|
|
|
|
viewing 1 To 25 of 37 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
TURN 073CD
|
Sometimes it takes a while to realize what you've got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool's 1980s golden age and whose new album The Patron Saint of Heartache is their first collection of new material in nearly three decades. Ahead of that, they presented "These Days Are Ours", a rally cry of hope for the current times and the first single from this long-player. Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool. With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fueled song captures the essence of Candy Opera's infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances. Following the overdue release of two archival sets -- 45 Revolutions Per Minute and Rarities (released in 2018 by Firestation Records) -- their new album The Patron Saint of Heartache picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output. Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens, and The Redskins, as well as appearing on Granada TV. The band's current line-up is drawn from all eras of the band's existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion). This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labor of love born of experience, but retaining the sense of wonder that brought the band together in the first place. "When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" --Louder Than War "Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before." --Big Takeover Magazine CD version includes lyric booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 073LP
|
LP version. Sometimes it takes a while to realize what you've got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool's 1980s golden age and whose new album The Patron Saint of Heartache is their first collection of new material in nearly three decades. Ahead of that, they presented "These Days Are Ours", a rally cry of hope for the current times and the first single from this long-player. Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool. With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fueled song captures the essence of Candy Opera's infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances. Following the overdue release of two archival sets -- 45 Revolutions Per Minute and Rarities (released in 2018 by Firestation Records) -- their new album The Patron Saint of Heartache picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output. Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens, and The Redskins, as well as appearing on Granada TV. The band's current line-up is drawn from all eras of the band's existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion). This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labor of love born of experience, but retaining the sense of wonder that brought the band together in the first place. "When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" --Louder Than War "Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before." --Big Takeover Magazine CD version includes lyric booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 075LP
|
LP version. Bristol indie music legend Davey Woodward has announced his new album Love & Optimism, together with his congenial band The Winter Orphans. Best known for his bands The Brilliant Corners, The Experimental Pop Band, and Karen, this output was recorded "live" in the studio. This album is very personal and perhaps Woodward's most emotional performance, putting Davey solidly amongst the best songwriters of his generation. Love & Optimism is the band's second following their self-titled debut released in 2018 on Tapete Records (TR 412CD/LP). "I grew up and have lived in Bristol for most of my life. I use the city as a backdrop to many of my songs. Often, I go into some detail about places. Roads and the people of the city. It has always inhabited my songs. Love & Optimism continues my fascination with the city." Davey Woodward first came to prominence with his 1980s band The Brilliant Corners, part of the jangly indie C86 scene, but with a diverse palette of indie pop, country, rock n' roll, post-punk and humor. The mini albums Growing Up Absurd, Fruit Machine and What's In A Word was followed by their best known album Somebody Up There Likes Me (1987), several John Peel sessions, indie chart success and regular tours. In 2013 Cherry Red Records released a retrospective of the band's work Heart On Your Sleeve (A Decade In Pop 1983-1993). Woddward's next band The Experimental Pop Band (1996-2012) was also championed by Peel and signed to City Slang Records. In the last decade, Davey has released a handful of solo LPs, including the lo-fi folk pop album 6 Miles East Of Here 5 Miles North Of Nowhere (2011) and also recorded with alt guitar band Karen releasing several EPs on The Environmental Sounds label. "This music is honest and revealing with depth and a feeling of mysterious purposes -- the hair on your arms may stand up as you absorb this goodness." --Big Takeover Magazine
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 075CD
|
Bristol indie music legend Davey Woodward has announced his new album Love & Optimism, together with his congenial band The Winter Orphans. Best known for his bands The Brilliant Corners, The Experimental Pop Band, and Karen, this output was recorded "live" in the studio. This album is very personal and perhaps Woodward's most emotional performance, putting Davey solidly amongst the best songwriters of his generation. Love & Optimism is the band's second following their self-titled debut released in 2018 on Tapete Records (TR 412CD/LP). "I grew up and have lived in Bristol for most of my life. I use the city as a backdrop to many of my songs. Often, I go into some detail about places. Roads and the people of the city. It has always inhabited my songs. Love & Optimism continues my fascination with the city." Davey Woodward first came to prominence with his 1980s band The Brilliant Corners, part of the jangly indie C86 scene, but with a diverse palette of indie pop, country, rock n' roll, post-punk and humor. The mini albums Growing Up Absurd, Fruit Machine and What's In A Word was followed by their best known album Somebody Up There Likes Me (1987), several John Peel sessions, indie chart success and regular tours. In 2013 Cherry Red Records released a retrospective of the band's work Heart On Your Sleeve (A Decade In Pop 1983-1993). Woddward's next band The Experimental Pop Band (1996-2012) was also championed by Peel and signed to City Slang Records. In the last decade, Davey has released a handful of solo LPs, including the lo-fi folk pop album 6 Miles East Of Here 5 Miles North Of Nowhere (2011) and also recorded with alt guitar band Karen releasing several EPs on The Environmental Sounds label. "This music is honest and revealing with depth and a feeling of mysterious purposes -- the hair on your arms may stand up as you absorb this goodness." --Big Takeover Magazine
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 075W-LP
|
LP version. White vinyl version. Bristol indie music legend Davey Woodward has announced his new album Love & Optimism, together with his congenial band The Winter Orphans. Best known for his bands The Brilliant Corners, The Experimental Pop Band, and Karen, this output was recorded "live" in the studio. This album is very personal and perhaps Woodward's most emotional performance, putting Davey solidly amongst the best songwriters of his generation. Love & Optimism is the band's second following their self-titled debut released in 2018 on Tapete Records (TR 412CD/LP). "I grew up and have lived in Bristol for most of my life. I use the city as a backdrop to many of my songs. Often, I go into some detail about places. Roads and the people of the city. It has always inhabited my songs. Love & Optimism continues my fascination with the city." Davey Woodward first came to prominence with his 1980s band The Brilliant Corners, part of the jangly indie C86 scene, but with a diverse palette of indie pop, country, rock n' roll, post-punk and humor. The mini albums Growing Up Absurd, Fruit Machine and What's In A Word was followed by their best known album Somebody Up There Likes Me (1987), several John Peel sessions, indie chart success and regular tours. In 2013 Cherry Red Records released a retrospective of the band's work Heart On Your Sleeve (A Decade In Pop 1983-1993). Woddward's next band The Experimental Pop Band (1996-2012) was also championed by Peel and signed to City Slang Records. In the last decade, Davey has released a handful of solo LPs, including the lo-fi folk pop album 6 Miles East Of Here 5 Miles North Of Nowhere (2011) and also recorded with alt guitar band Karen releasing several EPs on The Environmental Sounds label. "This music is honest and revealing with depth and a feeling of mysterious purposes -- the hair on your arms may stand up as you absorb this goodness." --Big Takeover Magazine
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 074CD
|
Philip Parfitt is best known as the founder, guitarist, vocalist, and primary songwriter of the Britain's The Perfect Disaster. Formed in 1980, the alternative rock band released four albums and reached number fifteen on the UK Indie Chart before splitting up in 1991. Ahead of this, he presents the single "All Fucked Up" featuring Bordeaux-based psychedelic folk-rock artist Alex Creepy Mojo. The accompanying video, starring actress Melissa Oxlade, is directed by filmmaker Luigi Dias -- both also collaborated on the previous single "Somebody Called Me In", shot on location in Liverpool and Melbourne, Australia. Parfitt played on Spectrum's first album with Jason Pierce and guitarist Terry Bickers (House of Love, Levitation) contributed to Oedipussy's album, Divan (1994). Parfitt also gave significant starts to Josephine Wiggs (who played in the Perfect Disaster before joining The Breeders) and to the Heliocentrics' Malcolm Catto, who likewise played on the Perfect Disaster's first. It's a surprise to realize that Mental Home Recordings is only his second solo album, following his I'm Not The Man I Use To Be released in 2014. CD version comes in gatefold sleeve, includes lyric booklet.
"Philip Parfitt's songs on Mental Home Recordings possess both scars and genius. If Parfitt's previous work lurked within the sharp garage tradition of Bo Diddley, the Velvets and the Stones, he operates now within a quieter idiom: Nick Drake, Ronnie Lane, Syd Barrett. Quieter but not softer: this record will scrub you raw" --Matthew Specktor
"Imagine a Reed/Dylanesque vocal lacquered in a modern blend of elements of The Church, The Red House Painters and Slowdive... Now you don't have to (imagine). Just listen... Heartfelt and folk-centered with Ride-esque uplifting interjections on the chorus, Parfitt has found an optimal balance between bard and rock star. We love it" --Big Takeover Magazine
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 074LP
|
LP version. Philip Parfitt is best known as the founder, guitarist, vocalist, and primary songwriter of the Britain's The Perfect Disaster. Formed in 1980, the alternative rock band released four albums and reached number fifteen on the UK Indie Chart before splitting up in 1991. Ahead of this, he presents the single "All Fucked Up" featuring Bordeaux-based psychedelic folk-rock artist Alex Creepy Mojo. The accompanying video, starring actress Melissa Oxlade, is directed by filmmaker Luigi Dias -- both also collaborated on the previous single "Somebody Called Me In", shot on location in Liverpool and Melbourne, Australia. Parfitt played on Spectrum's first album with Jason Pierce and guitarist Terry Bickers (House of Love, Levitation) contributed to Oedipussy's album, Divan (1994). Parfitt also gave significant starts to Josephine Wiggs (who played in the Perfect Disaster before joining The Breeders) and to the Heliocentrics' Malcolm Catto, who likewise played on the Perfect Disaster's first. It's a surprise to realize that Mental Home Recordings is only his second solo album, following his I'm Not The Man I Use To Be released in 2014.
"Philip Parfitt's songs on Mental Home Recordings possess both scars and genius. If Parfitt's previous work lurked within the sharp garage tradition of Bo Diddley, the Velvets and the Stones, he operates now within a quieter idiom: Nick Drake, Ronnie Lane, Syd Barrett. Quieter but not softer: this record will scrub you raw" --Matthew Specktor
"Imagine a Reed/Dylanesque vocal lacquered in a modern blend of elements of The Church, The Red House Painters and Slowdive... Now you don't have to (imagine). Just listen... Heartfelt and folk-centered with Ride-esque uplifting interjections on the chorus, Parfitt has found an optimal balance between bard and rock star. We love it" --Big Takeover Magazine
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 074P-LP
|
LP version. Purple vinyl. Philip Parfitt is best known as the founder, guitarist, vocalist, and primary songwriter of the Britain's The Perfect Disaster. Formed in 1980, the alternative rock band released four albums and reached number fifteen on the UK Indie Chart before splitting up in 1991. Ahead of this, he presents the single "All Fucked Up" featuring Bordeaux-based psychedelic folk-rock artist Alex Creepy Mojo. The accompanying video, starring actress Melissa Oxlade, is directed by filmmaker Luigi Dias -- both also collaborated on the previous single "Somebody Called Me In", shot on location in Liverpool and Melbourne, Australia. Parfitt played on Spectrum's first album with Jason Pierce and guitarist Terry Bickers (House of Love, Levitation) contributed to Oedipussy's album, Divan (1994). Parfitt also gave significant starts to Josephine Wiggs (who played in the Perfect Disaster before joining The Breeders) and to the Heliocentrics' Malcolm Catto, who likewise played on the Perfect Disaster's first. It's a surprise to realize that Mental Home Recordings is only his second solo album, following his I'm Not The Man I Use To Be released in 2014.
"Philip Parfitt's songs on Mental Home Recordings possess both scars and genius. If Parfitt's previous work lurked within the sharp garage tradition of Bo Diddley, the Velvets and the Stones, he operates now within a quieter idiom: Nick Drake, Ronnie Lane, Syd Barrett. Quieter but not softer: this record will scrub you raw" --Matthew Specktor
"Imagine a Reed/Dylanesque vocal lacquered in a modern blend of elements of The Church, The Red House Painters and Slowdive... Now you don't have to (imagine). Just listen... Heartfelt and folk-centered with Ride-esque uplifting interjections on the chorus, Parfitt has found an optimal balance between bard and rock star. We love it" --Big Takeover Magazine
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 076C-LP
|
Yellow vinyl version. Electric Music is The Wolfhounds' follow-up to the Untied Kingdom on Optic Nerve (OPT4 032CD, 2016) and The Complete John Peel Sessions (2018). Having now been recording and gigging for longer than their original 1980s incarnation, The Wolfhounds continue to hone the blade of their sound to outclass their whippersnapper competitors on Electric Music. From the desperate narrator of the opening anthem "Can't See The Light", unable to see an end to his descent into darkness to the sad urban reminiscences of the rural immigrant in "Song Of The Afghan Shopkeeper" and the unwilling draftee in "Pointless Killing", to the powerlessness of people tossed around on the waves of history and progress in "Like Driftwood" -- Wolfhounds ask where our emotional and actual lives are heading, as the world seemingly freefalls into barbarism. With the dreaded feeling that "Lightning's Going To Strike Again", you lack even the appealing soundtrack to the catastrophe of the past described in "... and Electric Music", and the band ask will "The Roaches" once more rule the world (if they ever stopped)? Is the solution to "Stand Apart" from the chaotic crowd or admit, cynically, that "We Don't Believe Anything" and roll with the movements of the masses? Featuring the glowing sleeve notes of comedian Stewart Lee, and a new expanded line-up including electric violin and bassoon from Scritti Politti's Rhodri Marsden, and peppered with the barbed lyrics and stinging guitar of David Lance Callahan and the home-made hybrid stringed instruments of guitarist Andy Golding, the Wolfhounds have never sounded more alive, energetic, and contemporary.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 076CD
|
Electric Music is The Wolfhounds' follow-up to the Untied Kingdom on Optic Nerve (OPT4 032CD, 2016) and The Complete John Peel Sessions (2018). Having now been recording and gigging for longer than their original 1980s incarnation, The Wolfhounds continue to hone the blade of their sound to outclass their whippersnapper competitors on Electric Music. From the desperate narrator of the opening anthem "Can't See The Light", unable to see an end to his descent into darkness to the sad urban reminiscences of the rural immigrant in "Song Of The Afghan Shopkeeper" and the unwilling draftee in "Pointless Killing", to the powerlessness of people tossed around on the waves of history and progress in "Like Driftwood" -- Wolfhounds ask where our emotional and actual lives are heading, as the world seemingly freefalls into barbarism. With the dreaded feeling that "Lightning's Going To Strike Again", you lack even the appealing soundtrack to the catastrophe of the past described in "... and Electric Music", and the band ask will "The Roaches" once more rule the world (if they ever stopped)? Is the solution to "Stand Apart" from the chaotic crowd or admit, cynically, that "We Don't Believe Anything" and roll with the movements of the masses? Featuring the glowing sleeve notes of comedian Stewart Lee, and a new expanded line-up including electric violin and bassoon from Scritti Politti's Rhodri Marsden, and peppered with the barbed lyrics and stinging guitar of David Lance Callahan and the home-made hybrid stringed instruments of guitarist Andy Golding, the Wolfhounds have never sounded more alive, energetic, and contemporary.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 072CD
|
Sweden's celebrated '90s indie rock darlings Easy announce the impending release of their album Radical Innocence via A Turntable Friend Records. Initial single "Crystal Waves" kicks off the album. The album was recorded and produced by legendary Pat Collier in his London studio in October 2019. In the early 1990s, Easy was one of Sweden's most notable indie groups. 2020 marks the 30-year anniversary of their highly acclaimed debut Magic Seed album, originally released by Blast First UK, in 2017 reissued by A Turntable Friend Records (TURN 053CD/LP), a critical success that spawned three alternative chart hit singles, "Castle Train", "He Brings The Honey", and "Horoscope". The group also frequently toured Britain and mainland Europe including prestigious support slots with The Jesus and Mary Chain, The House of Love, Lush, and The Charlatans (whose Tim Burgess is a fan of Easy). While the ambitious Sun Years LP (1994) had less of an impact, singles "Never Seen A Star" and "Listen To The Bells" clearly demonstrated that the band had taken several musical steps forward. The perfect combination of Sonic Youth-like intensity and the sweet harmonies of The Beach Boys. Hey trivia fans: ABBA's Agnetha was the baby sitter of Easy singer Johan Holmlund.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 072LP
|
LP version. Includes download card. Sweden's celebrated '90s indie rock darlings Easy announce the impending release of their album Radical Innocence via A Turntable Friend Records. Initial single "Crystal Waves" kicks off the album. The album was recorded and produced by legendary Pat Collier in his London studio in October 2019. In the early 1990s, Easy was one of Sweden's most notable indie groups. 2020 marks the 30-year anniversary of their highly acclaimed debut Magic Seed album, originally released by Blast First UK, in 2017 reissued by A Turntable Friend Records (TURN 053CD/LP), a critical success that spawned three alternative chart hit singles, "Castle Train", "He Brings The Honey", and "Horoscope". The group also frequently toured Britain and mainland Europe including prestigious support slots with The Jesus and Mary Chain, The House of Love, Lush, and The Charlatans (whose Tim Burgess is a fan of Easy). While the ambitious Sun Years LP (1994) had less of an impact, singles "Never Seen A Star" and "Listen To The Bells" clearly demonstrated that the band had taken several musical steps forward. The perfect combination of Sonic Youth-like intensity and the sweet harmonies of The Beach Boys. Hey trivia fans: ABBA's Agnetha was the baby sitter of Easy singer Johan Holmlund.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 069CD
|
John Andrew Fredrick has written and released seventeen The Black Watch albums, creating sparkling, literate, jangly-distorted indie rock since the LA band's inception in 1988 (as well as four works of comedic literary fiction and one book on the early films of Wes Anderson). For this record, Fredrick had the idea of letting producer-friends Scott Campbell, Rob Campanella, (producer for The Brian Jonestown Massacre, Beachwood Sparks, Dead Meadow), and Andy Creighton be his band and record the album. "I have had, I think, too much control, musically speaking, in the past," Fredrick says, "and the thought of experimenting this way was really thrilling." The result was far from a failure, in fact this approach may have yielded The Black Watch's best album in years. CD version comes in a gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 069LP
|
LP version. Includes download code. John Andrew Fredrick has written and released seventeen The Black Watch albums, creating sparkling, literate, jangly-distorted indie rock since the LA band's inception in 1988 (as well as four works of comedic literary fiction and one book on the early films of Wes Anderson). For this record, Fredrick had the idea of letting producer-friends Scott Campbell, Rob Campanella, (producer for The Brian Jonestown Massacre, Beachwood Sparks, Dead Meadow), and Andy Creighton be his band and record the album. "I have had, I think, too much control, musically speaking, in the past," Fredrick says, "and the thought of experimenting this way was really thrilling." The result was far from a failure, in fact this approach may have yielded The Black Watch's best album in years.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 062CD
|
Founded by Liverpool native Ben Thomas in 2017, Big Tide was born out of Thomas's disillusionment with the electronic music scene. His previous output as French house producer L'Etranger spanned for six years gaining attention from the likes of Clash Magazine, Earmilk, and Amazing Radio, amongst others. The impetus to form this new project came in 2013 while touring with Spectrals as lead guitarist. A stay in Paris was the final catalyst for a change in musical direction when Ben picked up his 12-string and the chiming sound of Big Tide was born. The second single "Hide Me In Your Spaceship" features drums by Jonathan Nash, former drummer for Hookworms and guitarist for Cowtown. Thomas sings in his signature northern vocal style whilst shimmering 12-string guitars form the cornerstone of the Big Tide sound. Taking cues from bands like Big Star and Teenage Fanclub, Big Tide's music blends elements from '60s power pop, like The Byrds, and the '70s folk rock of Crosby, Stills, Nash & Young.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 062LP
|
LP version. Founded by Liverpool native Ben Thomas in 2017, Big Tide was born out of Thomas's disillusionment with the electronic music scene. His previous output as French house producer L'Etranger spanned for six years gaining attention from the likes of Clash Magazine, Earmilk, and Amazing Radio, amongst others. The impetus to form this new project came in 2013 while touring with Spectrals as lead guitarist. A stay in Paris was the final catalyst for a change in musical direction when Ben picked up his 12-string and the chiming sound of Big Tide was born. The second single "Hide Me In Your Spaceship" features drums by Jonathan Nash, former drummer for Hookworms and guitarist for Cowtown. Thomas sings in his signature northern vocal style whilst shimmering 12-string guitars form the cornerstone of the Big Tide sound. Taking cues from bands like Big Star and Teenage Fanclub, Big Tide's music blends elements from '60s power pop, like The Byrds, and the '70s folk rock of Crosby, Stills, Nash & Young.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 066CD
|
Liverpool's Paul Den Heyer: after auditioning for Magazine and Spizz Energi and playing in a string of local bands, his initial fifteen minutes finally came in the '90s with Fishmonkeyman. Probably best known for the indie-hit "If I've Told You Once" which led to deals with Warner Bros. and Virgin Music and put the band on TV, radio, and the road. More recently known as producer for Sunstack Jones and member of The Red Sided Garter Snakes with ex-members of The Chameleons, Bauer, Puressence, and Inspiral Carpets. Everything So Far is the first release under his own name, made with the help of good friends and featuring songs recorded in summertime on the leisure peninsula. With hints to Mojave 3 or Mazzy Star, with The Byrds even shining through, Paul Den Heyer creates moody acoustic landscapes and melodic miniatures with fantastic harmonies and a rich set of instrumentation. He describes the style as "Britanicana" and indeed his music blends British folk songwriting with '60s/'70s American psych-pop.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 066LP
|
LP version. Liverpool's Paul Den Heyer: after auditioning for Magazine and Spizz Energi and playing in a string of local bands, his initial fifteen minutes finally came in the '90s with Fishmonkeyman. Probably best known for the indie-hit "If I've Told You Once" which led to deals with Warner Bros. and Virgin Music and put the band on TV, radio, and the road. More recently known as producer for Sunstack Jones and member of The Red Sided Garter Snakes with ex-members of The Chameleons, Bauer, Puressence, and Inspiral Carpets. Everything So Far is the first release under his own name, made with the help of good friends and featuring songs recorded in summertime on the leisure peninsula. With hints to Mojave 3 or Mazzy Star, with The Byrds even shining through, Paul Den Heyer creates moody acoustic landscapes and melodic miniatures with fantastic harmonies and a rich set of instrumentation. He describes the style as "Britanicana" and indeed his music blends British folk songwriting with '60s/'70s American psych-pop.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 065CD
|
There is no English or British equivalent of Americana. If there were it might sound something like The New Industrial Ballads and The Claim would be seen as one of the originators of the genre. That doesn't mean an English group playing American music. This is a group of musicians making a beautiful and original hybrid that channels the root ingredients of classic English guitar music -- folk (Bert Jansch, Nick Drake), thoughtful, melodic pop (Michael Head, Ray Davies), and angular, politically-tinged pop (Paul Weller, Elvis Costello, Wolfhounds), into something that is contemporary and original. A recent feature in El País, Spain's biggest selling newspaper, described the band's reissued 1988 album Boomy Tella (TURN 064CD/LP) as the missing link between the Kinks and Blur. The New Industrial Ballads presents the group's first new recordings since 1992. It is how the group sound 30 odd years later if they'd continued to play and develop, rather than quit. The idea behind The New Industrial Ballads is to celebrate the noble tradition (the lineage of which runs through folk, ballads, skiffle, the Kinks, to punk and beyond) of ordinary people singing about everyday concerns and the issues of the day that impact on working lives. Three quick examples: "Journey" is about economic migration, the characters involved, the need to fight passionately for a fight the right of all to move to work; In "Estuary Greens And Blues", David Read reflects on the passing years and a changing industrial landscape as he walks the shore of the Thames estuary; "30 Years" is a collaboration with writer Vic Templar who narrates a poignant and prescient tale contrasts mankind's inability to progress politically and spiritually with technological advances (this is a follow-up to The Claim's cult classic "Mike The Bike", released on Bob "Saint Etienne" Stanley's Caff label in 1990). In the group's earlier period (1985-92) they secured "Single of the Week" in Melody Maker (Loser's Corner), received an 8/10 in NME for their album (Boomy Tella) and received regular airplay on John Peel and Andy Kershaw. The Manic Street Preachers, who used to write The Claim long love letters, performed their first ever London show supporting The Claim.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 065LP
|
LP version. Includes download code. There is no English or British equivalent of Americana. If there were it might sound something like The New Industrial Ballads and The Claim would be seen as one of the originators of the genre. That doesn't mean an English group playing American music. This is a group of musicians making a beautiful and original hybrid that channels the root ingredients of classic English guitar music -- folk (Bert Jansch, Nick Drake), thoughtful, melodic pop (Michael Head, Ray Davies), and angular, politically-tinged pop (Paul Weller, Elvis Costello, Wolfhounds), into something that is contemporary and original. A recent feature in El País, Spain's biggest selling newspaper, described the band's reissued 1988 album Boomy Tella (TURN 064CD/LP) as the missing link between the Kinks and Blur. The New Industrial Ballads presents the group's first new recordings since 1992. It is how the group sound 30 odd years later if they'd continued to play and develop, rather than quit. The idea behind The New Industrial Ballads is to celebrate the noble tradition (the lineage of which runs through folk, ballads, skiffle, the Kinks, to punk and beyond) of ordinary people singing about everyday concerns and the issues of the day that impact on working lives. Three quick examples: "Journey" is about economic migration, the characters involved, the need to fight passionately for a fight the right of all to move to work; In "Estuary Greens And Blues", David Read reflects on the passing years and a changing industrial landscape as he walks the shore of the Thames estuary; "30 Years" is a collaboration with writer Vic Templar who narrates a poignant and prescient tale contrasts mankind's inability to progress politically and spiritually with technological advances (this is a follow-up to The Claim's cult classic "Mike The Bike", released on Bob "Saint Etienne" Stanley's Caff label in 1990). In the group's earlier period (1985-92) they secured "Single of the Week" in Melody Maker (Loser's Corner), received an 8/10 in NME for their album (Boomy Tella) and received regular airplay on John Peel and Andy Kershaw. The Manic Street Preachers, who used to write The Claim long love letters, performed their first ever London show supporting The Claim.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 064CD
|
A Turntable Friend Records present a re-mastered re-release of the second classic album by The Claim, Boomy Tella, originally released on Kevin Pearce's legendary Esurient Communications in 1988. The Claim from Cliffe, Kent were one of the key players in the then thriving "Medway Scene" alongside The Prisoners, Billy Childish, and The Dentists. This second album received glowing reviews at the time including Bob Stanley's 8/10 review in the NME alongside numerous plays by John Peel. If you want to hear where early Blur got their sound from, look no further. The Claim's guitarist David Arnold also played on early Jasmine Minks releases. Liner notes by David Arnold. Remastered using the original ¼-inch tapes. CD version comes in a six-panel package and features four unreleased demo tracks from 1988/1990.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TURN 064LP
|
LP version. Green vinyl; gatefold sleeve; includes a download code; edition of 300. A Turntable Friend Records present a re-mastered re-release of the second classic album by The Claim, Boomy Tella, originally released on Kevin Pearce's legendary Esurient Communications in 1988. The Claim from Cliffe, Kent were one of the key players in the then thriving "Medway Scene" alongside The Prisoners, Billy Childish, and The Dentists. This second album received glowing reviews at the time including Bob Stanley's 8/10 review in the NME alongside numerous plays by John Peel. If you want to hear where early Blur got their sound from, look no further. The Claim's guitarist David Arnold also played on early Jasmine Minks releases. Liner notes by David Arnold. Remastered using the original ¼-inch tapes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
TURN 067EP
|
The first band to be signed to the iconic Creation Records, The Jasmine Minks return with a new single as compelling as those early singles, "Think" or "Cold Heart". With almost the same line-up as the very first recordings, Jim Shepherd, Martin Keena, Dave Musker, and Tom Reid recorded the two new songs with producer Pat Collier in his Perry Vale Studios. Two-track 7'" on blue vinyl in card sleeve with download code; Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
TURN 057EP
|
Debut single Furniture by Newcastle, UK experimental noise-rock band Dose. A cinematic amalgamation of discordant melodies, intricate guitars, and a strong rhythm, all blended together with an array of obscure effects and samples. "Furniture" was written by Sean Turland and Ewan Barr and recorded at Suburban Home Studio with MJ from Hookworms. The full band includes bassist Matthew Collerton, guitar/synth/samples from Sam Campbell, and drummer Joe Donkin. Their unique sound blends art rock, krautrock, and slowcore into one coherent sonic landscape.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TURN 056CD
|
The Room In The Wood is the latest project by Paul Cavanagh and Dave Jackson. Over the past year, they have written over 30 new songs. Eleven of these appear on their forthcoming self-titled album. This batch of songs combine Jackson's lyrical storytelling with Cavanagh's exquisite guitar-stylings and make for a diverse collection that blends post-punk pop, gritty blues-folk, and velvety ballads, variously influenced by Russian fairy tales, Francis Bacon, dead oceans, swimming pool bridges, and unanswered prayers. The Room In The Wood was recorded with Steve Powell (Michael Head & the Red Elastic Band) at his Liverpool Arc studio and features (Mark Lanegan/Dave Gahan) drummer, Colin George Lamont, and drummer Jake Woodward. This is the first time Dave and Paul have worked together since their Liverpool post-punk band, The Room, split in 1985. Singer/lyricist Jackson has been writing and recording since his teens in bands such as 051, The Room, Benny Profane, Dust, Dead Cowboys, under his own name with former Shack guitarist John Head, and as Dave Jackson & The Cathedral Mountaineers. He has recorded and released ten albums with these various incarnations and, during the eighties, notched up seven John Peel sessions with The Room and Benny Profane, as well as appearing on the Whistle Test, Janice Long, and Saturday Night Live. Guitarist Paul Cavanagh has played with Chinese Religion, The Balcony, Ludus, The Room, Top, It's Immaterial, Gloss, and Moongoose, and has performed as a solo instrumentalist as Cabin In The Woods and as one of Mike Badger's Shady Trio. Paul also worked with former Room drummer Alan Wills at Deltasonic Records. CD version includes one bonus track, "Vermillion Sands".
|
viewing 1 To 25 of 37 items
Next >>
|
|