moonscape atmosphere of the well documented "generator parties" of their area in the late 1980s.
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UTR 110LP
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$21.00
PREORDER
RELEASE DATE: 7/19/2019
LP version. 180 gram vinyl; Edition of 400. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.
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LP
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UTR 110YEL-LP
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$23.00
PREORDER
RELEASE DATE: 7/19/2019
LP version. 180 gram yellow vinyl; Edition of 300. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.
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CD
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HPS 105CD
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$16.50
PREORDER
RELEASE DATE: 7/19/2019
Yawning Man continue to establish their exceptionally unique approach to rock music on their latest album, Macedonian Lines. This follow-up to the critically acclaimed Revolt Against Tired Noises (HPS 081CD/LP/LTD-LP, 2018) shows a further maturing of melody, dynamics, and emotion in the band's song writing. Yawning Man's roots lay at the foundation of the desert rock and stoner rock sub genres however the music the band creates is truly organic and visceral, conjuring a flowing imagery and an emotional response. On this release, the band has a darker and massively heavier sound than past recordings as most of these tracks were developed in live performance and then fully realized in the studio. Yawning Man returned to Gatos Trail Studio in the Joshua Tree Desert in California to record this album and the space and beauty of the surroundings is ever present in every track. Heavy, beautiful, and delicate. Gary Arce, Mario Lalli, and Bill Stinson continue to expand and dig deep with every track. Formed in the late 1980s, the lineup of Arce, Lalli, and Stinson rounds out their yearlong active recording and touring schedule. Arce and Lalli's background together date back to the start of Yawning Man with Stinson's background steeped in the SST Records world through performing and recording with Greg Ginn and Chuck Dukowski of Black Flag for several years. Yawning Man is acknowledged and recognized throughout the underground heavy music community as a key piece in the developments of the desert/stoner rock subgenres. While their contemporaries gravitated toward the heavy riffs of grunge, and post punk, Yawning Man leaned in another direction with their unique and organic, cinematic compositions and psychedelic improvisations, the perfect soundtrack to encompass the spacious moonscape atmosphere of the well documented "generator parties" of their area in the late 1980s.
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CD
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UTR 110CD
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$14.00
PREORDER
RELEASE DATE: 7/19/2019
Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.
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CD
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MORR 167CD
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$15.50
PREORDER
RELEASE DATE: 7/5/2019
Mikko Singh has been living different musical lives from the start. With Cloud Formations, his third album under the Haleiwa moniker, Singh eschews the guitar-dominated sound of his first two LPs for lush but grainy textures. Inspired by bands and songwriters like Animal Collective, Real Estate, and the late Jay Reatard, Cloud Formations is a hopeful record whose experimental approach to rock music calls to mind the experimental pop of Morr Music label mates like Sequoyah Tiger or even Stereolab's motorik-driven post-rock. It's a fusion of fuzzed-out sounds, washed-out sentiments and far-out songwriting -- perhaps the only shoegaze record you can actually take along to the beach. Ever since he first picked up the classical guitar at age nine, Singh has pursued many different ambitions. Having moved on from skate punk and hardcore bands to instrumental indie rock, Singh even released an album of subtle piano compositions on the 1631 label alongside artists like Dustin O'Halloran and Hauschka. As an album dedicated to new beginnings, Cloud Formations proves to be the perfect synthesis for all of these ambitions. 0After the release 2015's Palm Trees of the Subarctic, Singh began experimenting with his collection of vintage and analog synthesizers, exploring different ways of using the guitar and putting an emphasis on his bass playing when composing. While some of the songs on Cloud Formations were initially conceived in 2015, he recorded and produced the album between 2017 and 2018 in what he calls a "long and continuous process". Apart from some drum recordings (provided by his long-time friend Johan Nordlund of the Swedish hardcore band This Gift Is A Curse), Singh maintained full creative control of the album, tweaking the nine songs in his own Stockholm studio. He paid more attention than before to the subtleties of sound design and their emotive qualities; the result is a dense, at times psychedelic and intimate album, abundant with passion and optimism, despite its name, which may at first indicate the opposite. Singh wants to express hope on Cloud Formations, an approach that becomes tangible from the very first seconds of the anthemic opener "HKI -97". Between the fuzzy ambience of "Ka'a'awa Surfin'", the title track's hypnagogic mid-tempo grooves, to the relentless drive of "Swell" or "Crossroads", and the eerie final track "Cold Concrete", this album is to be understood as a celebration of different musical lives becoming one.
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HPS 103LTD-LP
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$34.00
PREORDER
RELEASE DATE: 7/5/2019
LP version. Limited edition transparent splatter black and pink fluo vinyl. 22 years after their first release (1999) and ten years after their last album (2008), Nebula are back. And you're thinking "Holy shit!" right now, you pretty much nailed it. Holy Shit is Nebula's first LP since 2009's Heavy Psych, and it quickly puts to rest the question that's loomed since guitarist/vocalist Eddie Glass, bassist Tom Davies, and drummer Michael Amster announced the band's reformation in 2017: Nebula are still Nebula. It's there in the inimitable space-grunge of "It's All Over", or the take-a-drag-and-be-gone "Let's Get Lost", or the way "Tomorrow Never Comes" manages to be so, so heavy and laid back at the same time. It's in the paradise-psych of "Gates Of Eden" and even the snoring you hear before the devilish "Man's Best Friend" kicks in to open the album (the studio couch became a crash spot). Since the days of 1998's Let It Burn EP and the now-classic To The Center debut album (HPS 066CD/LP/LTD-LP), Nebula have always been just a little more dangerous. Just a little more unhinged. Holy Shit shows this front-to-back for the essential part of their character it is, and yet it's not trying to be anything they've done before, whether it's those early outings or Heavy Psych or 2001's Charged (HPS 087CD/LP/LTD-LP), 2003's Apollo, or 2005's Atomic Ritual. It's a sixth Nebula album -- something for which even the most ardent of fans could hardly have hoped. The basic tracks were done in two days, recorded at Mysterious Mammal Studios in LA with Matt Lynch (also of Snail) at the helm. Leads and loops and feedback effects were done live by Glass and Davies as they recorded the basic tracks, just the way they'd do it on stage, and overdubs followed after as needed. A glut of material was produced and whittled down to the core of what you hear here. A sixth Nebula album. And when you hear it, you'll find yourself saying that title all over again. Cover art by Robin Gnista.
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2LP
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TR 437LP
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$36.00
PREORDER
RELEASE DATE: 7/5/2019
Double LP version. Tapete present a reissue of Nick Garrie's The Nightmare Of J.B. Stanislas, originally released in 1968. The Englishman recorded his folk-pop masterpiece in France at the tender age of nineteen. The year was 1968 and Garrie felt ill at ease with the lavish arrangements accompanying his songs. Worse still, the label owner committed suicide and the record virtually disappeared without trace -- until it resurfaced in 2005. Tapete's release includes numerous bonus tracks, rare photograph, and extensive liner notes.
"... The Nightmare Of J.B. Stanislas feels unmistakably English, and yet never ventures near the childlike tropes of British psychedelia, never hints at prog or flirts with the pastoral folk stylings coming out of the UK in the late 1960s. One very good reason for this oddness is that this album in fact came out of Paris as the result of one heroic act of cross-Channel cultural misunderstanding . . . the story of his debut LP sounds eerily poignant in today's age of European turmoil. It is the tale of a boy who grew up on both sides of the Channel, forever too French for Britain and too British for France, with roots that went back a lot farther still . . . His father's idée fixe meant that come his 18th birthday young Nick found himself in line for two years' service in the French army. Ten years prior to that, the British side of his upbringing had condemned him to the trauma of a Norwich boarding school . . . In his youth, Garrie's 'gods' were Jacques Brel, Georges Brassens and Georges Moustaki. No wonder The Nightmare Of J.B. Stanislas sounds and feels a lot more like the Tuileries than Hyde Park, more French Riviéra than Brighton pier. In fact the beaches of Saint Tropez were the place where these songs first found an audience when a still teenage Nick Garrie lived precariously on the run from the French army. Having produced some demos in Brussels (included in this collection, alongside a non-album single and one later demo) and renounced his French citizenship, Garrie passed an audition with Lucien Morisse, boss at the then predominant Parisian record label Disc'AZ . . . None other than the eminent Eddie Vartan was employed to give the young Englishman's songs a full orchestral makeover. Having finished his recordings with some 50-odd grumpy French studio hacks in just two weeks, Garrie eagerly awaited the album's release. But on the day before Stanislas was due to appear the news broke that Lucien Morisse had committed suicide. The unexpected death of the man who had signed him also meant the death knell for Garrie's record..." --Robert Rotifer
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LP
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BEWITH 055LP
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$29.00
PREORDER
RELEASE DATE: 7/5/2019
Be With Records presents a reissue of Logg's self-titled LP, originally issued on Salsoul Records in 1981. The undisputed Godfather of boogie, Leroy Burgess' Logg project is his masterpiece. Logg is one of the greatest albums of the post-disco era; it's one of Be With's favorite-ever LPs and so it's a complete honor to be reissuing it. With all the touchstones of Burgess's finest work -- breezy grooves, undulating synths, funk-drenched bass, and life-affirming lyrics -- delivered with gospel-derived vocals and harmonies, it's a record to uplift both body and spirit. Already a cult soul figure as lead singer of Black Ivory, Burgess cut his teeth as arranger, vocalist, and songwriter with producer Patrick Adams on essential late-'70s projects like Phreek and Dazzle. He went on to define the essence of "boogie": the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed the cool boogie of Burgess has the disco bounce, just more laid back. All six tracks here could have been stand-alone hits; indeed, some of them were. But together they are also an incredibly cohesive album. In short, it's a thrilling showcase for Burgess' finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass. Opener "(You've Got) That Something" is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of "Dancing Into The Stars" -- married to percolating synth and airtight drums -- showcases the chemistry between Burgess and the rhythm section. The fusion of funk and gospel-influenced harmonies which propels "Something Else" is remarkable: deep, joyous, and bouncy. Infamously mixed by Larry Levan, "I Know You Will" is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. "Lay It On The Line" radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer "Sweet To Me" is a chilled-out gem of profound soulful elegance. Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, MCDE and Harvey Sutherland have also cited it as an influence. This reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves. Mastered by Simon Francis, cut by Pete Norman with reproduced artwork, this is a reissue that does justice to this classic LP. 180 gram pressing.
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2LP
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FVR 152LP
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$30.50
PREORDER
RELEASE DATE: 7/5/2019
Double LP version. Gatefold, Tip-On sleeve. Ready for an adventure running parallel to their lives in common units, the quartet Aldorande boarded a starship to set off on an astral expedition. The mission began perfectly, according to plan. From the very first measures, the travelers were released from the Earth's gravity. Very quickly, their home planet appeared tiny and distant, before disappearing completely. Comets and novae lit the way through the fathomless depths of interstellar space. Their preliminary, in-depth studies of '70s jazz-funk were a great source of inspiration. Very early on, they knew that this sonic aesthetic would allow them to travel even farther, navigating only with organic instruments and no digital backing or enhancements. Commander Virgile Raffaëlli's bass lines guided their journey, offering a calm, yet vibrant foundation for the smoother phases and turning up the power to bring them through turbulence and meteor showers safe and sound. Like a compass, the bass indicated the direction and traced a groove that the loyal, valued crew could follow as their travels continued. Mathieu Edouard's drums solidly locked down the rhythm to avoid any sudden jolts, working in tandem with Erwan Loeffel's jet-propelled percussion. On the keyboards, Florian Pellissier drew harmonies and riffs from the synthesizers and electric pianos to oil the machinery and lighten the load when the ensemble needed to rise a few feet. The crew's almost telepathic cohesion was key to their success, allowing them to express interior emotions with just a few notes. Here is the last transmission we received: We have landed on an unknown planet and are depressurizing the airlock with help from subtle horns and ethereal choruses so we can discover the new horizon. It definitely meets our expectations! The desert before us holds the promise of new life. The warm yet fresh air is easy to breathe. A vague psychedelic scent floats through the atmosphere, as if ready to spring from the first flower to bloom. Dreamlike, mysterious, enigmatic yet familiar, we will call it Aldorande.
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CD
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UTR 121CD
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$14.00
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RELEASE DATE: 7/5/2019
Upset The Rhythm present a reissue of Normil Hawaiians' What's Going On?, originally released in 1984. To Normil Hawaiians, getting out of lockstep with Thatcherism seemed imperative. Adding to an overriding sense of anxiety, close friend and band associate Martin Pawson took his life in July 1983. Following More Wealth Than Money, released on Illuminated Records in 1982, there was an impetus to make good on hard won achievements. Rehearsal and writing sessions resumed in the early months of 1983 at Intergalactic Arts Studios. IGA was a ramshackle, semi-residential rehearsal space. Illuminated Records had been sending artists to Foel Studios in Powys, Wales for years, and it had become a kind of refuge for the Hawaiians. Studio owner/manager Dave Anderson (Hawkwind/Amon Düül II) was welcoming, unruffled, and accommodating when around a dozen band members, friends, and family emerged from the "mini-peace convoy" of vehicles into the hazy, pastoral care of the warm, Welsh countryside. Whereas More Wealth Than Money had evolved in the recording studio, What's Going On began to develop as a more pre-meditated, albeit piecemeal work. "Quiet Village" and the unreleased "Outpost" had already been finished at Foel in February 1983. Recording Engineer Brian Snelling recalls how the Hawaiians approach to making the album was unconventional and spontaneous, reveling in chance and openness. Rehearsal tapes from IGA were played along to, and improvisations allowed to develop, with further layers of sound accreting (as can be heard on "Big Lies"). "Free Tibet" was created by the band playing together exploratively with Snelling waiting to hit "Record" until he heard that something interesting was coalescing. He recalls the sessions being initially unorthodox, but eventually settling into a friendly, productive, and very familial affair. Mixed tapes were then taken by Dave Andersen and Guy Smith to Charly Records' editing studio in London. Here they spliced the recordings into an irregular yet coherent, flowing work. Final masters were then EQ'd and cut by Graeme Durham at the newly opened Exchange Mastering Studios in Camden. And then nothing happened. Unbeknownst to the band, Illuminated Records were getting into deep financial problems. The label gave the band 250 copies, but the record shops wouldn't touch them -- the company had been blacklisted. This intricate, challenging and engaging work had been failed by poor circumstance. CD version includes seven bonus tracks; comes in gatefold wallet with booklet; edition of 500.
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12"
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BEWITH 011EP
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$17.50
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RELEASE DATE: 7/5/2019
In 1980, Randy Muller's Skyy dropped the monumental Here's To You, comfortably one of the greatest dance singles of all time. Released on Salsoul, Here's To You is now exceptionally hard to find in its original form. On this special Be With double-header, the label presents the sought-after 12" mix and back it up with the strutting "You Got Me Up", which has never been on a 12" before.
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CD
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EMEGO 264CD
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$15.50
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RELEASE DATE: 7/5/2019
After a trilogy of spectacular explorations of relentlessly driving rhythms -- Sagittarian Domain (EMEGO 144CD/LP, 2012), Quixotism (EMEGO 202CD/LP, 2014), and Hubris (EMEGO 227CD/LP, 2016) -- Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes From The Estate (BT 036LP/TO 061CD) while also following his muse down previously unexplored byways. Reflecting Ambarchi's profound love of Brazilian music, Simian Angel features the remarkable percussive talents of Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista's dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, "Palm Sugar Candy", Baptista's spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece's final minutes leave Ambarchi's guitar unaccompanied. While the rich, swirling harmonics of Ambarchi's guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone you hear is quite new, coming across at times like an abstracted, splayed-out take on the '80s guitar synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi's playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance. Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carries on the first side's exploration of subtle, non-linear dynamic arcs, taking the form of a gently episodic suite, in which distinctive moments, like a lyrical passage of guitar-triggered piano, unexpectedly arise from intervals of drifting tones like dream images suddenly cohering. In the piece's second half, the piano tones become increasingly more clipped and synthetic, scattering themselves into aleatoric melodies that call to mind an imaginary collaboration between Albert Marcoeur and David Behrman, grounded all the while by the pulse of Baptista's percussion. Subtle yet complex, fleeting yet emotionally affecting, Simian Angel is an essential chapter in Ambarchi's restlessly exploratory oeuvre. Personnel: Oren Ambarchi - guitars & whatnot; Cyro Baptista - percussion & voice.
Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente, and Oren Ambarchi. Photography by Traianos Pakioufakis. Design by Lasse Marhaug. Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin. Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo. Cut by Rashad Becker at Dubplates & Mastering, Berlin. Executive Producers: Konrad Sprenger and Dick Wolf.
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LP
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EMEGO 264LP
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$23.00
PREORDER
RELEASE DATE: 7/5/2019
LP version. After a trilogy of spectacular explorations of relentlessly driving rhythms -- Sagittarian Domain (EMEGO 144CD/LP, 2012), Quixotism (EMEGO 202CD/LP, 2014), and Hubris (EMEGO 227CD/LP, 2016) -- Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes From The Estate (BT 036LP/TO 061CD) while also following his muse down previously unexplored byways. Reflecting Ambarchi's profound love of Brazilian music, Simian Angel features the remarkable percussive talents of Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista's dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, "Palm Sugar Candy", Baptista's spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece's final minutes leave Ambarchi's guitar unaccompanied. While the rich, swirling harmonics of Ambarchi's guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone you hear is quite new, coming across at times like an abstracted, splayed-out take on the '80s guitar synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi's playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance. Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carries on the first side's exploration of subtle, non-linear dynamic arcs, taking the form of a gently episodic suite, in which distinctive moments, like a lyrical passage of guitar-triggered piano, unexpectedly arise from intervals of drifting tones like dream images suddenly cohering. In the piece's second half, the piano tones become increasingly more clipped and synthetic, scattering themselves into aleatoric melodies that call to mind an imaginary collaboration between Albert Marcoeur and David Behrman, grounded all the while by the pulse of Baptista's percussion. Subtle yet complex, fleeting yet emotionally affecting, Simian Angel is an essential chapter in Ambarchi's restlessly exploratory oeuvre. Personnel: Oren Ambarchi - guitars & whatnot; Cyro Baptista - percussion & voice.
Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente, and Oren Ambarchi. Photography by Traianos Pakioufakis. Design by Lasse Marhaug. Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin. Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo. Cut by Rashad Becker at Dubplates & Mastering, Berlin. Executive Producers: Konrad Sprenger and Dick Wolf.
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CD
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HPS 103CD
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$18.00
PREORDER
RELEASE DATE: 7/5/2019
22 years after their first release (1999) and ten years after their last album (2008), Nebula are back. And you're thinking "Holy shit!" right now, you pretty much nailed it. Holy Shit is Nebula's first LP since 2009's Heavy Psych, and it quickly puts to rest the question that's loomed since guitarist/vocalist Eddie Glass, bassist Tom Davies, and drummer Michael Amster announced the band's reformation in 2017: Nebula are still Nebula. It's there in the inimitable space-grunge of "It's All Over", or the take-a-drag-and-be-gone "Let's Get Lost", or the way "Tomorrow Never Comes" manages to be so, so heavy and laid back at the same time. It's in the paradise-psych of "Gates Of Eden" and even the snoring you hear before the devilish "Man's Best Friend" kicks in to open the album (the studio couch became a crash spot). Since the days of 1998's Let It Burn EP and the now-classic To The Center debut album (HPS 066CD/LP/LTD-LP), Nebula have always been just a little more dangerous. Just a little more unhinged. Holy Shit shows this front-to-back for the essential part of their character it is, and yet it's not trying to be anything they've done before, whether it's those early outings or Heavy Psych or 2001's Charged (HPS 087CD/LP/LTD-LP), 2003's Apollo, or 2005's Atomic Ritual. It's a sixth Nebula album -- something for which even the most ardent of fans could hardly have hoped. The basic tracks were done in two days, recorded at Mysterious Mammal Studios in LA with Matt Lynch (also of Snail) at the helm. Leads and loops and feedback effects were done live by Glass and Davies as they recorded the basic tracks, just the way they'd do it on stage, and overdubs followed after as needed. A glut of material was produced and whittled down to the core of what you hear here. A sixth Nebula album. And when you hear it, you'll find yourself saying that title all over again. Cover art by Robin Gnista.
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LP
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HPS 103LP
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$25.00
PREORDER
RELEASE DATE: 7/5/2019
LP version. 22 years after their first release (1999) and ten years after their last album (2008), Nebula are back. And you're thinking "Holy shit!" right now, you pretty much nailed it. Holy Shit is Nebula's first LP since 2009's Heavy Psych, and it quickly puts to rest the question that's loomed since guitarist/vocalist Eddie Glass, bassist Tom Davies, and drummer Michael Amster announced the band's reformation in 2017: Nebula are still Nebula. It's there in the inimitable space-grunge of "It's All Over", or the take-a-drag-and-be-gone "Let's Get Lost", or the way "Tomorrow Never Comes" manages to be so, so heavy and laid back at the same time. It's in the paradise-psych of "Gates Of Eden" and even the snoring you hear before the devilish "Man's Best Friend" kicks in to open the album (the studio couch became a crash spot). Since the days of 1998's Let It Burn EP and the now-classic To The Center debut album (HPS 066CD/LP/LTD-LP), Nebula have always been just a little more dangerous. Just a little more unhinged. Holy Shit shows this front-to-back for the essential part of their character it is, and yet it's not trying to be anything they've done before, whether it's those early outings or Heavy Psych or 2001's Charged (HPS 087CD/LP/LTD-LP), 2003's Apollo, or 2005's Atomic Ritual. It's a sixth Nebula album -- something for which even the most ardent of fans could hardly have hoped. The basic tracks were done in two days, recorded at Mysterious Mammal Studios in LA with Matt Lynch (also of Snail) at the helm. Leads and loops and feedback effects were done live by Glass and Davies as they recorded the basic tracks, just the way they'd do it on stage, and overdubs followed after as needed. A glut of material was produced and whittled down to the core of what you hear here. A sixth Nebula album. And when you hear it, you'll find yourself saying that title all over again. Cover art by Robin Gnista.
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LP
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FTR 451LP
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$18.50
PREORDER
RELEASE DATE: 7/5/2019
"Currently based in the Boston area, Joseph Allred was one of the players we first encountered at 2018's Ten Thousand Incarnations of the Rose festival in Takoma Park MD. Allred's playing had some Basho-esque sequencing that was highly engaging, and the rest of the set was a killer, off-center swathe of string quiver we could not resist. O Meadowlark is Allred's third solo vinyl (there are cassettes as well), and will surely please many heads. Here're Joseph's words on how the album came together. 'I recorded this stuff at the end of last year all in one night without really intending anything in particular with it. After I sat and listened back to it a narrative came together really quickly and I reflected that in the song titles. Poor Faulkner is a name I released music under for the first recordings I made several years ago, but he's since become a character I sometimes tell stories about in my music, or sometimes I assume his perspective and play songs from there. He's a very lonely middle-aged man who lives in a house in a remote part of Tennessee. He thinks the house is haunted, and the ghosts he sees range from the ghost of a kitten to a woman's ghost that his grandfather brought back from WWII. O Meadowlark tells a story about him, partially from an outside perspective and partially from his perspective. He hears a bird and follows it into the woods, where he finds a cabin and is visited by an angel. He stays the night at the cabin, and struggles to understand what the angel is trying to convey to him. The next day the angel reappears and eventually takes him to a celestial place where he's shown a vision. The album ends with his ascent, but doesn't include the vision. I think that's part of something new I'm working on at the moment.' Using guitars and banjos the way they were meant to be used, Allred's narrative unfolds like a strange movie just for you. Dig it now." --Byron Coley, 2019 Edition of 300.
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LP
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MORR 167LP
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$19.50
PREORDER
RELEASE DATE: 7/5/2019
LP version. Includes download code. Mikko Singh has been living different musical lives from the start. With Cloud Formations, his third album under the Haleiwa moniker, Singh eschews the guitar-dominated sound of his first two LPs for lush but grainy textures. Inspired by bands and songwriters like Animal Collective, Real Estate, and the late Jay Reatard, Cloud Formations is a hopeful record whose experimental approach to rock music calls to mind the experimental pop of Morr Music label mates like Sequoyah Tiger or even Stereolab's motorik-driven post-rock. It's a fusion of fuzzed-out sounds, washed-out sentiments and far-out songwriting -- perhaps the only shoegaze record you can actually take along to the beach. Ever since he first picked up the classical guitar at age nine, Singh has pursued many different ambitions. Having moved on from skate punk and hardcore bands to instrumental indie rock, Singh even released an album of subtle piano compositions on the 1631 label alongside artists like Dustin O'Halloran and Hauschka. As an album dedicated to new beginnings, Cloud Formations proves to be the perfect synthesis for all of these ambitions. 0After the release 2015's Palm Trees of the Subarctic, Singh began experimenting with his collection of vintage and analog synthesizers, exploring different ways of using the guitar and putting an emphasis on his bass playing when composing. While some of the songs on Cloud Formations were initially conceived in 2015, he recorded and produced the album between 2017 and 2018 in what he calls a "long and continuous process". Apart from some drum recordings (provided by his long-time friend Johan Nordlund of the Swedish hardcore band This Gift Is A Curse), Singh maintained full creative control of the album, tweaking the nine songs in his own Stockholm studio. He paid more attention than before to the subtleties of sound design and their emotive qualities; the result is a dense, at times psychedelic and intimate album, abundant with passion and optimism, despite its name, which may at first indicate the opposite. Singh wants to express hope on Cloud Formations, an approach that becomes tangible from the very first seconds of the anthemic opener "HKI -97". Between the fuzzy ambience of "Ka'a'awa Surfin'", the title track's hypnagogic mid-tempo grooves, to the relentless drive of "Swell" or "Crossroads", and the eerie final track "Cold Concrete", this album is to be understood as a celebration of different musical lives becoming one.
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