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Search Result for Genre ROCK
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2LP
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OPT4 011LP
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$33.00
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RELEASE DATE: 5/7/2021
In 1980, post punk pop indie band Girls At Our Best came out of nowhere (Well, Leeds actually) with "Getting Nowhere Fast" and was the NME's "Single Of The Week" reaching the Top 10 of the indie chart. The band, fronted by Judy Evans, released four further singles plus the album Pleasure which reached the UK album charts in 1981, before splitting up two years after that first record. Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands who cropped up at the turn of the '80s -- long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude "Jo" Evans, forming a songwriting team with guitarist James Alan and bass player Gerard Swift after they met at art college. All four of their singles for their own Record Records, Rough Trade, and Happy Birthday Records are included here as bonus tracks on a 45rpm 12" --including the wonderful "Getting Nowhere Fast" (later covered by The Wedding Present), its coruscating B-side "Warm Girls", "Politics!", "Go For Gold", and "Fast Boyfriends". Their influence can be seen on innumerable C86/indie bands who came afterwards. Comes on half-and-half, color vinyl: disc one on yellow/magenta and disc two on turquoise/magenta. Second disc contains the singles and B sides; 45rpm. Gatefold sleeve with printed inner sleeves containing lyrics, photos, and interview by The Mouth Magazine; also includes "Pleasure Bag" containing four postcards, two stickers, a stencil, repro Tour Poster, repro promo posters for "Go For Gold" and "Politics/Its Fashion" singles.
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3LP BOX
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WRWTFWW 042BOX
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$64.00
PREORDER
RELEASE DATE: 4/23/2021
WRWTFWW Records celebrate the 40-year anniversary of cult band Grauzone with the release of their definitive and comprehensive Limited 40 Years Anniversary Box Set. The release is packed with their complete discography, as well as a never-released-before live recording, an 80-page fanzine with an extensive biography written by Swiss music historian Lurker Grand, unseen archival material, and artist contributions, and a poster replica of an original concert flyer from 1980. Conceived, conceptualized and supervised by original band member Stephan Eicher, the box set includes the following exclusive content: Grauzone's self-titled album from 1981 reissued as a 180 gram, double-LP with nine additional tracks, amounting to the band's complete studio discography. Included are the classics "Eisbär", "FILM 2", "Raum", "Moskau", "Träume Mit Mir", "Der Weg Zu Zweit", and "Wütendes Glas (Maxi Version)", as well as the deep and unconventional album cuts that make Grauzone so unique. The double-LP is housed in a heavy gatefold sleeve, with liner notes by Lurker Grand, an insert with the original album's lyrics, and a special Xeroxed artwork imagined by Stephan Eicher. The box also includes Grauzone's Live LP, a recording of their April 12th 1980 concert at Gaskessel in their hometown of Bern, Switzerland, with a sleeve artwork by Stephan Eicher. Also includes is an 80-page fanzine containing the history of Grauzone written by Lurker Grand, never-seen images of the band and their collaborators and incredible snapshots of the late '70s/early '80s underground scene in Switzerland, as well as artist contributions by Christian Marclay, Genesis P-Orridge, Sylvie Fleury, John Armleder, Maurizio Cattelan, Gregor Hildebrandt and more, cementing Grauzone's art band with a punk attitude" ethos. Included as well is a 60x90 cm poster replica of Grauzone's Spex (Bern) concert flyer from October 25 1980. Absolutely all the elements included in this box set collection were photocopied by hand with a vintage Xerox machine before being printed, as wished by Stephan Eicher (who took care of photocopy duties for a good chunk of the material). A bold artistic choice, a nod to the DIY ways of the era this release represents, and drawing a parallel between the acts of reissuing and photocopying. Lid-off box.
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LP
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CCMUSIC 003LP
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$22.00
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RELEASE DATE: 4/20/2021
The Copenhagen-based, Scottish-born composer Clarissa Connelly's music is evocative of the whimsical and almost child-like, tainted by an undercurrent of dark sensuality, disquietude, and existential dread. Characterized by complex arrangements, big compounded chords, as well as a broad array of instruments, effects and sounds, her songs orient the listener towards utopian beauty that lie somewhere between the baroque and the primordial. With an experimental approach to vocal techniques, her voice can manifest benevolent fay-like creatures as easily as banshees and maleficent spirits singing melodies that retain the accessibility typically associated with pop-music. The compositions are lyrically and aesthetically grounded in Celtic folklore and Scandinavian vitalism. The threshold between the mundane and the fantastical are accentuated in her work, in such a way that the pursuit for -- and the ability to recognize -- real beauty in the world become anchored in the realm of work, everyday anxiety, motivation, human brilliance, and failure. With The Voyager, Connelly sets out to not only to study the relationship between nature and music, but also its relationship with time. The Voyager derives so much of its power by rooting itself in history, mythology, capable of intertwining and unravelling both past and present. Songs such as "Holler" and "The Hills Are Crying" -- opening and closing tracks on the album, respectively -- conjure images of these ancient Danish sites, offering something more than just a fluid, long-forgotten way, and instead a tangible reverie that can educate, engage and thrill in equal measure. The Voyager is released in conjunction with an app Vandringen, conceived and created by Clarissa Connelly -- along with the contributions of 21 other Danish musicians, painters, sculptures, performers -- which highlights special ancient Danish locations, not viewable on Google Maps. These locations are presented with local knowledge and a number of them are interpreted for the modern day by the creatives involved. Connelly concludes: "I am very eager to write music that sounds like something that is happening now but has also happened a very long time ago. I have always found it fascinating to view history through changes in the landscapes around us, and therefore I started created this app and wrote this album."
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CRO 011LP
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$29.00
PREORDER
RELEASE DATE: 4/9/2021
Heady power pop trio Portable Radio announce the release of their debut eponymous LP on Crimson Crow. Lead track and first single "Hot Toddy", introduces the album with its ethereal brooding pop arrangement. Some years ago, the world started to go weird -- and that's when the then duo, Portable Radio, decided it was as good a time as any, to start making first steps. Phil -- and Mof -- shared some messages and a love of melodies, and as a gift to friends and those feeling the weight of everything, recorded a version of Brian Wilson's gorgeous opus, "Love & Mercy". The result was enough for them to start writing songs, and the blueprint for Portable Radio was born -- hope, empathy, fun, love, and mercy. Phil had cut his teeth in the Beep Seals and Mof was a DJ and student of pop, and in each other they both wanted to make music that was a tonic for the times; what transpired was a clutch of songs that were filled with uplifting, rich harmonies -- stirring power pop inspired by Todd Rundgren, Wings, Carole King, Electric Light Orchestra, NRBQ, Emitt Rhodes, '70s west coast AOR, The Zombies, and of course, The Beach Boys. The duo released their baroque pop debut single with You Are The Cosmos recordings -- the double A-Side of "Seven Hills" and "Parades". A cult following started and some shows and radio sessions ensued, joined by extended family -- tap room-Mozart Jim Noir, shed-pop wizard Aidan Smith, and Phil's previous bandmate, the supremely talented Ian Smith (Beep Seals, Alfie). Soon, Robyn Gibson (The Junipers, Bob Of The Pops) joined the ranks for their star turn and appearance on the 12 String High compilation. The two becoming a trio, the output cranked up, seeing the release of the debut Portable Radio EP (produced by Jim Noir) and the Christmas Selection Box, all loaded with killer hooks, washes of dreamy harmonies, and just a sprinkling of cynicism because no-one is impervious to the all-encompassing weirdness of the last couple of years. All of these things were the groundwork for the imminent full-length, the self-titled debut presented here. The LP is full to bursting with big choruses, reflective popsike, FM ready pop, melancholic ballads, with each song is treated like it's going to be a single.
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LP
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BEWITH 091LP
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$29.00
PREORDER
RELEASE DATE: 4/2/2021
They say: "Exploring the wide range of moods and sounds produced by percussion." Be With Records say: "MPCs at the ready because this does exactly what it says on the tin, to devastating effect." Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. This library LP is a mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Of all the 34 tracks Be With's favorites include opener "Impulsion", a percussive masterclass with drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja's eternal The Now Generation LP. And the dramatic "Fast Action" is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. "The Chaser" is classic library cop-funk with dilapidated drum figures, and the outrageously funky "Heat On" is the perfect accompaniment to your wild action sequences. A real highlight is "Runaway", and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. "Percussion Power" is an extended, near three-minute suite of funky drum solo after funky drum solo that just aches to be looped. "Shivers" is a tense, apprehensive underscore with shock stabs that builds to a climax whilst "Drums On Parade" is a showcase of head-nod drums and cymbals in march time. "Samba Street" is riotous, authentically drawn samba that sounds like it's been beamed straight in from Rio in full flow. The simple, innocent "Child's Themes" (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of "Tropical Peace" only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells. Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. Original analog tapes remastered for vinyl by Simon Francis. 180 gram vinyl.
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LP
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BEWITH 092LP
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$29.00
PREORDER
RELEASE DATE: 4/2/2021
They say: "Contemporary scores for visual effect." Be With Records say: "Synth-heavy, low-slung space-funk masterpiece." The creator of the romping tunes that became the iconic themes to the BBC's Grandstand program and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM's most prolific artist from the mid-1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino has included some of Keith's work on the soundtracks to Kill Bill and Grindhouse (2007). Mansfield's Vivid Underscores from 1977 is a sample freak's wet dream. "High Velocity" sets the tone with its aggressive horns, wah-wah guitars, funky baseline and wobbly synth refrain. "Crash Course" -- Stetsasonic horn refrain? Beautiful -- jazzy chase-funk, amazing warm keys, percussion, and funky horns -- all action. The more restrained "Matter Of Urgency" is an utterly amazing, brass-heavy underscore. The grandiose, uplifting "Dawn Of Aquarius" still sounds like the future with its tense, thundering drums, killer bassline and swirling synths. Version II loses the drums and percussion but is no less startling. "Staying Power" closes the first side with a relentless, pounding groove. "Trucking Company" is a pacey, synth-and-string masterpiece and its accompanying parts mess with the formula to great effect. "Hot Cargo" and "Espionage" are both tense spy-funk themes par excellence. "Interplay" is a quiet killer, with flutes over a glistening piano refrain just waiting to be looped. "Omen" is a mini-drama masterpiece, one only Mansfield could create. Even though it is a mix of short themes in-and-amongst longer, full-length tracks, Vivid Underscores is still thoroughly listenable from start to finish. Original analog tapes remastered for vinyl by Simon Francis. 180 gram vinyl.
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BEWITH 093LP
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$29.00
PREORDER
RELEASE DATE: 4/2/2021
They say: "New directions in contemporary scoring." Be With Records say: "Contempo is one of the best full album listens in the KPM 1000 library." Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield. Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves. Rugged funk opener "The Fix" confidently displays its low-slung languid grooves with heavy drums, horns, and bass. The punchy "What's Cooking" follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to "Cut To Music" gives way to a more inclusive, relaxed funk that's all irresistible bass and stabbing horns. The mid-tempo "Man Alive" signals the time to really get down. Closing out the A side, fresh guitar licks drip all over the slick drums of "Funky Footage", with a New Orleans piano vibe coming on to really light a fire. The B side is more smoothed out, with beautifully arranged, sweeping strings, sax solos aplenty, and a real '70s soundtrack feel. The super sleek and sexy jazz funk of "Breezin'" is as light and magical as you'd hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of "Good Vibrations" is a string-drenched, wah-wah fueled ode to living your best life. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. "Sun Goddess" will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious "Love De Luxe" and its horizontal grooves have been much sampled, but here it proves that it doesn't need any help to get you in an intimate mood. Closer "Snake Hips" is a cool mid-pace slouch. Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is a rare example of a library record that is a genuinely great listen from start to finish. Reissued from the original analog tapes and remastered for vinyl by Simon Francis. 180 gram vinyl.
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LP
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SUBSOUND 079LP
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$25.50
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RELEASE DATE: 3/26/2021
"We are not a terrorist group or religious fanatics we have just tried to give you a musical feel for the frightening atmosphere of the Middle East these days, with all the modern stereotypes. If you feel it, then we did everything right." For fans of: Darkthrone, Craft, Mayhem. Hand-numbered.
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LP
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VL 900755LP
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$25.50
PREORDER
RELEASE DATE: 3/26/2021
Vinyl Lovers present a reissue of Eddie Boyd and his Blues Band featuring Peter Green, originally released in 1967. This album from the late '60s features Eddie Boyd backed by some of the best British blues musicians of the time. Player on this album include John Mayall, Tony McPhee, Peter Green, John McVie (Peter and John later known for their involvement with Fleetwood Mac), and Aynsley Dunbar -- one of rock's most definitive drummers having played with John Mayall's Bluesbreakers, the Jeff Beck Group, Frank Zappa, and Journey before joining Jefferson Starship for three albums. The album was produced by the legendary Mike Vernon.
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LP
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OPT4 042LP
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$25.00
PREORDER
RELEASE DATE: 3/26/2021
LP version. Blue vinyl; gatefold sleeve; includes A2 poster and three art prints. Way back in 1982, Battersea based mod heroes The Direct Hits had released one single on Dan Treacy's Whamm! record label, "Modesty Blaise" earlier in the year. This was singled out in the music press as not just one of your average jam crash/bang/wallop mod revivalist tunes. Whamm! was struggling to provide the funds to record an album, the songs were too good not to commit to a full 12" set, so the Direct Hits pooled their limited resources and self-financed a very cheap one day recording session in a tiny studio in Tooting, South London called Broadway Sound. Early on the morning of August 12th, 1982 the band, comprising of Colin Swan, Geno Buckmaster, Brian Grover, and their trusty roadie "Robbo" assembled at the tiny studio to begin recording as many of their songs as they could get down on tape for the tiny budget they had scraped together. As most of the songs were already well rehearsed thanks to the band's busy live schedule, the recording of the first nine songs on this disc were finished by mid-afternoon. Throughout the rest of the day, the band toiled over scant overdubs with limited keyboard facilities and a distinct lack of musical ability. The recordings immediately came to life however, when Colin Swan and Geno Buckmaster's stage-honed tight harmonies were added, there was no time for vocal overdubs, and the mixing was completed by midnight. Tired and worn out, the band ventured out into the cold night air happy with the day's work, clutching the precious reel-to-reel tape. Two weeks later the band came back with a friend producing, and recorded the three final tracks featured on this album which have a more rounded slightly less raw sound. All three were completed in an afternoon. Almost two years later they re-recorded some of these songs, and along with a handful of new songs from the pen of Buckmaster and Swan, recorded their Blow Up debut album at Rendezvous Studios in Sydenham, South East London, released on Whaam! Records in August 1984. A few didn't make it to the first album those that did, as you will hear, stayed reasonably faithful to the original arrangements. Remastered.
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CD
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PAL 063CD
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$13.50
PREORDER
RELEASE DATE: 3/26/2021
"Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo -- but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings -- which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow (PAL 056CD/LP, 2019), there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith -- but unlike Odds, other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound, we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room -- we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..." --Tom Carter
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LP
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PAL 063LP
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$18.50
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RELEASE DATE: 3/26/2021
LP version. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo -- but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings -- which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow (PAL 056CD/LP, 2019), there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith -- but unlike Odds, other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound, we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room -- we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..." --Tom Carter
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REP 056LP
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$26.00
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RELEASE DATE: 3/26/2021
"From the streets of the motor city, Easy Action carry on the fine tradition of Detroit rock, infusing it with a raw punk edge. For those unfamiliar, Easy Action is fronted by John Brannon, former vocalist for the highly regarded Laughing Hyenas and of early '80s hardcore legends, Negative Approach. On bass is Ron Sakowski, another Detroit punk veteran, bringing his experiences from The Necros and the Laughing Hyenas to the band. Guitarist Harold Richardson is best known for his experiments with the noise rock band Gravitar during the mid-90s, and drummer Jon LeMay rocked with Thrall before joining Easy Action. After two sold-out singles and many packed shows, Easy Action hooked up with producer Al Sutton (Detroit Cobras, Laughing Hyenas, Kid Rock) at Rust Belt Studios to unleash this self-titled debut LP, a scathing rock testimonial, stripped of pretense and vanity, honest and in your face!"
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LP + 7"
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WRWTFWW 051LP
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$29.00
PREORDER
RELEASE DATE: 3/26/2021
WRWTFWW Records release the official reissue of Pierre Barouh's hard-to-describe-but-easy-to-enjoy French flair meets Japanese avant-garde lost treasure of experimental-electronic-chanson-pop with a new-wave-minimal-bossa touch, Le Pollen. Originally recorded July 1982 at Nippon Columbia Studio in Tokyo and composed, arranged, and played by a who's who of Japan's most groundbreaking musicians of the '80s. A free-spirited world traveler with an incredible ear for music, Paris-born singer and activist Pierre Barouh introduced the sounds of Brazil (and more) to Europe and pushed the envelope with his pioneering label Saravah, home of adventurous innovators Brigitte Fontaine, Areski, Jacques Higelin, Naná Vasconcelos, and Roland Bocquet's Catharsis among many others. His bohemian border-free vision of modern chanson, blending musical tradition from various parts of the globe with forward-looking artistry, resonated particularly well in Japan, where the scene spearheaded by Yellow Magic Orchestra fell in love with everything Barouh. And so, one day in 1981, Pierre Barouh received an invitation from a Japanese label to come record an album in Tokyo. Not one to turn down an escapade around the world, the French visionary jumped on a plane and landed in a studio surrounded with a dream line-up of musicians: Yukihiro Takahashi and Ryuichi Sakamoto of YMO, Yasuaki Shimizu and his Mariah bandmates Masanori Sasaji and Hideo Yamaki, members of the Moonriders, Motohiko Hamase, Mitsuru Sawamura of Interior, Kazuhiko Katoh, and the list goes on. Also participating in the making of the album were longtime collaborator Francis Laï and the mysterious and beautiful David Sylvian. The result is Le Pollen, a sincere and affectionate mix of nouveau chanson, techno-pop, post-punk, jazz, bossa, ambient, and minimalism. And probably something else entirely. Barouh's fascinating cosmopolitan music melting pot is, above all, a reassuring ode to humanity, where friendship, exchange, and collaborative creativity breeze freely. Includes bonus 7", housed in a heavy sleeve displaying two immaculate photos of Barouh and holding a printed lyrics insert.
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LP
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HPS 149LP
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$23.50
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RELEASE DATE: 3/19/2021
Heavy Psych Sounds reissue Dozer's Beyond Colossal, originally released in 2008. "Beyond Colossal is the fulfillment of the promise 2005's excellent Through The Eyes Of Heathens began to see through. The sound is that of the band pushing itself harder, writing stronger songs and compromising none of their edge or aural passion. You can hear it on 'Exoskeleton (Part II),' truncated here from its appearance with 'Part I' on a 2007 split with Iceland's Brain Police, at the 1:39-mark launching of 'The Ventriloquist,' on the more traditionally stoner 'Grand Inquisitor' and even the quiet 'Bound for Greatness' which closes out the album. Dozer are not only on top of their game, they're well beyond it." --The Obelisk.
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LP
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HPS 147LP
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$23.50
PREORDER
RELEASE DATE: 3/19/2021
LP version. Vultures is a first-time pressed EP of the Swedish stoner band, Dozer. Recorded in 2004-2005 at Rockhouse Studios in Borlänge, these six tracks were used as pre-production demos for what would later become the fourth Dozer album, 2005's Through The Eyes Of Heathens. Includes a bonus track, a cover of the Sunride song, "Vinegar Fly". Vultures is a real heavy-stoner explosion, something that only Dozer can provide. The amazing artwork is made by Lowrider leader, Peder Bergstrand. First vinyl release.
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LP
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HPS 149LTD-LP
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$33.00
PREORDER
RELEASE DATE: 3/19/2021
LP version. Transparent green vinyl. Heavy Psych Sounds reissue Dozer's Beyond Colossal, originally released in 2008. "Beyond Colossal is the fulfillment of the promise 2005's excellent Through The Eyes Of Heathens began to see through. The sound is that of the band pushing itself harder, writing stronger songs and compromising none of their edge or aural passion. You can hear it on 'Exoskeleton (Part II),' truncated here from its appearance with 'Part I' on a 2007 split with Iceland's Brain Police, at the 1:39-mark launching of 'The Ventriloquist,' on the more traditionally stoner 'Grand Inquisitor' and even the quiet 'Bound for Greatness' which closes out the album. Dozer are not only on top of their game, they're well beyond it." --The Obelisk.
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LP
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1972 007LP
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$25.00
PREORDER
RELEASE DATE: 3/19/2021
"Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot ('Terminal Case' and 'I'm Screwed Up') as well as smudged glam balladry ('Start Over' and 'Weird'). Its release in 1977, on the group's own Raw Edge label, with Borland's cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom. The Outsiders, featuring bassist Bob Lawrence and drummer Adrian 'Jan' James, were punk in the moment before punk cut ties with solos and five-minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock 'n' roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery."
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LP
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HPS 148LP
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$23.50
PREORDER
RELEASE DATE: 3/19/2021
Heavy Psych Sounds reissue Dozer's Through The Eyes Of Heathens, originally released in 2005. "From the very start of 'Drawing Dead' through the memorable lead line in the slower-paced closer 'Big Sky Theory,' Dozer assembled a work of impeccable songwriting and deep-rooted character. In the arc of their career, every record was another step forward, and just as 2001's Madre de Dios built on the debut and 2003's Call It Conspiracy built on that, so too did Through The Eyes Of Heathens pick up from where its predecessor left off. Its sound was still rooted in a heavy rock feel, but Dozer were able to translate that into something more aggressive when they wanted -- their sound had bite as well as lumber, and while a cut like 'Born A Legend' could be traced back to their desert-minded beginnings in its basic structure, by the time it was finally executed, it was something else entirely." --The Obelisk.
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CD
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HPS 147CD
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$16.50
PREORDER
RELEASE DATE: 3/19/2021
Vultures is a first-time pressed EP of the Swedish stoner band, Dozer. Recorded in 2004-2005 at Rockhouse Studios in Borlänge, these six tracks were used as pre-production demos for what would later become the fourth Dozer album, 2005's Through The Eyes Of Heathens. Includes a bonus track, a cover of the Sunride song, "Vinegar Fly". Vultures is a real heavy-stoner explosion, something that only Dozer can provide. The amazing artwork is made by Lowrider leader, Peder Bergstrand. First CD release.
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LP
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HONEY 023LP
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$19.50
PREORDER
RELEASE DATE: 3/19/2021
A great collection focused on Marvin Gaye's early Tamla productions. A breathtaking sequence of soulful hits released as singles between 1961 and 1963. The Prince of Motown's lush vocals shines through on every single track of this unmissable album. This is pure sweet soul music at its best.
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LP
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RED 316LP
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$31.00
PREORDER
RELEASE DATE: 3/19/2021
Still an awesome trip, even 45 years after its original release on cult label Omicron in 1975. A curious blend of tribal rhythms -- with an obvious reference to Polynesian handmade instruments -- electronic counterpoint, and a world jazz feel overall. Could have been easily and influence on Brian Eno and David Byrne's My Life In The Bush Of Ghosts (1981). Research and development! Yellow into green vinyl.
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LP/7"
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1972 008LP
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$25.00
PREORDER
RELEASE DATE: 3/19/2021
"The Gordons crashed upon the do-it-yourself scene of early 1980s Christchurch with torrential force, self-releasing two foundational planks of the vibrant New Zealand underground. Future Shock, a three-song 7-inch released in 1980, is a wild-eyed rampage, as staggering as any feedback-addled punk then being recorded at Southern Studios. The Gordons LP, which followed in 1981, matches the abandon with motorik churn and livewire dissonance, evoking New Zealand antecedents as divergent as This Kind Of Punishment and the Dead C. Brought together on this release, they're a noise-rock landmark anticipating fans such as Sonic Youth. Flying Nun Records, the storied Christchurch label and symbol of the island nation's rich independent music scene, re-released The Gordons and Future Shock together in 1988 following the formation of Gordons outgrowth Bailter Space, which frontman Alister Parker founded with Clean drummer Hamish Kilgour. Bailter Space, which would also come to include founding Gordons members Brent McLachlan and John Halvorsen, settled on a droning shoegaze sound, drawing comparisons to Dinosaur Jr. and the Pixies. The Gordons and Future Shock, however, represent the trio's unreformed id, as startling today as upon release."
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LP
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HPS 148LTD-LP
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$33.00
PREORDER
RELEASE DATE: 3/19/2021
LP version. Bloody red vinyl. Heavy Psych Sounds reissue Dozer's Through The Eyes Of Heathens, originally released in 2005. "From the very start of 'Drawing Dead' through the memorable lead line in the slower-paced closer 'Big Sky Theory,' Dozer assembled a work of impeccable songwriting and deep-rooted character. In the arc of their career, every record was another step forward, and just as 2001's Madre de Dios built on the debut and 2003's Call It Conspiracy built on that, so too did Through The Eyes Of Heathens pick up from where its predecessor left off. Its sound was still rooted in a heavy rock feel, but Dozer were able to translate that into something more aggressive when they wanted -- their sound had bite as well as lumber, and while a cut like 'Born A Legend' could be traced back to their desert-minded beginnings in its basic structure, by the time it was finally executed, it was something else entirely." --The Obelisk.
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LP
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HPS 148S-LP
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$42.00
PREORDER
RELEASE DATE: 3/19/2021
LP version. Quad orange/blue vinyl. Heavy Psych Sounds reissue Dozer's Through The Eyes Of Heathens, originally released in 2005. "From the very start of 'Drawing Dead' through the memorable lead line in the slower-paced closer 'Big Sky Theory,' Dozer assembled a work of impeccable songwriting and deep-rooted character. In the arc of their career, every record was another step forward, and just as 2001's Madre de Dios built on the debut and 2003's Call It Conspiracy built on that, so too did Through The Eyes Of Heathens pick up from where its predecessor left off. Its sound was still rooted in a heavy rock feel, but Dozer were able to translate that into something more aggressive when they wanted -- their sound had bite as well as lumber, and while a cut like 'Born A Legend' could be traced back to their desert-minded beginnings in its basic structure, by the time it was finally executed, it was something else entirely." --The Obelisk.
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