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A conceptual album featuring five long tracks with raw in–your–face sound and production, over–charged fuzz & wah wah guitar, powerful vocals with killer echo/reverb and studio effects. This is must for any hard rock / metal / heavy psych aficionado, reissued for the first time on vinyl and remastered from the original tapes.

Including insert with liner notes and rare pictures from the archive of Vicente Feijóo, the original guitarist & vocalist from Zarpa. Heavy carboard sleeve + OBI.

Formed in Mislata, Valencia, in 1977 by four teenager friends (Vicente Feijóo on lead vocals & lead guitar, Eduardo Feijóo on bass & vocals, Javier Herviás on guitar and Jesús Martinez on drums), Zarpa Rock (“Claw Rock”), later shortened to Zarpa, evolved from a group called Wolframio. After spending most of 1977 learning how to play their instruments, they were approached by a management agency called Zeus Rock, joining their roster in company of bands like Doble Zero.

Under Zeus Rock guidance, the band did their first recording: a conceptual album titled “Los 4 Jinetes del Apocalipsis” (The Four Horsemen of Apocalypse) which due to low studio budget, was recorded “live in the studio” in a single one-hour-and-a-half take. After the bankruptcy of Zeus Rock, the proposed album project was shelved. Zarpa shared stage with legends like Ian Gillan and later on, in the heyday of Heavy Metal in Spain, they managed to release two more LP’s which established them as a very popular band, even opening for Barón Rojo, true Metal Stars in the early 80’s. They’re still in active.

“Pretty much heavier and more loaded with crazed lead guitar than any of the other big ones from Spain like Storm, Tapiman, Leño or anything else I can think of” – Rockadrome

“Their music combines the slightly bluesy mid-70s Spanish hard rock sound of bands like Storm, which channeled Sabbath and Deep Purple, with a just-this-side-of-NWOBHM early heavy metal sound”
-Shit-Fi

Like so many other disenfranchised kids in the heady days of mid-eighties United
Kingdom, Magic Roundabout came armed with leather jackets, charity shop instruments, singles
by The Fall and Buzzcocks, good haircuts, a healthy VU obsession and a little psychedelic
inspiration. Influenced into existence at early gigs by The Jesus and Mary Chain and Shop
Assistants, The Roundies wanted to change the world or at the very least make some noise,
shake things up and be a part of the happening.
The gang established a clubhouse in early 1986 and began rehearsing, recording and
gigging. Playing a ton of legendary shows with the likes of The Pastels, The Blue Aeroplanes,
Spacemen 3, Loop , My Bloody Valentine, Inspiral Carpets and picking up a bunch of fans along
the way. Rumor has it that Noel Gallagher roadied their final show.
There was one song released - She’s a Waterfall Parts 1 and 2 on Mark Webber’s
(Pulp) Oozing Through The Ozone Layer cassette compilation - and that’s it. There were also
talks of a flexi-disc that, for whatever reason, never saw the light of day. But by the end of the
80s, the gang had all gone their separate ways and the recordings along with so many other
things were thought to be lost forever…
Now, these 1987 recordings recently unearthed by Ian Masters (Pale Saints) and Third
Man Records and given the “treatment” by Warren Defever are presented to you lucky ones as
the debut single by Magic Roundabout. 34 years too late or perfectly steeped and presented at
just the right moment in history? Tune in, turn on and make up your own mind. Enjoy the trip.

Black vinyl pressing of the now sold out RSD 2020 reissue.

The Amorphous Androgynous unite their award winning psychedelic compilation series ‘ A MONSTROUS PSYCHEDELIC BUBBLE ( Exploding In Your Mind ) ‘ with their symphonic new single ‘ We Persuade Ourselves We Are Immortal’ ( taken from the forthcoming album ‘ LISTENING BEYOND THE HEAD CHAKRA ‘ ) to create this latest installment of the Monstrous Psychedelic Bubble series . Featuring a host of luminaries such as Peter Hammill -vocals ( Van Der Graaf Generator ) Paul Weller -piano and guitar and erstwhile members of the SPENCER DAVIS GROUP/ Ian Gillan Band AND SOFT MACHINE on lead guitar and sax among a plethora of other musicians ( including the Chesterfield Philharmonic choir and a full string section ! ) alongside collaboration & remixes with a host of bands ( ATOMIC SIMAO / HIGHER PEAKS / REGAL WORM / COBALT CHAPEL plus others ) to create one helluva progtronic psychedelic trip through the Amorphous Androgynous samplerdelic multiverse.

Changes, always changes! That is the path than an artist travels in his musical career. But road always as a goal. And Jesus Gonsev gives us one of them in his first album as an artist. Eight tracks for enjoy this long tour and see his influences on it. An album where different styles are played, Deep House, Breaks, Electro, Techno. But harmoniously converge with that characteristic Gonsev's touch. Now is the time to start this journey by placing the needle on the vinyl. Do you want to change your life? A new life...

Part of The Optic Sevens Reissue Series
Limited to 500 copies on splatter vinyl Includes Poster & Postcard
The Servants second single, Originally released on Head Records in 1986 as a 12” EP . This is it’s rst appearance as a 7” single.
In 1986 The Servants recorded a John Peel session, got a full page feature in the New Year’s edition of the 1986 ‘NME’ hailing them as the next big thing, appeared on their C86 cassette and played shows with amongst others the Jesus And Mary Chain, Felt, Primal Scream, the Go Betweens, the Pale Fountains and the Wedding Present

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

"With its latest release, Altered Moods Recordings explores the mind of Spanish talent Jesus Gonsev, who co-owns and runs the Troubled Kids record label. Jesus, who has recorded for not only his own Troubled Kids but also for stalwarts such as Prog City Deep and deepArtSounds, has made waves in both his native Spain and the rest of Europe as a DJ and producer, playing alongside pioneers such as Ernie Albacete of Minuendo Recordings and Detroit wunderkind Delano Smith, and recording a cracking EP on his own label with deepArtSounds boss Dan Piu. AMR is the first US label he has recorded for, and he brings a special treat to these shores."

larry Jon Wilson He Can Break Your Heart With A Voice Like A Cannonball.' - Kris Kristofferson. Larry Jon Wilson Came To The Party Late. When He Arrived In Nashville, Country Soul Pioneer Tony Joe White Had Already Made Six Albums. Townes Van Zandt Had Made Seven, Mickey Newbury Eight. Kristofferson, The Accepted High Priest Of The New Nashville, Had Made Five. Larry Jon, By The Time He Arrived, Had Spent Ten Years In Corporate America. He Did Not Start Playing Guitar Until The Age Of 30, But Five Years Later He Released His Debut, New Beginnings (1975) And Followed It Just A Year Later With Let Me Sing My Song To You, Both On Monument Records. A Revelation Among The Hipsters And Critics Of Nashville, The Lps Ensured Larry Jon Was Immediately Embraced As Part Of The Mid-70s outlaw Country Movement' That Eschewed Slick Production In Favour Of A Raw, Gritty Approach. When A Film Crew Came To Document This Burgeoning Sound, They Made Straight For Larry Jon's Door. The Legendary Heartworn Highways (1981) Featured His Mesmerising Performance Of ohoopee River Bottomland', A Boogaloo Funk Monster. He Was A Singer And Writer Of Intensely Private, Painfully Moving Tales Of Southern Life. With His Deep, Papa-bear Voice, Funky Southern Groove, And Richly Evocative Narratives Of Rural Georgia, Larry Jon Was A Unique Stylist But His Gutsy, Greasy Sound Did Not Translate Into Sales.

Kalita Records and CC:EDITIONS (a new venture by
Australia's CC:DISCO) jointly announce a 12' EP
comprised of four of Nana Tuffour's greatest electronic
burger highlife tracks, accompanied by interview-based liner
notes. Here, in partnership with Nana, we select two highly
sought-after songs from his 1993 release 'Genesis', namely
'Sikyi Medley' and 'M'Anu Me Ho', and pair them his with two
lesser known yet equally deserving tracks 'Asamando' and
'Jesus' from his 1997 CD-only release 'Highlife Tropicana'.
Hailing from Kumasi, the capital of the Ashanti region in Ghana,
Nana Tuffour is by far one of the most important exponents of
modern highlife music. He studied piano at college and cut his
teeth in the '70s as an organist and vocalist for the incomparable
Kyeremanteng Atwede and Dr. K Gyasi's Noble Kings Band.
Fast forward to 1981 and Ghana was at the apex of its golden age
of music. This era was brought to an abrupt end by political
upheaval when the military took over the government and as a
result a restrictive dusk to dawn curfew was imposed between
1982 and 1984. This resulted in a total obliteration of the country's
night life, and Nana just like many other prominent musicians
including Pat Thomas and George Darko left Ghana for greener
pastures, the most popular destinations being Nigeria and
Germany. The Rheinklang Studio in Düsseldorf run by a young
inimitable German sound engineer Bodo Staiger and another
'exiled' Ghanaian musician Charles Amoah played a crucial role
for those musicians who had chosen Germany. This studio
became the focal point for Ghanaian musicians and the birthplace
of a new sound, now known as 'Burger highlife' - traditional
Ghanaian highlife infused with the more up to date electronic and
disco sounds of the West. It is arguable that Nana has played a
crucial role in Burger highlife and developing the sound of
traditional Ghanaian highlife more widely to what it is today, with
his innovative use of electronic accompaniment pushing its
boundaries to its creative extremes.
It is Burger highlife's transcendence of traditional musical
boundaries that helps make it so accessible to listeners,
appealing not only to Ghanaians back home but now highly
regarded and sought-after by those in the West interested in
more occidental disco and electronic sounds. We hope that you
enjoy the four songs offered here, each chosen to demonstrate
Nana's singular influence on the development of Burger highlife.

"It was the most beautiful summer of my life."

Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indenite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystied gratitude. A study in how ordinary components helix together to create an extraordinary world.

Awarded a residency at the Headlands Center for the Arts, Lattimore spent two summer months living with 15 fellow artists — writers, playwrights, musicians, poets, painters, activists, curators — in a cluster of old Victorian military buildings on the Northern Pacic Coast. Days offered solitude, Lattimore set up in a spacious barn, able to arrange her instruments at will. Nights welcomed new perspectives. "Hanging out with a lot of accomplished artists with poetic ways of looking at the world was really inspiring. My heart was in a bit of a tangle after leaving Philadelphia. I was holding onto things instead of moving forward. My time there was a nostalgia detox, a way to press reset in a healthy way. Also breathing in the freshest air in America, straight off of the ocean, felt good."

Throughout the shifting locales there is one consistent companion Lattimore engages: a 47-string Lyon and Healy harp. The instrument wires directly into her psyche. Pitchfork's Marc Masters posits, "she can practically talk through it at this point, she's created a language." The space and stillness of the Headlands afforded Lattimore freedom to her expand her vocabulary, to stretch out and experiment with layers of keyboard, guitar, theremin, and grand piano. Lattimore's voice sweeps beneath the plucks and washes of opener It Feels Like Floating,' enraptured by the winding current, and reappearing in the second minute of the immense "Never Saw Him Again." The track elevates towards a shimmering apex of static and percussion before organ drone yields to signature halcyon utters. As with much of Lattimore's work, the track titles are telling, "Baltic Birch" is a somber windswept march that sways gracefully out of step, a remembrance of a recent trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea. Hello From The Edge of The Earth' is an earnest reection of Lattimore's love of the natural world, recognizing the thresholds of varying terrains.

The album's fth track borrows its name from Lattimore's favorite line in Denis Johnson's short story Emergency' from Jesus' Son. A character, lost in a blizzard, reassesses a disjointed universe, a clash between curtains of snow and angels descending out of a brilliant blue summer: it isn't an apocalypse, it is a drive-in movie, with stars hovering above the lot, off the screen, in the throes of the Midwestern storm. This mix-up is disorienting and existentially tragic, Lattimore's darkly strummed piece is a melancholic parallel, mimicking Johnson's elegant suture attaching two remarkably discontinuous spaces.

Micro-revelations, not quite as bright as torn skies but nonetheless enlightening, were everyday occurrences during Lattimore's residency. Living small days with small tasks — feeling little dramas within the arcadian universe of a national park — rendered her the sense that disjointed spaces can be interconnected no matter the enormity that divides them. It's in this elastic scale of perception that something as simultaneously simple and intricate as Hundreds of Days can ourish.

- Second solo album for Ghostly, past releases on Thrill Jockey
- Recently toured w/ Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Julia Holter, Iceage
- Mary Lattimore has been featured on Pitchfork, NPR, The Wire Magazine, and more

* Brazilian producer L-Side releases his highly anticipated new album 'Carnal Mind' on the 6th April.

* Featuring American rapper Jeru The Damaja, British rapper DRS, dancehall/grime artist Lady Chann, and drum and bass vocalists MC Fats, MC Darrison and MC Conrad, the release is via the legendary drum and bass record label, V Recordings.

* Taking his influence from Hip Hop artists such as Jazz Liberatorz, The Pharcyde and Tribe Called Quest, L-Side is making his mark in the world of raw dancefloor focused drum and bass. Originally producing hip-hop beats before branching into Drum and Bass, he is known for his meticulous mix of upfront and aggressive sounds merged with funk and soul styles, forging a flawlessly fresh take on drum and bass.

* Leonardo de Jesus Silva, aka L-Side, began his career as a DJ and Producer in 2008 and the Sao Paulo born producer has gone on to cement himself as one of the most formidable producers to hail from the flourishing and highly respected Brazilian drum and bass scene, which is home to some of the most inventive and funkiest contributors to drum & bass this century.

* As a nation bursting at the seams with prolific and highly talented producers, L-Side has managed to emerge as one of the most exceptional and 'Carnal Mind' proves the point.

* 'Holding On' ft. Lady Chann, is a dark, brooding, half time number, full of menacing atmosphere - infusing elements of dancehall and grime, complemented perfectly by Lady Chann's ferocious, trademark vocal delivery while tracks like 'High Times' unleash unrelenting breakbeat right from the gate. Pulsating synths add momentum, channelling subterranean depths as MC Fats patois-tinged vocals ride overhead. The dark storm clouds clear briefly, allowing celestial pads to momentarily reset the atmosphere before hurling the listener straight back into the thick of it.

* Having released music on such labels as Philly Blunt, Chronic, Celsius and Soul Deep, his music has been supported by DJs from around the world, including DJ Marky, Bryan Gee, LTJ Bukem, Bailey and Doc Scott, while new single 'Holding On' received it's first official play from Mista Jam on BBC Radio 1Xtra.

* In addition to his solo recordings, L-Side has collaborated with fellow V producers, Subsid, Andrezz and Critycal Dub among others.

* The legendary drum and bass record label, V Recordings, was set up in 1993 by Jumpin' Jack Frost and Bryan Gee. Few record labels can claim to have changed the face of their respective scene. Celebrating their 25th anniversary in 2018, since its birth, the label has released over 100 cuts from the likes of Marky & XRS, Krust and Die, Adam F, Lemon D, Scorpio, Dillinja and Roni Size

Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez.
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As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains each instrument weaves independently throughout a passage in a curious game where the listener's attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12'.

Recently, Superpitcher was invited to go on a safari in South Africa. He bought a custom made safari hat at his favorite milliner in Cologne (Ju¨rgen Eifler) and set off with big eyes and a pair of binoculars. It was wild and wonderful and he saw many exotic (and big!) animals, even a leopard in a tree that told him the secret of the universe. He forgot what the leopard said because his mind was still playing and replaying the sound of what he heard on the first night of his arrival - the hypnotic and moving sound of the voices of Africa, the voices of the wonderful Tanda Tula staff choir. There, the choir members work during the day at the camp and at night entertain the guests with their captivating voices and energetic dancing. So impressed was he with their songs and beautiful Shangaan language that he decided to record a CD for them to sell in the shop at their camp and now this precious recording is also available through Hippie Dance / Bush Recordings on vinyl and CD for you in whatever wherever camp you are. The LP of the Tanda Tula Choir comes with a very pretty poster.

Les Disques du Crepuscule presents an expanded edition of classic festive album Ghosts of Christmas Past, featuring favourites from the original 1981 and 1982 editions now joined by newer tracks by Crepuscule artists.
Sometimes witty, sometimes melancholic, the original version of Ghosts of Christmas Past in November 1981 featured exclusive contributions from luminaries such as Tuxedomoon, The Durutti Column, Paul Haig, Michael Nyman, Aztec Camera, Thick Pigeon and The Names. Subsequent editions in 1982 and 1986 added songs by Antena, Mikado, The French Impressionists, Pale Fountains and Winston Tong.
For this new double CD version in 2015 Crepuscule have now added more chantons noel by Blaine L. Reininger, Section 25, The Wake, Marsheaux, Deux Filles, Stanton Miranda, Virna Lindt, B Music and Ultramarine.
'Crepuscule's Christmas cracker is here to rescue the festive season from the fogies and bores"(Melody Maker); "Aztec Camera's Hot Club of Christ is a busy, Django-esque run through a few well-known Christmas ditties, Michael Nyman's Cream or Christians is a silly but loveable fragmented organ collage in a typical English eccentric tradition, Tuxedomoon are in playful Residential mood' (NME)
Cover art by Jean-Francois Octave. The remastered 2xCD is sleeved in a deluxe 6 panel digipack.

Disc 1:
1. Section 25 Jesus Sweetly Sleeps
2. Miranda Dali Happy Xmas (War Is Over)
3. The Wake Jesus From the Block
4. Marsheaux We Met Bernard Sumner at a Christmas Party Last Night
5. Ultramarine Winter Circle
6. Isolation Ward Lamina Christus
7. Thick Pigeon Jingle Bell Rock
8. Aztec Camera Hot Club of Christ
9. Paul Haig Scottish Christmas
10. B Music Rocking Carol
11. Tuxedomoon Weihnachtsrap
12. Virna Lindt Festivo
13. Blaine L. Reininger Jingle Hell
14. Blaine L. Reininger Silent Blight
15. Blaine L. Reininger Xmas Blooz
16. The Durutti Column Snowflakes
17. Monks in the Snow A Theme for This Special Evening

Disc 2:
1. Hillcrest Club Breakfast at Christmas
2. Paul Haig Christiana
3. The Names Tokyo Twilight
4. The Durutti Column One Christmas For Your Thoughts
5. White Birds Possessed By the Stars
6. The Swinging Buildings Praying for a Cheaper Christmas
7. B Music Ode to Joy
8. Antena Noelle a Hawai
9. The Pale Fountains Benoît's Christmas
10. The French Impressionists Santa Baby
11. Simon Topping Peep Show International
12. Thick Pigeon Silhouettes
13. Deux Filles The Snow Falls and the Village Is Overflowing With Children
14. Mikado Message de Noël
15. Winston Tong The Twelve Days of Christmas
16. The Arcadians Write Your Letter
17. Michael Nyman Cream or Christians
18. Magazzini Criminali Honolulu 25 dicembre 1990
 
 

Supporting Jesus & Marychain in Cardiff on 22nd February.2015 sees the return of Welsh psychedelicists White Noise Sound. This single is taken from their second album 'Like a Pyramid of Fire' out in April 2015.After honing their craft across the UK and through Europe - with the likes of Super Furry Animals, The Warlocks, Spectrum, Mark Gardener (Ride) and members of Spacemen 3, Spiritualized and The Brian Jonestown Massacre - WNS completed their debut album in 2010 with the assistance of Pete Kember (Spacemen 3 / Spectrum / E.A.R) and magician Cian Ciaran (Super Furry Animals). Released by cult California based label Alive Records (whose back-catalogue includes releases from The Black Keys, Beachwood Sparks, Iggy Pop and James Williamson and The Soledad Brothers) in 2010 (US) / 2011 (UK), the eponymous debut was greeted with widespread critical acclaim and WNS toured through Europe in its support. 'Like a Pyramid of Fire' sees the band take their trademark wall of sound - at once relentlessly pulsating and blissed-out - and conjure from it a sonic palette with range and depth. WNS worked closely with producer / DJ Phil Kieran and again with Cian Ciaran and the result is a metronomic and hypnotic onslaught of melody, groove and exploration which goes beyond the standard tropes of psychedelia.
White Noise Sound will be playing a special London show as part of the Convergence Festival on Monday 16th March 2005 (with label mates Eat Lights Become Lights and guest DJs Andrew Weatherall and Ben Osborne)

180 gram coloured vinyl now at new price Recorded in Amsterdam in 1988, the live Performance documents a set from the Perfect Prescription tour; the emphasis here is on the group's loud, noisy origins -- only the closing "Feel So Good" hints at the more subdued atmospheres and textures which emerged as Spacemen 3's primary focus as they approached Playing With Fire. Among the highlights: "Take Me to the Other Side," "Walkin' With Jesus" and "Come Together." New digipack.