Cerca:free time

White Lung are back! This winter brings their fifth and final,
chaotic, bold and hook-driven album, ‘Premonition’. It’s a
whirlwind of driving drums, intricate guitar work, and noholds-barred lyrics about motherhood, pregnancy, and
growth. The themes are deeper. The interplay between
guitarist Kenneth William and drummer Anne-Marie
Vassiliou is more complex, the sound more cohesive.
During an unintentional five year hiatus, White Lung
managed to grow up without settling down, and the trio
has emerged out of its transformative period with raw, feral
energy.
When the members convened in their hometown of
Vancouver in 2017 to begin work with long-time producer
Jesse Gander on their fifth album, they had no idea what
kind of changes were in store for them. Frontwoman Mish
Barber-Way was in the studio preparing to record vocals -
when she realized she was pregnant with her first child. A
pandemic followed, then another baby, then the series of
massive societal meltdowns that we’ve all come to call
“everything that’s been going on.”
‘Premonition’ is about birth and rebirth. It’s about leaving
behind nihilism while refusing to give up the freedom that it
offers. It’s about raging against the world while still finding
space within it for hope and love.
CD into printed inner wallet into outer wallet and 8-page
folded poster booklet.
LP includes 24” x 36” poster.
Press - Reviews in MOJO, Loud & Quiet, Uncut. Features in
Stereoboard, Upset, NME, DIY, The Line of Best Fit, Our Culture,
CMU, Yahoo, The Guardian, Pitchfork, Rolling Stone, The FADER,
SPIN, Stereogum, Consequence, Brooklyn Vegan, Alt Press,
Exclaim!, Treblezine, Femmusic, Ultimate Guitar, Broadway World,
Northern Transmissions.
Radio - BBC 6 Music.

Joan Reggae Drummer, based in the region of Catalonia in Spain, is a great lover of Jamaican music, at a very young age he began to be so passionate about drums that he created his first musical projects, among them, the band that was a turning point was The Pepper Pots. With 6 albums already released and several tours in Europe, UK, Japan, USA & Czech Republic , Joan has opened for internationally artists such as Jimmy Cliff, Kymani Marley, Laurel Aitken, Derrick Morgan, Ticken Jahfakoli or The Pioneers among others. He performed at major festivals such as Summerjam Reggae Festival (Germany), Rototom Sunsplash (Italy), Primavera Sound (BCN), Rock For People (Czech Republic) or SXSW (Austin, USA).

Joan as a drummer has also worked with a lot of top international soul artists such as Curtis Mayfield's legendary band The Impressions, Eli "Paperboy" Reed, Maxine Brown, Binky Griptite from Daptone Records that has been in bands such as Antibalas, Sharon Jones & The Dap-Kings, The Dap-Kings or The Mellomatics.

In 2020, after a time of musical hiatus due to the Covid, he began his more personal adventure, creating his own channel dedicated solely and exclusively to the world of drums in Reggae and Dub. Currently his Instagram channel has more than 34.000 followers and the content published has so much repercussion.

First this major collaboration last year with Aston Barrett Jr for a special tribute to his uncle , Carlton Barrett (Bob Marley), one of Joan's favorite drummer. And at last all this work led him to record his first debut EP "DUB Explosion" on the label Two Flames Records, a real explosion of DUB, where the common thread of the songs are drums.

JRD "DUB Explosion" is a performance in the form of an EP, consisting of 4 instrumental Dub tracks with a totally different concept than what we are used to, since the songs were created from the drum beats.

Great musicians from different countries have participated in this EP: Guitar - Arturo Landaeta (Venezuela), Bass - Elie El Ossais (Australia), Keyboards - Ireneu Grosset (Spain), Nyahbinghi Drums - Maurici Bongo (Brazil), Trombone and Trumpet - Pablo Martín (Catalonia), Tenor sax - Tomy Muñoz (Catalonia), Bass - Miliu Llorach (Catalonia), Flute - Lluís Doménech (England), Bass - Joshua Jones (Jamaica), Keteh & Triangle - Aurel Cade (France), Trumpet - Glenn Holdaway (United States).

Finally, the production, mixing and dub was done by the musician and producer Ireneu Grosset, in the analogue studio of Dr. Dubwiser. It was quite an experience as the studio has a team very similar to what Jamaican producers had in the golden age of Reggae in the 70's.

Tape



By its very nature, intuition is something of which we easily lose sight. Music however, as both bridge and secret technology, connects the natural, artificial, and the earned. It can act as both a reminder of cultures and people gone, while materialising and alchemising from thin air elements not to be found on any periodic tables, and visions no human can see.

»Pin down the dust« is the first meeting of Nighte - Christina Carter (Charalambides) and Mari Maurice (more eaze) - and it feels both automatic and natural. The collaboration stems from a spontaneous decision by the duo to start playing together weekly. “That's how this music was made,” explains Carter, “with gut feeling as the guiding principle. Mari understands the music I've made on such a deep level that playing with her feels so natural.”

The result of this meeting is inarguably some of the most beautiful music to ever emerge from either Carter or Maurice. The structures are spacious, generous, and gentle, with scraped violin strings and seemingly ancient moans strewn sparingly like falling leaves on a picnic blanket. Having begun life as freeform interplays between the duo recorded live at Maurice’s house, overdubs were later added and the material mixed by Maurice alone into finalised pieces.

Maurice’s varied instrumentation litters the background with distant and oneiric miscellanies, from groaned saxophone phrases and heavenly organ drones to glissandi guitars. Carter’s voice sits in the centre, embodying and channelling (mostly) wordless human ecstasy - and at times unease - amidst the allotment of blossoming sounds. Maurice & Carter’s clairvoyant connection notwithstanding, music always offers a portal back to our buried intuitions. “Pin Down The Dust” is both a tribute and a guide to this spontaneity and instinct, putting aside thought in favour of feeling.

For their sixth instalment, Lowlife Cartel follow up to their last two compilations (“Pimps Improvisations” in 2018 and “Omnia Vanitas” in 2020) with a new six-track VA named “Kodoku”; a vortical release, both bold and forward-looking, while fully geared for the club environment. Taking its title from a poisonous magic from the medieval Japanese era obtained by placing several venomous insects in a jar and letting them kill one another until only one survives, “Kodoku” - which interestingly also translates as “solitude” - features a cast of producers old and new to the fold including Saverio Celestri, the faceless △, Prince de Takicardie, Tundramane & Ko$te, Solar Alliance and Shampoo.

A staple element of the Lowlife Cartel bunch, Saverio Celestri paves the way and dishes out one of his signature jagged, EBM-informed weapons in “Sundays”. Through this hotchpotch of acid-steeped bass entangled with a frantic newbeat-ish swing and razor-sharp synthwaves, the Italian producer shows off the raw and playful facets of his craft to optimal effect. Unknown contributor △ clocks in with “Crachats de Lune”, a proper ominous banger going straight for the jugular with its clever mix of dusty, drum-laden churn, processed vox stabs and sci-fi-indebted laser bursts flashing by unrelentingly. Tailored for hi-octane action at the defunct Boccaccio or Hacienda, Prince de Takicardie “Jam’on’Acid (House Mix)” blows the winds of euphoria across the club like it was done in 1995. Vibing to a pulsating mix of rabid snares, 303-vehicled charges and mangled vocal samples on a classic free rave tip, throwback material that packs a punch.

Flip it over and here is North-American duo Tundramane & Ko$te shifting the scope to Memphis chopped-and-screwed in true hardcore fashion. Straight-out aggression, “Brick To The Face” lives up to its title, so expect leaving the place with a few teeth out your mouth and a good concussion, though more side effects could appear over repeated listens. A radical U-turn from the previous, Ute.- related triplet Solar Alliance - alias Ekkel, Oprofessionell and Mikkel Rev - bring their dashing trance touch to the comp with “Quest for Kiba”, an uptemp maelstrom for the senses, swirling and whirling up until space and time make no damn sense any more. Topping off that versatile tour de force, Japanese producer Shampoo adds his delectably sensuous spin on the record with the lush, sample-heavy lo-fi appeal of “四季ノ歌”. Unpolished feelgood vibes, sun- streaked soulfulness and deft-handed MPC wizardry are on the menu for this ultimate ride and jolly finale.

2024 Restock

The Barcelona-based label comes back with its release 006 which is a massive EP with 3 tracks from the great Romanian producer Direkt. This is the time to welcome on board Silat Beksi which made an amazing remix to complete the EP.

Supported by Raresh, Ted Amber, Dorothy’s Dream, Vlad Arapasu, Crihan, Mihai Pol, Nu Zau, Barac, Sublee, Giuliano Lomonte, userUNKNWN, Enzo Siragusa, VincentIulian, Prichindel, Lulla, Sepp, Triptil

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

LAFMS primarily reached outside Los Angeles via word-of-mouth and the United States Postal Service, foreshadowing the self-publishing and cassette trading networks of post-punk and industrial subcultures. In 1976, Joe Potts solicited recordings from LAFMS affiliates and admirers to edit and compile I.D. Art #2, utilizing correspondence art's technique of "assemblings." (The first installment in this series was a magazine, and the third was a coloring book.) Potts received dozens of pieces by members of Le Forte Four, Doo-Dooettes, Smegma and Ace & Duce as well as painters, filmmakers and non-artists with few recording credits to their name, creating a delirious, winking sound-art collage of field recordings, voicemails and improvisations. Participants purchased time on the record and received one copy each of the finished LP, realizing the philosophy contained in LAFMS' motto: "The music is free, but you have to pay for the plastic, paper, ink, glue and stamps."

This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

Live At The Brand documents the second performance of newly formed LAFMS core groups Le Forte Four and Doo-Dooettes on July 8, 1976 at the recital hall of the Brand Library in Glendale. Le Forte Four (now joined by Tom Potts) did not actually perform live, but rather created 44 pyramid-shaped headphone helmets with internal quadraphonic speakers and countless wires in order to share their latest tape assemblages with showgoers deprived of sight. The recordings delivered in this Fluxus-inspired manner feature the Buchla synthesizer at nearby CalArts, radio interpolations, group improvisations, addled outbursts and splices from source material lost to time. Doo-Dooettes – Tom Recchion, Harold Schroeder, Juan Gomez, Dennis Duck and Fredrik Nilsen – performed a series of alternately droning and chaotic duets with guitar, percussion, piano, tape loops and synthesizer, all improvised around loosely structured compositions and culminating in a spontaneous group composition at the end of the program. Originally released in 1976, the double LP would be LAFMS' third release.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

In 1977, LAFMS released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early LAFMS recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart). Ford appears in various configurations alongside members of Smegma, Le Forte Four and "unknown artist" (as the credit for more than one piece reads). The Residents, showing their affinity with LAFMS, contributed "Whoopy Snorp" for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating LAFMS affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-'70s art practice and outsider music, then look no further.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

Poo-Bah Records, with its import bins and backroom jam space, attracted the pseudonymous artists forming the initial incarnation of long-running collective Smegma. Early members Ju Suk Reet Meate, Dennis Duck, Cheez-it Ritz, Big Dirty, Amazon Bambiand Dr. Id contributed to various LAFMS compilations and combinations before several core members relocated to Portland, Oregon in 1975, where they recorded their debut album Glamour Girl 1941. Originally released on the LAFMS label in 1979, the LP combines rock instrumentation with tape, synthesizer, horns and voice in a tempestuous cauldron of anti-academy improv and alien noise. Beyond its roots in LAFMS, Smegma would help shape the early Portland punk scene in the late '70s alongside Wipers and Neo Boys. In more recent years, they have collaborated with Merzbow and Wolf Eyes.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Sound: An Exhibition of Sound Sculpture, Instrument Building and Acoustically Tuned Spaces opened at the Los Angeles Institute of Contemporary Art in the summer of 1979 (and was also on view later that year at PS1 in New York). Curated by Bob Wilhiteand Robert Smith, the exhibition surveyed the field of sound art. The forty-four participants were painters pivoted toward performance, conceptual artists attracted to time-based mediums, self-styled creators of environments, and musicians (formally trained and otherwise) fashioning new instruments from household items and consumer electronics. They were more or less object-oriented and, at the same time, more or less music-oriented. What brought them all together, as the exhibition catalog gamely asserted, was sculpting in three-dimensional space.

The Sound exhibit included installations, recordings played in the exhibition space and a series of live performances, demonstrating instruments that otherwise rested inert in the gallery. For a broader sense of the show than a single visit provided, the curators also produced a compilation album featuring short pieces, or excerpts from longer works, by many of the participants. (Artists in the exhibition, but not on the LP include Alvin Lucier and Mike Kelley.) Selections from bright lights of the 20th century avant-garde – such as composers Bill Fontana, Yoshi Wada and Paul DeMarinis; conceptual artists and performance artists Terry Fox, Tom Marioni and Jim Pomeroy; experimental vocalist Joan La Barbara; and Los Angeles Free Music Society members Tom Recchion and John Duncan – feature alongside the sounds of Jim Hobart's tuned jars, Ivor Darreg's fretless banjo, Doug Hollis' aeolian harp and Richard Dunlap's rubber bands.

This first-time reissue is limited to 500 numbered copies. Comes with poster.

Damiano von Erckert’s ‘The Past, The Present The Future’ lands on Aus music this November perfectly in time for the winter season. TPTPTF is Damiano’s third studio album and sees him perfectly balancing rave euphoria with more cuddly intimate moments moving effortlessly from deep Detroit techno to the spacious kraut sounds associated with his homeland. ‘The Past The Present The Future’ has depth substance and timelessness all packaged beautifully by design and art legend Eike Koenig

'The Past, The Present, The Future is for all independent thinking romantics and specialists looking for urban melancholy and the feeling of freedom and security. It is for those who find themselves in the dust and rain of the night darkness. It serves people who are determined to conquer their inner fears and readjust the orientation of their minds to banish stress, anger and despair from their lives. Finally, it is the soundtrack for lovers and fighters who want to slow down time and create new patterns to open up new dimensions in their lives as ravers, dancers and people of the night. It is about forgotten fragments of past sounds and the simplicity of clubbing'

Johannes Schebler's musical output is all about establishing a dreamlike territory where sonic settlements can spread at ease. While Grykë Pyje (Johannes Schebler's duo with Jani Hirvonen) presents musical landscapes as open and clear spaces, Baldruin's miniature pieces tend to narrow them down, zooming into domestic sceneries that shift like malleable rooms inside a magic building. These are the quarters where the inhabitants of Schebler's musical world are configured.

Rendered in a tender manner, the tunes in Kleine Freuden (in English: small joys) unfold like a collection of fairy tales and bedtime stories. Fables and lullabies performed in whispering tones seem to carry us through a child's dream where images blend into each other. Compact, yet gauzy and free flowing melodies gather up revealing an ensemble of households where fanciful entities play care freely, leading us along their musical maze. The music is placid, childlike and playful. It wanders around in unwavering estrangement, organizing an unprecedented and intimate space as seen from a bird's eye view.

In the landscape of a bedroom where the night lamp is the sun, we take part in a lively journey, as wonder is warrant and keeper of a warm and pristine environment. Perspective shifts as we rise from bed sheet folds that turn into fragile mountain ranges. We crawl behind furniture and take shelter in secret hideouts while dust falls upon us like a blizzard. Transfiguring notions of scale and time, we are left wondering how long have we been here, wondering if music is the only true measurement of time.

Live At Robert Johnson proudly presents the new »Holographic Witness« EP by Niall Mannion aka Mano le Tough!

Please enjoy four very special tracks made by experienced Irishman Mannion near beautiful Lake Zurich. Four tracks to jump into like Zurich folks jump into the Limmat to get carried away. Now here's YOUR chance to get carried away too!

Let's start with the hypnotic grooves of »Holographic Witness« with its subtle handclaps and percussions turning this bass-line driven monster to further heights - a bass-line quite reminiscent of that special Miami sound made famous by the Murk guys back in the early 90ies. Add some balearic guitar riffings and wait until that mighty bass drum comes back in after 6 minutes and you'll find yourself dreaming on a dancefloor in heaven.

Niall continues with more pounding drum sounds in next tune »Kakooja«. Stabbing synths sounds dominate this track while Niall manages to create another dreamy vibe again for this monotonous (in a very positive way that is) work of art - a dreamy vibe which can be found on any of Niall's EP's tracks. This leads us directly to »Last Floating Figh, Liufe Floating« where Mr. Mannion floats into much quieter shores. It's a very meditative affair which makes you want to listen to it over and over again once the tune comes to an end. We think that Señor Villalobos might unleash this one very soon onto some European dancefloor … don't you think?

On »Weather Master«, this EP's last track, Niall masters the art of trippy sounds for a fourth time building another dreamy hypnotic groove that is just beautiful. Maybe too beautiful for this world … we don't know, but what do we know? We're fans. Fans of Mano Le Tough who does not seem so tough at all considering his first offering for Live At Robert Johnson.

Maybe you should consider becoming a fan too - in case you aren't already …

Sláinte, Niall! We raise our glasses respectfully!

One Day I'm Going to Soar is the 2012 album by Dexys, formerly known as Dexys Midnight Runners.

It was the band's fourth studio album, but its first in 27 years. The album features, alongside Dexys' lead singer (and leader) Kevin Rowland, 1980s Dexys members Big "Jim" Paterson, Pete Williams and Mick Talbot, as well as new recruits Neil Hubbard, Tim Cansfield and Lucy Morgan, and guest vocalist Madeleine Hyland, who duets with Rowland on several songs.

The album struts from different themes and genre’s, including '70s string-soaked disco ("I'm Always Going to Love You"), lounge bar jazz-soul ("Me"), and seductive Al Green-esque funk ("She Got a Wiggle").

Previously described as an ‘idiosyncratic & brave record’ this fan favourite is being reissued on vinyl for the first time since its initial release in 2012.

This wildly acclaimed Istanbul-based artist, delivers an unforgettable 4th album Anadolu Ejderi (Anatolian Dragon). Building upon her mélange of Turkish psychedelia, empowered commentary and retro-futurist sonics, her vision is more personal and uncompromising than ever before. Courage. Bravery. Daring. Those are the watch words that guided Turkey"s Gaye Su Akyol when she was making Anadolu Ejderi, her first full-length release in four years. Already lauded for her startling, innovative mix of Turkish psychedelia and folk song, surf music and ʼ90s Western rock, a global sweet spot where Anatolian music heroine Selda Bagcan rubbed shoulders with Kurt Cobain, Akyol was ready to expand her vision after a relentless period on the road. "I was tired of touring," she says. "I really needed a break, some fresh air." The Covid pandemic gave her that, even if it was for the wrong reasons. "With everything closed, we all had to sit at home. The isolation gave me time to write. I ended up with over 100 songs. I tried to broaden the palette: to start with Anatolian folk and pop, then see how to add African and Middle Eastern sounds, the soul revolution, disco, and rock from other cultures. The music is still quite psychedelic, but it connects to different areas, all the pop genres I love so much. The hard part was picking the right songs and the correct order." Everything on Anadolu Ejderi - the title translates as "Anatolian Dragon" - breathes fire. It takes chances, the lyrics offer an exploration of politics in today"s Turkey. The personal is very much part of that. "In a political climate where a woman"s commitment to her passion, to falling in love, to her sexual identity is revolutionary enough, she is deeply passionate and able to express her love freely," Akyol notes. "It would have been easy to sit in the comfort zone of the past."

To Move is a new project by the trio of Anna Rose Carter (Moon Ate the Dark), Ed Hamilton (Dead Light) and Alex Kozobolis. Four-handed piano meets analogue manipulations to absolute wondrous effect from the London based friends.

We´re carried into a time and place not afraid to embrace a sense of optimism - even if it comes wrapped in a certain distorted shape. Transporting, blissful tones emanate free of concerns from the unifying keys; at least until the melodies are pulled and dragged from purity to become something wholly else – their own lived life; fitted with obstructions and unpredictability. The intertwining pianos linger like lovers in unison, full of drift, rhythm and life; all while analogue electronics and tape manipulations degrade and move them from their original form and closer towards earth itself.

The album came to light while Anna and Ed were temporarily residing in the English countryside between 2016 and 2019. Musical weekend visits from Alex turned into the fruitful collaboration presented here. 'To Move' is a compelling musical storyboard with a name that captures the essence of their music better than any written essay could do. This is music to resonate to, music to dance to, music to engulf your being. As for fans of the Sonic Pieces sound – if there is one – this record hits as close to home as it could do.

Both LPs pressed 45RPM in gatefold jacket+ white paper sleeves + LP3 insert for full album download. Yellow vinyl is for Indies only. It might be too soon to declare In Prism the best Polvo record ever…but it might be okay by the time you’re done reading this. ...Only at this point in life would Polvo be so assured, so casually stormy and intensely calm, graceful and free with their power without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness; the writing, the singing, the words you can understand, the ones you can’t. Polvo spent 1990–98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. And while there was nothing wrong before, it’s now so much more right—perhaps because after ten years none of the peripheral stuff matters anymore. Now is for Polvo, and Polvo is for now. In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree? Mike Wolf, NYC (2009). Side A 1. Right the Relation 2. D.C. Trails Side B 3. Beggar’s Bowl 4. City Birds Side C 5. Lucía 6. Dream Residue/Work Side D 7. The Pedlar 8. A Link in the Chain

Exclusive to INDIE STORES: Hiss and Shake Records to release ‘Logically Yours’ – a limited edition, 5 x LP boxset of 50 essential recordings from seminal post-punk icon Lora Logic including 2 classic Essential Logic albums, early single releases, EPs, B-sides, rarities, vinyl exclusives + first new Essential Logic studio album in 43 years! Includes the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) + ‘Pedigree Charm’ + 2 retrospective compilations of early single releases, EPs, B-sides, rarities + vinyl exclusives ‘Aerosol Burns & Other Misdemeanours’ + ‘No More Fiction’ + new studio album ‘Land of Kali’ (first in 43 years) + 20 page booklet with introduction from Celeste Bell + Lora Logic Q+A. Susan Whitby, aka Lora Logic was one of the most distinctive talents from the post-punk era known for her intoxicating, rough-around-the-edges, yet exhilarating sax playing and haywire vocal style. Her offbeat, occasionally arresting lyrics tackled alienation, sexism, poverty and urban isolation, and with a complete disregard for convention, she carved her own path not only in her short-lived music career but also personal life. She was still in her teens when she answered an ad in Melody Maker “Looking for young punks,” and in 1976, with her friend Marion Elliot (aka Poly Styrene), she formed the punk band X-Ray Spex and acquired the pseudonym, Lora Logic. The duo soon achieved notoriety with the irresistible feminist protest single, ‘Oh Bondage Up Yours’ (1977) – Logic arguably stealing the show with her thrilling punk sax. “X-Ray Spex was my first band, I happened to be accepted, It happened to work, I happened to get famous overnight. I’d been playing sax in a cupboard in my room; I thought I better do something.” However, just prior to recording 'Germ Free Adolescents' (1978), X-Ray Spex's debut album, she found herself unexpectedly ousted from the band. With abundant enthusiasm and encouragement from Geoff Travis, founding director of Rough Trade Records, she went on to form Essential Logic, creating some of the most liberating and exciting music of the early post-punk era, not only as Essential Logic, but also as a solo artist. Hiss and Shake Records are pleased to present a limited edition boxset of 50 essential recordings from the irresistibly engaging Lora Logic archive, allowing for a new generation to become aware of her incredible creative output. Across 5 LPs, ‘Logically Yours’ includes in their entirety, the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) (1979) – Essential Logic’s sole studio album, and Lora’s solo album, ‘Pedigree Charm’ (1982) – her last studio album before turning her back on the music business, sad and disillusioned and fighting drug addiction, which saw her turn to a Hare Krishna lifestyle, alongside Poly Styrene, embracing a fresh new chapter. This totally absorbing and definitive collection also includes two retrospective compilations; ‘Essential Logic – ‘Aerosol Burns & Other Misdemeanours’, which comprises early single releases, B-sides and oddities including the gloriously chaotic ‘Aerosol Burns’, the essential punk/disco ‘Music Is A Better Noise’, and ‘Fanfare In the Garden’, showcasing Lora at her most pop. In addition, ‘Essential Logic – ‘No More Fiction’; contains 10 vinyl exclusives, including ‘Do You Believe in Christmas?’, recorded with the Krishna Kids Choir in 1985, alongside tracks recorded circa 1997, with Martin Muscatt, Dave Farren (Bad Manners) and Gary Valentine (Blondie), forming the basis of what would have been Essential Logic’s third studio album, ‘No More Fiction’. Having recently returned to the studio refreshed and rejuvenated, ‘Logically Yours’ also includes ‘The Land of Kali’ (co-produced by Youth), the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Despite her short-lived career in the music business, Lora still managed to perform and appear on releases with many artists including US experimental rock band Red Crayola between 1978 and 1981, and also appeared on recordings by The Stranglers, The Raincoats, Kollaa Kestää, Dennis Bovell, Swell Maps and later, Boy George. Undoubtedly an iconic figure of the UK post-punk scene, Lora Logic’s boldness, adventurousness and sense of fun can be seen as an influence on numerous female artists today including Karen O from Yeah Yeah Yeahs, Peaches and St. Vincent among others. Tracklisting: Essential Logic ‘Beat Rhythm News (Waddle Ya Play?)’ (1979). A1 ‘Quality Crayon Wax OK’ A2 ‘The Order Form’ A3 ‘Shabby Abbott’ A4 ‘World Friction’ B1 ‘Wake Up’ B2 ‘Albert’ B3 ‘Alkaline Loaf in the Area’ B4 ‘Collecting Dust’ B5 ‘Pop Corn Boy (Waddle Ya Do?)’…… Lora Logic – ‘Pedigree Charm’ (1982). A1 ‘Brute Fury’ A2 ‘Horrible Party’ A3 ‘Stop Halt’ A4 ‘Wonderful Offer’ A5 ‘Martian Man’ B1 ‘Hiss and Shake’ B2 ‘Pedigree Charm’B3 ‘Rat Allé’ B4 ‘Crystal Gazing’…..Essential Logic – ‘Aerosol Burns & Other Misdemeanours’. A1 ‘Aerosol Burns’ (1978) – Debut single A2 ‘World Friction’ (1978) – ‘Aerosol Burns’ B-side A3 ‘Eugene’ (1981) – Single A4 ‘Tame the Neighbours’ (1981) – ‘Eugene’ B-side A5 ‘Music Is A Better Noise’ (1981) – Single A6 ‘Moontown’ (1981) – ‘Music Is A Better Noise’ B-side B1 ‘Fanfare In the Garden’ (1981) – Single B2 ‘Stereo’ (1982) – ‘Wonderful Offer’ single B-side B3 ‘Rather Than Repeat’ (1981) – ‘Wonderful Offer’ single B-side B4 ‘The Captain’ (1979) – ‘Fanfare In The Garden’ B-side B5 ‘Soul’ (1983) – Previously unreleased on vinyl B6 ‘Stay High’ – Previously unreleased on vinyl….. Essential Logic – ‘No More Fiction’. A1 ‘Essential Logic’ (1991) – Vinyl exclusive A2 ‘On The Internet’ (1998) – Vinyl exclusive A3 ‘Under The Great City’ (1997) – Vinyl exclusive A4 ‘No More Fiction’ (1998) – Vinyl exclusive A5 ‘Love Eternal’ (1997) – Vinyl exclusive B1 ‘Barbie Be Happy’ (1998) – Vinyl exclusive B2 ‘Not Me’ (1998) – Vinyl exclusive B3 ‘The Beautiful and the Damned’ (1997) – Vinyl exclusive B4 ‘Marika’ (1997) – Vinyl exclusive B5 ‘Do You Believe in Christmas?’ (1985) with the Krishna Kids Choir – Vinyl exclusive……Essential Logic – ‘Land of Kali’ (2022). A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’