quête:dou

At an age of plastic and digital screen reigning, when it is almost impossible to feel anything in front of a contemporary art piece, it is still possible to be moved by a drum machine …. and a keyboard……

There are still artisans and sunday painters who will put a little of their troubles and their humanity at the service of their art. Certainly a merchant of colors in a previous life, Med paints his songs with a Benedictine patience, distilling its doubts in its small pop compositions with soft water reflections where everyone could see themselves as in a mirror.

MED is Médéric Gontier, guitarist of Tahiti 80, first solo effort. Where the band had not often ventured outside English, Med uses the French language and caresses it in the direction of its melodies. Produced with the help of Pedro Resende, these are ten pieces both aerial and aquatic, light but finally of a real consistency.

Immediately pop («Dans ses yeux»), reminiscent of the great French composers of the sixties («Avec toi») and with them that of the English of Broadcast to Vanishing Twin («Muzak»).

It’s a bit time for the Norman to make a pause and for that, to put his nose out, it’s freetime, the one of those who will never claim to be better than the others but whose records will be kept close to the heart.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Founded by childhood friends Evan Stephens Hall and Zack
Levine, Pinegrove have already crafted three fantastic albums
- ‘Everything So Far’ (2015), ‘Cardinal’ (2016) and ‘Skylight’
(2018) - and achieved massive critical acclaim and a
widespread and devoted listenership. The band’s latest
album (and first for Rough Trade), ‘Marigold’, arrived in
January of 2020 and its themes of reflection and resilience
have resonated through an especially tumultuous year. Now
with tours cancelled and time on their hands, the band have
decided to put together something special for their fans.
‘Amperland, NY’ is yet another full album, this time
accompanying a feature film of the same name. The
collection features 21 brand new studio recordings spanning
Pinegrove’s career and catalogue, captured upstate in the
house where the band lived and recorded for 4 years - a
place they lovingly referred to as ‘Amperland’. But all good
things (and leases) come to an end and, before they bid
adieu to the space permanently, they gathered together for
one last performance with friends and family.
Featuring original member and keyboardist / vocalist Nandi
Rose (Half Waif) on many tracks - this collection will thrill old
and new listeners alike - with the band breathing new life
into fan favourites and deep cuts. From acoustic versions to
unique arrangements featuring piano, pedal steel and organ,
‘Amperland, NY’ touches on notes of folk and progressive
rock previously unheard on their studio albums. This will be
an essential addition to the Pinegrove catalogue and
encompasses all of the earnest and ecstatic live energy the
band is known for.
Double vinyl format housed in a heavyweight matte gatefold
package and comes with a fully annotated script and behind
the scenes photos from the film.

Jon Hester returns to Radio Slave’s Rekids label with the second instalment of his ‘Converge’ LP, ‘Converge - Part II’.

The second part of 2020’s ‘Converge - Part I’, a body of music which saw enthusiastic responses from the likes of Surgeon, Lauren Flax, DJ Bone, Anthony Parasole and Jus-Ed to name just a few, sees the Berlin-based DJ/Producer and dancer generously expand on and refine his slick vision of techno on one of electronic music’s key labels.

By encompassing warm and soulful textures within club focussed grooves, Hester continues to explore the far reaches of both the musical cues picked up from his years as a dancer and formative time spent in the Midwest US, connecting influences from Chicago, Minneapolis, and Detroit.
Stretched across a double LP, the album opens with the spacious and icy ‘Stealth’ followed by the machine communications of ‘Artificial Intelligence’. The B-side sees a whirlwind of the synthetic in ‘Instant’ before ‘Contact’ swiftly picks up the pace with it’s warbling pads and slippery percussion.

On the second disc, ‘Circadian Slip’, custom-built for dancefloor pandemonium, continues with off-kilter leads and vocal snippets before ‘Shadows’ brings eerie syncopation to the proceedings. In the final stretch, ‘Silver’ maintains steady energy into the twilight hours, and the gorgeous ‘Wonder’ closes out the LP beautifully, providing a soft landing to an exceptional journey through Hester’s sound.

Mats Gustafsson - Flute, baritone sax, live electronics, Johan Berthling - Electric bass, Andreas Werliin - Drums with Goran Kajfes - Quartertone trumpet, Mats Aleklint - Trombone, sousaphone, horn arrangements. Fire! tracking new paths and reaching new levels of excellence, still honoring their 12 year old vow of presenting a fresh approach to improvised music. Their debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. "The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained" (New York Times). Between this and Defeat there's been five albums, including collaborations with Jim O'Rourke (Unreleased?, 2011) and Oren Ambarchi (In The Mouth A Hand, 2012). No two Fire! records sound the same, but with Defeat they have taken their biggest leap so far, with Gustafsson giving the flute a prominent place in the sound image, a surprising and most successful move, his both expressive and ornamental approach given ample room to breathe, especially on the two long tracks bookending the album. In places more subdued than on previous efforts, but with the distinctive bass figures and hypnotic mood fully intact. There are some lively stretches with guests Goran Kajfes and Mats Aleklint, bringing to mind their big band offshoot Fire! Orchestra, albeit on a smaller scale. For over 20 years we have made a habit of releasing music that is beyond easy classification, in later years typified by Hedvig Mollestad, Elephant9 and Krokofant, but cemented by Fire! and their exploratory curiosity and deep love of music in general. We, and many others, have tried to compare the trio to other groups, but listening to Defeat we realize how futile this is. Given the above there's no doubt there are many influences at play, but the resulting brew is in a class by itself.

One of Britain's most consistent and enduring death metal bands, Birmingham's Bolt Thrower has weathered the best and worst of times in the extreme genre's history without ever giving in to commercial temptations, or hardly even altering its sound. The fact that they were unusually blessed with a steady lineup throughout much of their career no doubt contributed to this stability, and though they were rarely bestowed wild praise for their efforts, with most of their competitors or contemporaries either adopting other styles or long retired, Bolt Thrower has gradually established itself as one of the best death metal bands ever to emerge from England. - Ed Rivadavia (All Music Guide)

The “nighters” at Wigan Casino initially ran from 2am-8am every Saturday night/Sunday morning. From midnight onwards, crowds would gather outside and spill over onto the road blocking the local traffic. As attendances grew the crowds became a problem, particularly to the local constabulary, and on the eve of the Casino’s 1st Anniversary – with a genuine threat of closure looming – a momentous decision was made. Gerry Marshall, the Casino’s owner, somewhat reluctantly decided to open the club’s adjoining cabaret lounge, known as “Mr M’s” (named after the man himself).

That night Northern Soul history was made. It was the start of an era, the birth of the “club within a club” and, as it proved to be, a temple to fans of Northern Soul “oldies”. Eventually at 3am the black double doors – which separated Mr M’s from the upstairs balcony of the main ballroom – burst open, and a sea of soulies hit the dancefloor for the very first time to the banging sound of “Hey Sah-Lo-Ney” by Mickey Lee Lane, spun by DJ Alan Cain and featured here in all of its remastered glory (side 1, trk 1).

Such was the incredible response to that first night in Mr M’s in 1974 that a petition did the rounds gaining over a thousand signatures demanding that it should continue every week! What had intended to be an emergency one-off event had unintentionally ended up being the longest, most popular “temporary” oldies venue EVER!

M’s, as it was more affectionately known, soon became the No.1 oldies venue in the 70s. It was unashamedly “100%” oldies and “100mph” dance tunes!!! It was like an engine room churning out vinyl memories week in, week out and the atmosphere and sounds are captured here!

Blessed by the Californian modern funk diva Moniquea, Amadeo 85 is back with a brand new 7". Moogy basses, heavy drum machines and FX from space are the mood of this double sider.

On A side, Moniquea transcends this rough beat with her classy style, an ode to the universal party, in the deep boogie funk spirit.
On B Side, this drunk Funk Boogie is a space travel produced under the influence of liters of Vinho Tinto, with the support of Bacchus himself.

Reissue of this sought after Bastedos double header, serving up two disco objects lovingly versioned by Nad. One side features the vocal talents of a mystery man with low riding balls imploring those gathered to hear him, to 'join his party'.

If you look at his backside, so to speak, you will head off down to sunny rainbow filled Castro for a happy sing along, dancing tune versioned from the vaults of Moby Dick.

-LTD. 180G RED VINYL-

Jonathan Bree's fourth album `After The Curtains Close' sees the producers trademark orchestral pop take a few unexpected turns both into the experimental and into kitschy territory populated by some of his french heroes of the 1960s. The end result is an album that retains Bree's musical DNA while being fun and varied. What could be described as Bree's `sleazy' album could also be described as Bree's break-up album. Dealing with the break-down of a major relationship Bree opens up to reveal a year of loneliness and mental trauma while also channelling positive feelings by embracing sex and sleaze in his music, subject material more traditionally reserved for the single man. Bree strikes a great balance here between darkness and silliness and he does this without appearing snide, which is a line some artists can seem all too happy to cross. Bree's vocals are on display in a full range of styles, his baritone croon jumps octaves and everywhere in between across the 12 tracks and he is even present singing his own back-up vocals in child like falsetto. Opening track `Happy Daze' is a ray of heady sunshine and wall of strings celebrating worrying about nothing else while in a lovers arms. First single `Waiting on The Moment' has been accurately described as a celebratory break-up song, with cynical and slightly mean lyrics set to a grand and danceable 80s pop arrangement. Bree celebrates new romantic encounters with fun orchestral pop songs full of double entendres ('Heavenly Visions', 'Kiss My Lips' feat Princess Chelsea, '69' feat Crystal Choi) and his talent for writing for the female lead vocal has not been so obviously on display since his work with The Brunettes, also evident on 'Meadows in Bloom', a tragic Shangri-La's inspired narrative about the pitfalls of sleeping with the drummer, in which Britta Phillips (Luna) takes lead vocal duties.

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk.

The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul.

The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record.

Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It’s followed by the serene but melancholic bossa groove of “Oye Mamá, Oye Papá” and the strings and guitar of “He Bajado Al Infierno” that hold up vocals reaching for an eternal truth. With full-on soundtracky feels, the rolling keys underpinning the Morricone-esque soundscape of “En Ellos Creo” will give you goosebumps. The gorgeous “Soy Rebelde” (“I’m Rebellious”), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment.

Perhaps Sola’s most well-known track, the exotic bossa of “Tabu, Tabu”, is a formidable groove. Elegant bongos, prominent bass, delicate acoustics and a persistent flute blend with Sola’s unique voice; sinuous, sassy and forceful at the same time. The stunning “La Última Palabra”, while not literally the album’s last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players.

If you hadn’t decided already, the final two tracks that are the funk-fuelled “Bada-Bada-Ba” and the horn-heavy percussive masterclass “Únete A Mi” will leave you in no doubt that this is one very special record.

Mastered with great respect by Simon Francis, cut by the master Pete Norman and with that sleeve lovingly restored by the Be With team, this re-issue ensures that Un Muñeco De Madera now sounds, looks and feels as beautiful as it deserves to.
: Un Muñeco De Madera (LP)

LTD. BLUE & PINK SWIRL VINYL

"Do you feel what I feel too?" Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the "Day Dreaming" lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they've manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call "romancing the psyche." Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland's diverse music scene and one of indie's most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. "We improvised on different feels for hours," says Murphy. "Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage." Aforementioned album opener "Day Dreaming" is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. "Wifi Beach" drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group improvised the track's intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: "I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey." The stanzas cut between "reflective moments of wants and being overwhelmed by feelings of the present," she explains. "A lot of the `love songs' I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff." Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On "Ocean," Brijean's anodyne lyrics, reminiscent of Astrud Gilberto's airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, "In this gentle space we lay" _ among the album's propensity for movement, tracks like "Ocean" stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming "Hey Boy" a "psychedelic guide _ the exploration of finding what feels good _ through sorrow, anxiety, apathy." This mentality applies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self. RIYL: Stereolab, Astrud Gilberto, Air, Little Dragon, Broadcast, Khruangbin, Poolside.

* A heavyweight slice of UK roots & dub, originally released on the Jah Warrior label in 1996 gets a welcome reissue by Partial Records

* Produced by veteran Jah Warrior, featuring vocals by the elusive Naph-Tali with harsh words for all wolf’s in sheep’s clothing and false rasta’s.

* Featuring four cuts (one vocal and three dubs mixed by Dougie Wardrop).

* 300 copies only

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Handscapes is a double live album by The Piano Choir featuring Stanley Cowell, Nat Jones, Hugh Lawson, Webster Lewis, Harold Mabern, Danny Mixon, and Sonelius Smith recorded in 1972.

At the time of release Ebony reviewer Phyl Garland said "One needn't be a "piano freak" to appreciate a truly new recording. First of all imagine seven gifted and talented pianists sitting down to seven grand pianos (with electric piano, organ, harpsichord, a few tambourines for spice) and proceeding to tear up these instruments - musically, that is. ...the torrrent of sound springing from their 70 fingers is so powerful and majestic as to be unlike anything one has ever heard."

In his review for AllMusic, Michael G. Nastos simply states "Brilliant"

With hits such as ‘Africa’ and ‘Rosanna’, more than 40 million albums sold and over 40 years of a career, TOTO is without doubt one of the superlatives of music history.

In the early 90s they had a short period as a four-piece featuring Steve Lukather (guitar & lead vocals), David Paich (keyboards & vocals), Jeff Porcaro (drums & percussion) and Mike Porcaro (bass). The line-up, with some additional touring members, performed this concert at Montreux in July 1991 and went on to make the “Kingdom Of Desire” album released in 1992, shortly after the tragic early death of drummer Jeff Porcaro.

The Montreux show combines the then unreleased tracks from the “Kingdom Of Desire” album with classic hits and covers of songs by Jimi Hendrix and Sly Stone. Now this set will become available as a heavyweight double vinyl gatefold edition.

Originally released in 2010, Mirage is the fourth studio album by renowned Dutch trance DJ and producer Armin van Buuren. Widely regarded as a astaple in Van Buurens impressive career, Mirage peaked at number 3 in the Dutch Album Top 100, as well as reaching the top 5 of the US Top Dance/Electronic Albums. It contains the popular single ‘Not Giving Up On Love’, featuring British singer Sophie Ellis-Bextor. As the record lasts nearly 80 minutes total, it is released as a double LP. It is pressed on red coloured 180 gram audiophile vinyl. The package includes a gatefold with spot varnish and lyrics, as well as an insert with pictures and credits.

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

This new album (the tenth in their discography) was born from two ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4 titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto.

Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy FoxŠ). Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this ruleŠ

“This lighthouse is under attack, and by morning we might all be dead!”
Demon Records presents the thrilling narrated TV soundtrack of this vintage four-part adventure at sea, starring Tom Baker as the Doctor.
A remote lighthouse in the early 1900s is the scene of this suspenseful adventure for the Doctor and Leela, when a light in the sky and a sudden dense fog are the preludes to a night of terror.
With a lighthouse keeper dead, Old Reuben fears the legendary Beast of Fang Rock has returned.
A shipwreck brings others in search of shelter, but nobody’s safety can be guaranteed. The Doctor must use all his ingenuity if he and Leela are to survive…
Presented across 2 x 140g vinyl discs in Rutan Blob green, this 1977 TV soundtrack is narrated by Louise Jameson, who plays Leela in the story. The supporting cast includes Colin Douglas, John Abbott, Alan Rowe, Sean Caffrey and Annette Woollett. Incidental music is composed by Dudley Simpson, and the familiar strains of the Doctor Who theme are courtesy of the BBC Radiophonic Workshop.
The coloured vinyl LPs are presented in a fully illustrated gatefold sleeve showing cast and credits, and inner bags featuring complete episode billings.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

• Mental as Anything, affectionately known as ‘The Mentals’, were one of Australia's most popular bands in the 1980s who achieved worldwide recognition after the international smash hit single ‘Live it Up’
• ‘Live It Up’ was featured in the Crocodile Dundee film and soundtrack and reached #3 in the UK charts in 1987. In 2020 the song was adopted by football club Glasgow Rangers as their clubs anthem which saw the song reach #1 in the UK iTunes chart
• This compilation features all the bands greatest hits including; ‘Too Many Times’, ‘If You Leave Me Can Can I Come Too?’, ‘The Nips Are Getting Bigger’ and international hit ‘Live It Up’
• This double LP compilation is presented in a gatefold sleeve, with original artwork produced by the band. Pressed on 2x 140g and available on coloured vinyl for the first time (red and white)

US based label, Lurid welcomes Spanish producer Señora for a stunning new double gatefold album entitled ‘Fósil’ that showcases his unique take on hypnotic rhythm, found sounds and sampling.

Señora became a firm favourite with the likes of Andrew Weatherall (R.I.P.) and Sean Johnston for his rugged grooves and innovative approach to production, melding the sounds of machines, animals, electricity and other weird noises in a flurry of FX and sonic experimentation. He debuted on this label in 2017 and has also landed on Shango Records, Night Noise and LNDKHN since then. Now based in Berlin and a regular at clubs and festivals round Europe he offers up a debut album that features nine stunning pieces that ”aim to reflect on the next evolutionary steps of the human race".

The otherworldly ‘Preludio: Ocaso Hominido’ kicks off with a swampy bass sound overlaid with cosmic details and downtempo drums. It’s a brilliantly mysterious opener than leads on to ‘Antropoceno’, a spacious soundtrack with bubbling synths, undulating drums and plenty of sonic details that paint a picture of a starry night sky up above. The tumbling drums of ‘Segundo Sexo’ sink you into a dubby reverie with bird calls and wordless vocal sounds mixing with percolating percussion.

The excellent ‘El Elefante Que Siempre Andaba Solo’ is a perfectly flabby and chugging dark disco cut with bright chords and scintillating drum work while ‘Código y Marfil’ is a futurist landscape in outer space with modulated synths and deft astral details making it colourful and cinematic. This most escapist of listens then plays out through the supple bass warbles and spacecraft sound effects of the entrancing ‘Papaver Somniferum’ and churning drums and twisted bass funk of the brilliantly slow burning ‘El Último Discurso’ before closing on ‘Fuga: La Gran Desconexión’ a downbeat offering with myriad pads circling the skies above a deeply rooted rhythm.

This is a hugely atmospheric album of perfectly realised inter planetary sounds, the whole thing taking you on a cerebral and evocative journey far away from here.

Supported by: Tim Sweeney (Beats In Space), Dr. Rob (Ban Ban Ton Ton), Balearic Mike, Elena Colombi (NTS), Andrew Wowk (Decoded Magazine), Faze Magazine Germany, DJ Mag Espana, Future Music UK, ClubbingSpain, and others.

4-Track Guitar Music is the unassuming title of a cassette by Swedish composer Mats Erlandsson, which was originally released on Kali Maloneʼs and Maria W. Hornʼs XKatedral label in 2018. Composed using only, as the album title implies, a 4-track tape deck and an electric guitar, the music was later modified on the computer and re-amplified in the machine hall of Ställbergs Gruva, a disbanded Swedish iron mine.

The music is primarily composed using melodic motifs and canonical structures in which a set of pitches are transposed in octaves and delayed, creating an ever-evolving cyclical polyphony. Contrary to the albumʼs modest title, the music is a tour-de-force of exuberance and stoic catharsis, continuously bordering on a sense of ecstatic serenity, sincere contemplation and restraint.

Now Vaagner is proud to present the work on vinyl for the first time via a fully remastered reissue of 4-Track Guitar Music, with the Double LP including a bonus track titled "Cellar" by Mats Erlandsson which was not included on the original release.

As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound.Erlandsson has undergone studies in composition in Stockholm, where he received a Masterʼs degree in Composition of Electronic Music. In addition to his own artistic practice, Erlandsson holds a position as studio assistant at the world-renowned Elektronmusikstudion (EMS) in Stockholm. He presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman.Recent releases include Minnesmärke on Hallow Ground (2020), the collaboration Emmanatemade with Yair Elazar Glotman on 130701 (2020), Hypodermic Letters on Portals Editions (2018), Selective Miracles and Valentina Tereshkova on Posh Isolation (2016), and again together with Glotman, Negative Chambers on Miasmah (2017). Erlandsson has performed his work extensively, most recently at Présences Électronique hosted by the GRM in Paris, CTM 2019 and The Long Now in Berlin, Norbergfestival in Norberg, Sonica Festival in Ljubljana and in various music and arts venues around the world.

Gold-certified bluegrass band The Dead South announce Served Live, their first double live album, available for pre-order now. Recorded during the Served Cold World Tour, which traveled the USA, UK and Ireland before the live music industry was shut down by the pandemic, Served Live is a full concert set list taped at iconic and beloved venues, from London’s Brixton Academy and Denver’s Mission Ballroom to The Belasco Theatre in LA. Featuring new material from the JUNO Award winning album Sugar & Joy, alongside the band’s top charting, global viral hits from previous records, Served Live puts you in the front row in your own home, where we hope you’ll stay safe. "We've often thought of ourselves primarily as live, performing artists as opposed to recording artists. Our studio albums exist as a reflection of and advertisement for what we really do, which is put on high-energy shows. While a "live recording" is a bit of a paradox, we're very excited to give our fans a glimpse of what we do best. If you've seen us before, we hope this record will in some small way bring you back to the sweaty, loud live experience we've all been missing. If you have yet to see us, we hope this record excites you to come see us in the (hopefully) near future.” Served Live will be released January 29, 2021 via Six Shooter Records.

Debut from Norwegian artist Ole Kirkeng on Die With Your Boots On Records. Kirkeng has been living in New York for five years, but had to go home when the pandemic broke. He's been touring with Courtney Marie Andrews, Darling West and Molly Tuttle. He lived in Brooklyn where he wrote songs, worked in a studio and hung out with friends like Big Thief and Liz Cooper and the Stampede.

‘As The Love Continues’ was produced by Dave
Fridmann (Mogwai, Mercury Rev, The Flaming
Lips) and features guests Atticus Ross (Nine Inch
Nails) and Colin Stetson (the saxophonist who has
collaborated with Bon Ivor, Arcade Fire).
Recorded at Vada Studios, England by Tony
Doogan (Grey Dogs, Mogwai, Belle & Sebastian)
with Fridmann in full remote control from the US.
This new album will please old Mogwai fans and
gain new as it has something for everyone. Both
transcendent and surprising, ‘As The Love
Continues’ shows that Mogwai are still offering
solace from the mundane, supplying the
soundtrack to whatever movie you are making in
your head.
CD box set features gatefold CD, bonus CD of
demo tracks plus photo booklet.
The vinyl box set includes red vinyl gatefold double
LP, single standard weight black EP of demo
tracks, gatefold CD, photo booklet and digital
download code.

‘As The Love Continues’ was produced by Dave
Fridmann (Mogwai, Mercury Rev, The Flaming
Lips) and features guests Atticus Ross (Nine Inch
Nails) and Colin Stetson (the saxophonist who has
collaborated with Bon Ivor, Arcade Fire).
Recorded at Vada Studios, England by Tony
Doogan (Grey Dogs, Mogwai, Belle & Sebastian)
with Fridmann in full remote control from the US.
This new album will please old Mogwai fans and
gain new as it has something for everyone. Both
transcendent and surprising, ‘As The Love
Continues’ shows that Mogwai are still offering
solace from the mundane, supplying the
soundtrack to whatever movie you are making in
your head.
CD box set features gatefold CD, bonus CD of
demo tracks plus photo booklet.
The vinyl box set includes red vinyl gatefold double
LP, single standard weight black EP of demo
tracks, gatefold CD, photo booklet and digital
download code.

‘As The Love Continues’ was produced by Dave
Fridmann (Mogwai, Mercury Rev, The Flaming
Lips) and features guests Atticus Ross (Nine Inch
Nails) and Colin Stetson (the saxophonist who has
collaborated with Bon Ivor, Arcade Fire).
Recorded at Vada Studios, England by Tony
Doogan (Grey Dogs, Mogwai, Belle & Sebastian)
with Fridmann in full remote control from the US.
This new album will please old Mogwai fans and
gain new as it has something for everyone. Both
transcendent and surprising, ‘As The Love
Continues’ shows that Mogwai are still offering
solace from the mundane, supplying the
soundtrack to whatever movie you are making in
your head.
CD box set features gatefold CD, bonus CD of
demo tracks plus photo booklet.
The vinyl box set includes red vinyl gatefold double
LP, single standard weight black EP of demo
tracks, gatefold CD, photo booklet and digital
download code.

LIMITED ONE OFF DOUBLE VINYL PRESSING (ONE RECORD SILVER VINYL, ONE RECORD BLACK VINYL TO MATCH THE SLEEVE ARTWORK) HOUSED IN A GLOSS VARNISHED GATEFOLD SLEEVE WITH BLACK POLYLINED INNERS. (NON-RETURNABLE)

LIMITED ONE OFF CD PRESSING HOUSED IN A GLOSS VARNISHED CARD GATEFOLD SLEEVE TO REPLICATE THE VINYL VERSION
 
The follow up to Mainliner’s 2013 comeback album 'Revelation Space' has been rumoured for many years. I've even heard tales of several attempts being finished and scrapped in the last five years. I guess that's how hard it is to run a band when all the members are based on different continents and in other very busy bands themselves (Acid Mothers Temple & Bo Ningen notably).

But it's finally done. And if you're a fan, it's been worth the wait.

In Kawabata's own words ... "This new album is the second chapter of this present Mainliner. Finally we could open to the next stage to break old customs since 1995"

The killer trio from the 'Revelation Space' album is still intact, we have Kawabata Makoto (motorpsycho guitar), Koji Shimura (drums) and Kawabe Taigen (bass/vocals) and we're back to calling them just Mainliner once again ('Revelation Space' was issued as Kawabata Makoto's Mainliner)

Q. What does 'Dual Myths' sound like ?
A. Mainliner. Nasty!

Limited Edition Double Transparent 12″ Vinyl including streaming AR (Augmented Reality) application (only for iOS/iPhone) and a 16 pages booklet. Celebrating the release of ENTKUNSTUNG’s firth record, this AR app brings the vinyl’s booklet to life and showcases interactive visuals by Berlin-based artist Herwig Scherabon. The app creates a unique listening experience of the eight-track album “Fun ist ein Stahlbad” which deliberately oscillates between Ambient and Techno. Written & Produced by Felipe Duque Mastered by Cem Oral at Jammin Masters – Berlin Art Direction by Maximilian Mauracher Design by Maximilian Mauracher & David Rindlisbacher AR Animation and Images by Herwig Scherabon App Development by Refrakt Limited Edition of 300 copies | 45rpm

After a first track on last year's Paerels II compilation, the Brussels based producer Lawrence Le Doux returns to Nous'klaer Audio with a full twelve inch. Five tracks combining Lawrence's signature ambient excursions in the opening and closing act, with three fluorescent rhythmic tracks in the middle. An effervescent record full of brilliant textures and bubbling drums, in anticipation of a brighter year.

During an unprecedented yet poignant global situation, Bobhowla’s debut album EVERYTHING’S WRONG, BUT
IT’S ALRIGHT serves to soundtrack our daily challenges we all face since the start of the pandemic.
Recorded and produced by Rod Jones at Post Electric Studio, this 11-track strong collection of songs bring
together a wider scope of influences than usually found in any particular group’s output. Years of solo acoustic
performances around the north west have honed an acoustic base into more gritted tones, alongside folk,
electronica and dream-pop influences.
The single Million $ Man is as direct as a song can be, with crunchy guitars harking back to simpler times of loud
choruses and powerful anthems. Their debut album is the culmination of recording sessions with Rod Jones
(Idlewild) at Post Electric Studio. Working together to form 11 tracks, an accumulation of songwriting ideas
spanning years. Million § Man is the album’s example of taking a staple live favourite and letting the studio process
completely re-map the track’s direction. The once folky-skiffle ditty is now a hard-hitting, anthemic call to arms,
complete with a crafty hook and chorus to match.
Behind the music, hides deeper meaning. In what singer Howard Doupé believes to be first - a track dealing with
the emotional complexities of a life, delicately touched with health-laden ‘survivor’s guilt.’ Like so many songs
before, Million $ Man is an upbeat indie-pop tune that masks a sobering and very rarely explored subject matter.
It’s an honest and frank perception that attempts to deal with issues that will resonate with a particular section of
our community. In a daringly brave move, Doupé expresses a personal narrative with the track, firmly cementing
the album’s themes in real life matters.

Repress

Arnaud le Texier (Cocoon Records): "Top quality! Really nice.." 10/10
Cio D'Or (Telrae): "An amazing double Vinyl of different interpretations from some music friends in techno for Hypnus! Thank you!" 9/10
David Att (ATT Series): "SUPER VARIOS ARTIST. THANKS: D" 10/10
Deepbass (Informa Records): "Great remix package here! Will be using most of them, a true showcase of the love for Hypnus" 10/10
Etapp Kyle (Klockworks): "Edit Select and Mike Parker are winners!" 8/10
Exium (PoleGroup): "Great stuff, thanks!" 8/10
Francois X (Dement3d): "Perfect Package of Remix!" 10/10
I/Y: "wow.. really good.. too many of them to choose one favourite" 10/10
Kwartz (Shapeless Records): "Congratulations for this great work, I love every song of the release" 10/10
Mattias Fridell (Gynoid): "This is a very solid compilation congrats." 8/10
MTD (Sonntag Morgen): "AMAZING release! hard to choose a favorite..." 10/10
Mod21 (Prologue): "No words for this release.. Hypnus is flying high!!" 10/10
Nima Khak (H-Productions): "Great bits! The Ness mix is outstanding, but a lot of great stuff in this package! Will play for sure!" 9/10
Nobody Home (Home Records): "Very nice release with many of my favorite musicians! Thank you very much :-)" 8/10
Reggy van Oers (Affin): "Some crazy stuff in here! love it!" 9/10
Samuli Kemppi (M_REC Ltd.): "Fan boy likes. Brilliant release. Full support." 10/10
Svreca (Semantica Records): "Excellent release. Full support." 8/10
Takaaki Itoh (Phobiq): "what a great trks. im sure to play all of them. full support!" 10/10
Terence Fixmer (CLR): "Top release, difficult to choose a favourite here...all are nice." 10/10
The Noisemaker (Par Recordings): "Hypnus is going to be one of the best label on earth! full support! all tracks have his own personality and are well designed.. top for opening a djset" 10/10
Tommy Four Seven (Stroboscopic Artefacts): "Big!" 8/10

Also supported by:
Dimi Angelis, Unam Zetineb, Antonio de Angelis, Artefakt, DARS, Gianluca Meloni, Jonas Kopp, Hector Oaks, Juho Kahilainen, Vilix, Eric Cloutier, Brendon Moeller (Echologist), Iori, Jose Pouj, VSK, AnD, Rasmus Hedlund, Victor Martinez, Antonio Vazquez, BLNDR, Luigi Tozzi and many more.

In the summer of 1978, an ambitious twelve-day experimental jazz project was undertaken at the ancient amphitheatre, Tasso della Quercia, on the slopes of Rome’s Gianicolo hill.

The idea was to assemble the leading players from Italy’s avante-garde jazz scene, revolving around members of Grande Elenco Musicisti (or GEM), such as saxophonists Tommaso Vittorini, Eugenio Colombo and Maurizio Giammarco, trumpeter Alberto Corvini and trombonist/composer Danilo Terenzi, together with visiting American players such as saxophonists Steve Lacy, Steve Potts and Evan Parker, trombonist Roswell Rudd, pianist Frederick Rzewski and drummer Noel McGhee, among others.

Different group configurations were enacted each day and the final gala concert formed the basis of this super rare and highly playful double album, which captures the delightfully messy proceedings. In keeping with the openness of the Roman jazz scene of the day, the project sought to push the boundaries, aiming to break big-band traditions whilst still emphasizing the collective nature of the experience.

Enrico Rava’s opening “Tromblues” emphasizes the disparate approaches of these trans-Atlantic teams and Terenzi’s “Dialogando” uses dual trombones to heighten musical discord; in mutated big-band mode, Giammarco’s thrillingly complex “Vortex Waltz” and Vittorini’s “La Legge E Uguale Per Tutti” both speak to the limitless
potential that the project was aiming for.

Following on from a sell-out first release, Serenity Records returns with a four track double-header from Thoma Bulwer & Anna Wall. In alignment with the label's policy of allowing the artists commissioned to choose a mental-health charity of their choice, 002 dedicates all its proceeds to Centrepoint - an organisation which seeks to combat the ever-growing problem of homelessness. The EP spans across the full spectrum of Techno, with the cuts varying from soft melodic textures, floaty synth work and a B1 that wouldn't stand at all out of place in a peak-time club setting - a nice surprise from this exciting new not-for-profit label...

After two tracks were successfully taken for a limited Maxi single, the whole album is now available on Double LP - Nicely remastered.

Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.

For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.

The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

Gatefold Double LP Pressing of Amaryllis on Rustic Green Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

Gatefold Double LP Pressing of ATTENTION ATTENTION on Clear Yellow Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

Gatefold Double LP Pressing of Leave a Whisper on Clear Blue Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

Gatefold Double LP Pressing of The Sound of Madness on White Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someday - but for now check out). So with Bill back in action and the world slowly crawling out of a disillusioning haze, now seems like the perfect time for a first-time-ever reissue of this incredibly rare, happy-sad, gently delicate, Stone(d) classic of a downer song-cycle.