Pop & Rock Vinyl New Releases - News

Beginning in 1982, the conceptual audiovisual troupe labeled Psychic TV set out on a multimedia journey filled with subversion, liberation, and rebellion. Materialized between Throbbing Gristle co-founder Genesis P-Orridge and Alternative TV songwriter Alex Fergusson, Psychic TV started pulling in familiar faces with the likes of Peter Sleazy' Christopherson, Paula P-Orridge, Jhonn Balance, David Tibet, John Gosling and countless others. While the members' previous works took root in the counterculture zeitgeist of late '70s UK punk and conceptual art, it was no longer a question of how to rebel against authority, but rather how to carefully subvert it through collective infiltration. Parallel to Psychic TV, its members formed the anti-cult faction The Temple of Psychick Youth, further propagating the Psychic TV message and vision.

While the ensuing years saw Psychic TV's major label infection and record breaking live album release binge, it wasn't until 1988 that the band started to ready itself for a chart-friendly pop endeavor in the form of Allegory and Self. This would be the band's most notable and successful endeavor, but tragically, it would be the final songwriting collaboration between P-Orridge and Fergusson. Allegory and Self was a perfect storm of catchy pop melody along with subversive counter-culture reference and occult leanings, packaged in a perfect bundle of underground hits.

The record's opening track Godstar,' a song gushing obsessive praise upon the fallen Rolling Stones member Brian Jones, would give the album its most notable identity. Godstar's' melodic hooks and haunting, Phil Spector-era lyrical chant gives into to all the hallmarks of a chart-topping hit. Just Like Arcadia' and Being Lost' follows in similar footsteps, charging along with a somewhat whimsical Beach Boys-esque pop quality. The album also contained a sneak-peak into what direction Psychic TV was heading into going forward, apparent in the acid house number She Was Surprised.' Tracks like Starlit Mire' and Thee Dweller' reflect more of what the Psychic TV live experience was akin to in the '80s, aggressive and hypnotic. All together, Allegory and Self would stand alone as the band's signature apex from the original '80s line-up.

Shortly before Christmas 1984, the core songwriters, Genesis P-Orridge and Alex Fergusson, of underground arts collective Psychic TV quietly released a limited edition record containing sketches and ideas for songs. Some songs would become later fully-realized arrangements, some abandoned and others were just covered in praise of their creator. The record, in recognition of its seasonal release, was simply titled A Pagan Day, and would capture the intimate songwriting sessions that were prevalent during crucial time in the band's career.
In classic Psychic TV fashion, rumors and myths surround the album's creation. Most have suggested that it was recorded in a single session over a cup of coffee on a lone 4-track cassette recorder above an old YMCA building in London, though later revealed that the recordings were from various sessions over the course of a couple years prior to the record's release. After quickly pressing the songs to vinyl, the record was originally only available through Rough Trade for a few hours on December 23, 1984 and pressed on picture discs, which adorned a photo of P-Orridge's first born, Caresse, in exactly 999 copies. The pressing sold out immediately that day which caused Temple Records, their 'in-house label', to later release a standard reissue version in 1986.

What makes the songs, or rather versions of songs, so unique is the primitive and fragile nature of the arrangements while the flimsy, immediate vocal delivery makes the album sit unknowingly between demo and fully realized album. 'Baby's Gone Away' and 'New Sexuality' are just a couple examples of songs that fans of Psychic TV became intimately familiar with from live experiences, but on A Pagan Day, they are released in their infantile stages with no full band, just Alex & Genesis finding their way through the songs with an acoustic guitar, drum machine and organ. 'Cold Steel' shows a true peek behind the curtain, sung effortlessly by Fergusson and would then later become the classic standard 'The Orchids.' Most notable is the band's cover of Pearls Before Swine's 'Translucent Carriages' of which P-Orridge accords special praise to Tom Rapp, the song's original author and icon to both P-Orridge and Fergusson

Shortly before Christmas 1984, the core songwriters, Genesis P-Orridge and Alex Fergusson, of underground arts collective Psychic TV quietly released a limited edition record containing sketches and ideas for songs. Some songs would become later fully-realized arrangements, some abandoned and others were just covered in praise of their creator. The record, in recognition of its seasonal release, was simply titled A Pagan Day, and would capture the intimate songwriting sessions that were prevalent during crucial time in the band's career.
In classic Psychic TV fashion, rumors and myths surround the album's creation. Most have suggested that it was recorded in a single session over a cup of coffee on a lone 4-track cassette recorder above an old YMCA building in London, though later revealed that the recordings were from various sessions over the course of a couple years prior to the record's release. After quickly pressing the songs to vinyl, the record was originally only available through Rough Trade for a few hours on December 23, 1984 and pressed on picture discs, which adorned a photo of P-Orridge's first born, Caresse, in exactly 999 copies. The pressing sold out immediately that day which caused Temple Records, their in-house label', to later release a standard reissue version in 1986.

What makes the songs, or rather versions of songs, so unique is the primitive and fragile nature of the arrangements while the flimsy, immediate vocal delivery makes the album sit unknowingly between demo and fully realized album. Baby's Gone Away' and New Sexuality' are just a couple examples of songs that fans of Psychic TV became intimately familiar with from live experiences, but on A Pagan Day, they are released in their infantile stages with no full band, just Alex & Genesis finding their way through the songs with an acoustic guitar, drum machine and organ. Cold Steel' shows a true peek behind the curtain, sung effortlessly by Fergusson and would then later become the classic standard The Orchids.' Most notable is the band's cover of Pearls Before Swine's Translucent Carriages' of which P-Orridge accords special praise to Tom Rapp, the song's original author and icon to both P-Orridge and Fergusson

Shortly before Christmas 1984, the core songwriters, Genesis P-Orridge and Alex Fergusson, of underground arts collective Psychic TV quietly released a limited edition record containing sketches and ideas for songs. Some songs would become later fully-realized arrangements, some abandoned and others were just covered in praise of their creator. The record, in recognition of its seasonal release, was simply titled A Pagan Day, and would capture the intimate songwriting sessions that were prevalent during crucial time in the band's career.
In classic Psychic TV fashion, rumors and myths surround the album's creation. Most have suggested that it was recorded in a single session over a cup of coffee on a lone 4-track cassette recorder above an old YMCA building in London, though later revealed that the recordings were from various sessions over the course of a couple years prior to the record's release. After quickly pressing the songs to vinyl, the record was originally only available through Rough Trade for a few hours on December 23, 1984 and pressed on picture discs, which adorned a photo of P-Orridge's first born, Caresse, in exactly 999 copies. The pressing sold out immediately that day which caused Temple Records, their in-house label', to later release a standard reissue version in 1986.

What makes the songs, or rather versions of songs, so unique is the primitive and fragile nature of the arrangements while the flimsy, immediate vocal delivery makes the album sit unknowingly between demo and fully realized album. Baby's Gone Away' and New Sexuality' are just a couple examples of songs that fans of Psychic TV became intimately familiar with from live experiences, but on A Pagan Day, they are released in their infantile stages with no full band, just Alex & Genesis finding their way through the songs with an acoustic guitar, drum machine and organ. Cold Steel' shows a true peek behind the curtain, sung effortlessly by Fergusson and would then later become the classic standard The Orchids.' Most notable is the band's cover of Pearls Before Swine's Translucent Carriages' of which P-Orridge accords special praise to Tom Rapp, the song's original author and icon to both P-Orridge and Fergusson

Leading the next CPWM single is indie-math-pop-rock band RIIB. Initially the work of musician James Mainwaring of Django Django & Roller Trio, their new single 'Conveyor Belt' explores the punkier side of the band that Mainwaring built around himself for the project.

Starting life when James was still performing as a singer songwriter, 'Conveyor Belt' soon became a full band piece when the rest of the band made their mark on it. Although it's one of the more upbeat and playful of their live set, the lyrics counterpoint by addressing the harrowing state of the American farm industry and those trapped within it.

Joining RIIB on the next CPWM single is Leeds four-piece Furr. Peddlers of no-nonsense pop melodies and huge riffs in the vein of QOTSA, Furr have enjoyed support from the likes of John Kennedy, Classic Rock Magazine & Upset magazine with their previous single releases. All living, writing, rehearsing and recording under the same roof, the group of musicians enjoy a kind of musical closeness and intuitive decision making most bands would kill for

Contradictions embraced: Although SQÜRL's music is anti-mathematic, SQÜRL loves mathematics. We love the Fibonacci numbers. And magic numbers. Perfect numbers. Bell numbers. Catalan numbers. 260 is none of these. It isn't a perfect number, and not factional of any number. It's not even a regular number. 260, though, is the number of days in all Mesoamerican calendars. The Mayan calendar. The Tolkien calendar. 260 is also the number of days of human gestation. (Orangutans also). 260 also has an elliptical connection to the dark rift, a series of molecular dust clouds located between our solar system and the Sagittarius Arm of the Milky Way. And although not a magic number, 260 is the magic constant of the magic square investigated by Benjamin Franklin, and part of the solution to a famous chess problem, the n-queens problem for n=8. 260 is also the country code for Zambia. And the US area code for Fort Wayne, Indiana. Therefore, SQÜRL has labeled this recording EP #260.' -Jim Jarmusch, March 1, 2017

SQÜRL is: Jim Jarmusch, Carter Logan and Shane Stoneback.

An enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores.

SQÜRL began in 2009 when Jim Jarmusch and Carter Logan teamed with producer Shane Stoneback to record some original music for the film The Limits of Control. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock instrumentals (releasing them as Bad Rabbit). Following these scoring sessions Jim, Shane, and Carter continued to record new originals while also exploring the back-alleys of American country, noise, and psychedelia. SQÜRL released a series of 3 EPs, recorded over a 3 year period by Shane at Treefort Recording in Brooklyn, NY. Jarmusch and Logan's collaboration continued as a duo with SQÜRL's acclaimed score for Paterson, and a trio with Stoneback for EP #260

Cover features a textured embossed gold foiled Joshua tree icon
4 CDs housed in left panel of hardback book
3.5hrs of audio content / 49 tracks
This collector's boxset includes:
- The Joshua Tree 2007
- Live from Madison Square Garden 1987
- The Joshua Tree 2017 Remixes
- The Joshua Tree B-Sides & Outtakes
The Joshua Tree - Photographs by The Edge. An 84-page hardback book of personal never-before seen
photography by The Edge, taken during the original Mojave Desert Joshua Tree shoot, 1986
A folio of 8 rare 12' Anton Corbijn colour prints



























I Still Haven't Found What I'm Looking For "40"
One Tree Hill (St Francis Hotel Remix)
Bullet The Blue Sky (Jacknife Lee Remix)
Running To Stand Still (Daniel Lanois Remix)
Red Hill Mining Town (Steve Lillywhite 2017 Mix)
With Or Without You (Daniel Lanois Remix)
Where The Streets Have No Name (Flood Remix)
Luminous Times (Hold On To Love)
Walk To The Water
Spanish Eyes
Deep In The Heart
Silver And Gold
Sweetest Thing
Race Against Time
I Still Haven't Found What I'm Looking For (Lillywhite Alternative mix '87)
One Tree Hill Reprise (Brian Eno 2017 Mix)
Silver and Gold
Beautiful Ghost/Introduction To Songs Of Experience
Wave Of Sorrow (Birdland)
Desert Of Our Love
Rise Up
Drunk Chicken/America

TOM THUMB - the little band with the BIG sound - from 1966 to 1970 Tom Thumb from Wellington, New Zealand had a fierce reputation in the windy city's live scene. In those four years, two incarnations of the group cut 8 singles and one ground breaking prog rock EP.

Collected here for the first time are Tom Thumb Mark 1 whose garage snarl can be heard with them busting out versions of You're Gonna Miss Me, Whatcha Gonna Do About It, Got Love etc with fuzz and fury, and four unreleased tracks from early 1967 incl Sorry She's Mine, Litle Girl.
Tom Thumb bass player Rick White's earlier group the Relics can also be heard on this collection with their fuzzy take on Hanky Panky

In 1969 Tom Thumb Mark 2 heavy takes on The Alan Bown's Still As A Stone, Jim Pepper's Witchi Tai To, and The Small Faces version of If I Were A Carpenter, as well as a horn driven Hey Bulldog have all become sought after by record collectors.

In January 1970 Tom Thumb recorded New Zealand's first progressive rock record ...The Ludgate hill EP. Produced by former Me & The Others drummer Peter Dawkins, it tells the sonic tale of the nuclear devastation of Ludgate Hill in London. Now available in its complete form with powerful guitars and keyboards from Brian Mason and Keven Frewer respectively.

Limited edition of 500 copies with reproduction of the rare original guilded, gold pantone

printed cover and includes a brand new insert.

Swordfish proudly continue its reissue programme of classic vintage Arthur Brown recordings with

Kingdom Come. The self-titled second album is the last recording of the original 'Galactic Zoo Dossier'

line-up and sees the band developing even further the elements of Prog and Psychedelia played on

the first album and stretching out into an almost Zappa-esque orbit. It also features two of Arthur's

most poignant recordings in 'Love is a Spirit that will Never Die' and 'The Whirlpool'.

Officially licensed and fully remastered, it is presented with the original guilded, gold pantone

printed cover and includes a brand new insert.

Bob Dylan's live performances are legendary, from his small Greenwich Village club beginnings, to going electric at Newport, to the incendiary shows across Europe with The Band in 1966. However, in a lifetime of amazing live shows, none are more epic than the Rolling Thunder Revue tour of 1976. Supported by Joan Baez, Jack Elliott, and long-time companion Bob Neuwirth, The Rolling Thunder tour was Dylan at his most unhinged, his most angry, and his most transcendent. Featuring wild, rollicking, powerful arrangements of old classics and recent tunes from Blood On The Tracks and Desire, this 1976 Fort Collins show is capped off by an epic, brutal, Idiot Wind'. Essential live Dylan radio broadcast released in a limited edition on red and yellow vinyl.

Transparent vinyl LP, download card included. Whether their muse lies in 60s sci-fi soundtracks, The Radiophonic Workshop, the prototype electronic sounds of The United States Of America, the retro-futuristic edge of Broadcast, the dream pop ambience of Angelo Badalamenti/Julie Cruise, or the shimmering shroud of Mazzy Star, will doubtless be raised in countless interviews. But what matters more is that Death And Vanilla have woven a stunning tapestry that envelops all that preceded them, into a literally head-turning album, of kaleidoscopic proportions... Formed in Malmö, Sweden by Marleen Nilsson and Anders Hansson, Death and Vanilla utilise vintage musical equipment such as vibraphone, organ, mellotron, tremolo guitar and moog, to emulate the sounds of 60s/70s soundtracks, library music, German Krautrock, French Ye-ye pop and 60s psych. They revel in the warmth of older analogue instruments to create a more organic sound, each loose wire and off-kilter noise adding to the rich atmosphere. After a handful of successful releases including a debut EP in 2010, their self-titled LP in 2012 - which sold out on pre-order - and a beautifully designed 7' single, the experimental pop duo were invited to compose a live soundtrack for the classic horror film, Vampyr (1932), for the Lund Fantastisk Film festival in Lund. Now, newly signed to Fire, the band return with 'To Where The Wild Things Are.' Named after the Maurice Sendak children's book, the album is comprised of pop music with a wild, dreamy and experimental edge, celebrating imagination and the ability to travel to stranger recesses of the mind. 'Where the Wild Things Are' starts off with some of the most pop' songs they've ever recorded, typified in the sweet and melodramatic Arcana', and the classic pop inspired Time Travel'. Like Sendak's book of the same name, the album then proceeds into stranger and stranger territory, resulting in some of the most experimental material Death and Vanilla have produced, such as the six minute Something Unknown You Need to Know' and the machine-like, surf-guitar track The Hidden Reverse'. The band recorded the new album themselves in their rehearsal space, using just one microphone - a 70's Sennheiser - which they bought at a flea market for a tenner. It is this unconventional recording process that gives Death and Vanilla their unique personality, using a trial and error approach to recording has rewarded the album with a strangeness that would not have otherwise been achievable. Creating deliciously enticing soundscapes, full of moody moogs, swirling melodies and breathless vocals, their influences on 'To Where the Wild Things Are' are apparent and diverse, ranging from Ennio Morricone to Scott Walker, Tom Dissevelt to Norman Whitfield, The Zombies to Sun Ra, and Bo Hansson to The BBC Radiophonic workshop. Death and Vanilla's sound is like an elaborate dreamscape composed of foggy visions and mind-altering notions.' Redefine Magazine // Death And Vanilla are a Swedish haunted-pop duo who have found themselves caught in the vortex of retro-futurism circa 1969... they've got a good grip on the baroque psychedelia of the United States Of America and Free Design,' Aquarius Records

I wanted it to be the biggest sounding Foo Fighters record ever. To make a gigantic rock record but with Greg Kurstin's sense of melody and arrangement... Motorhead's version of Sgt. Pepper... or something like that.'

So speaks Dave Grohl of the mission statement made manifest in Foo Fighters' ninth epic, the aptly-titled Concrete and Gold, due out September 15 worldwide on Columbia Records and available for pre-order now.

Concrete and Gold marries some of the most insanely heavy Foo Fighters riffs ever with lush harmonic complexities courtesy of a first time team-up with producer Greg Kurstin (Adele, Sia, Pink). The first taste of which came in the form of anthem of the summer Run' which was described by The Times as 'epic', Music Week as 'Classic' and Shortlist as 'the best thing they've done in years'.

Concrete and Gold was written and performed by Foo Fighters, produced by Greg Kurstin and Foo Fighters, and mixed by Darrell Thorp.

Foo Fighters are Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett, Pat Smear and Rami Jaffee.

A lot of young christian people have two diferent lives, for one side they sing odes to God, but in the other side they dance with the Devil and in sin with Rock'.N'Roll. This is for those youngsters that wish to know the how much damage Rock music can do to their souls.

The Future World Tour began in late April, 1993, in support of The Future, Cohen's 1992 album. It was the only tour Cohen would go on in a nearly 20 year period (1999-2007). Just prior to the first date of the tour, Cohen and his group recorded a live set at The Complex in Los Angeles, for a live radio broadcast. Including tracks from The Future as well as classics like "First We Take Manhattan", "Bird On A Wire", and "The Sisters Of Mercy", this live set is impeccably recorded and is one of the few available live documents of Mr. Cohen for all of the 1990s and into the late 2000s. A truly beautiful live radio broadcast from the brilliant, beloved, and dearly missed Leonard Cohen, released in a limited edition on pink vinyl with white splatter.

During the recording of this album, band leader Duane Allman was tragically killed in a motorcycle accident. Still reeling from their loss, the band nonetheless managed to complete this classic album with Dickey Betts on guitar. In tribute to Duane, however, they chose to bring the album to a close with a 34-minute jam taken from the Fillmore East sessions, which showcased what an amazing guitar player and force to be reckoned with Duane really was. Includes 3 bonus tracks and a replica of the original insert." The 4th Allman Brothers album, originally released in 1972. 180 gram virgin vinyl, deluxe gatefold sleeve.

A few months prior to the release of 1969's brilliant The Soft Parade, Jim Morrison and gang performed a now legendary set in the New York City studios of PBS. Playing live 3 tracks from that album, this was the majority of the American public's introduction to what would be the band's most pop oriented band to date. However, in these live band versions, The Doors are as stripped down and raw as ever. Essential listening for any Jim Morrison fan out there, this great radio broadcast is presented in a limited edition pressing on orange vinyl with black splatter.

Recorded live at the 1968 Miami Pop Festival & features 8 songs from the evening performance & 2 songs from the afternoon show. Originally released in 2013. Double black vinyl.

A diverse collection for the second full-length album and an overtly political statement from Weller - lyrical targets included racism, excessive consumerism and the effects of self-serving governments. The only Style Council album to reach number 1 in the UK, Our Favourite Shop features Features the top-ten singles - Shout To The Top and Walls Come Tumbling Down, as well as some of Weller's best songs - Come to Milton Keynes, Boy Who Cried Wolf and Down in the Seine.

Released in 1987, this album saw the group concentrating on a more extreme, urban-soul style, influenced by soul music pioneer Curtis Mayfield and by the contemporary House music scene of the time, including the Jimmy Jam and Terry Lewis sound. Includes top-ten hit It Didn't Matter, as well as tracks included in the band's surreal film Jerusalem. Released here as two LPs at 45 RPM.

Confessions Of A Pop Group is probably the band's most experimental and divisive album, with hints of Beach Boys, classical music (Weller was listening to Debussy and Satie, amongst others around this time) and jazz influences. Songs such as the nine-minute title track and the 'Three Piece Suite' of The Gardener of Eden, an avant-garde mix of classical and jazz stylings, were new territory for The Style Council, and an even more radical departure from the sound of The Jam. Straight pop-oriented songs exist though - the hit single Life at a Top People's Health Farm, How She Threw It All Away and Why I Went Missing are regarded as lost Weller classics.

Motivated by the underground club scene, Weller chose another new direction for the last album - his take on the UK deep-house or garage scene. Featuring Sure Is Sure, which went on to become a big bootleg dance hit throughout Europe and the instrumental - That Spiritual Feeling - one of the key cuts of the then-new acid jazz scene. However, upon its completion in 1989, it was rejected by the label Polydor, which led to the band breaking up. It was eventually released in 1998 on the box set, The Complete Adventures of The Style Council. Now available as the two LP 'promo' set.

Isolated geographically in the southern Pacific Ocean, Australian rock musicians may as well have been plying their trade on another planet as far as North American, British and European audiences were concerned. Indeed, in terms of rock music per se, only the Bee Gees (who were primarily pop) and the Easybeats made any headway internationally, and only then once they'd relocated to the mother country.
Yet despite its vast distance from the all-important American and British markets, Australia gave birth to vibrant music scenes that delved deep into beat, R&B, punk and psychedelia. Many of the recordings from this period have found their way on to compilations over the years, most notably Raven Records' superb Ugly Things and the noteworthy Sixties Downunder series. Thanks to the dedicated and exhaustive work of respected Australian music archivist Glenn A Baker, mastermind behind Raven Records, these priceless gems have provided a handy introduction to Oz legends like the Missing Links, the Purple Hearts and the Master's Apprentices.

Less celebrated than many of their Australian contemporaries but arguably more significant in the creative stakes was Melbourne's Wild Cherries. Where most Oz bands during those halcyon days blatantly wore their influences on their sleeves, the Wild Cherries were uniquely original and uncompromising in their delivery and execution. Exciting, revolutionary excursions into a musical void with no concessions to commercial demands' is how Australian rock journalist Ian McFarlane describes the band's music in his superb Encyclopedia of Australian Rock and Pop.
The 16 tracks are the ones that Australian labes didnt want to put out on a recording, to wild for them, so expect not more than that on this LP. The inside inner brings a ton of photos and texts by Nick Warburton.

If you are in 60's savage stuff as The Kinks or The Pretty Things or even in to more late 60's psicadelia, this is for you.

LIMITED YELLOW WITH BLUE-GREEN SPLATTER VINYL

Real Gone Music is proud to present Germfree Adolescents, one of the signature albums of the early (1978) British punk movement, in the format (vinyl!) it belongs and in a color mix (yellow with blue-green splatter!) it demands.

The one and only LP release from X Ray Spex and its irrepressible frontwoman Poly Styrene has been deemed by everybody from Greil Marcus to Robert Christgau to Spin to Mojo as one of the greatest punk albums ever made, and

for this reissue, we've done it right, besides the colored vinyl, we've reproduced the inner lyric sheet, where you can read Poly's brilliant observations about the plastic, corporate nature of modern society. All of which she sings in a passionate yowl all her own (with Lora Logic among others backing on saxophone), this is not only one of the most penetratingly observant punk records, it's also one of the most passionate, and, surprisingly enough, catchy. Check out The Day the World Turned Day-Glo' and Germ Free Adolescents' if it's hooks you're after, if it's righteous anger and a noisy racket you're seeking, every track will do ya. Limited edition of 1200!

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES THE BONUS TRACK HOLE HEARTED'
- LIMITED EDITION OF 1.500 NUMBERED COPIES
PRESSED ON ORANGE VINYL

Riding on the success of More Than Words', Extreme - Pornograffitti became the breakthrough-album for the Bostonian rockers Extreme.

Carried by the silky Funk Metal riffs of guitar god Nuno Bettencourt and vocal gymnastics of Gary Cherone, Extreme took the world by storm following their second album in 1990. Combining Glam with Pop, Extreme carved out a niche for themselves propelled by a lot of MTV play for More Than Words' and Hole Hearted'. The album tells a broader story than both hits: powerful Glam with out-of-this world solos are the bread and butter of this album.

The immaculate production of these catchy and intricately layered songs just screams for a 180 gram vinyl treatment. This exclusive limited edition will be pressed on orange vinyl and includes numbered sleeves.

In a rush, a blur, with ambient vapors swirling round it setting the stage, Chris Bathgate's Dizzy Seas has arrived, the product of years of exploration, travel, searching, daydreaming. Dizzy Seas is Bathgate's fourth full-length album, a brilliant collection of recordings that collage together to make a whole, not in a seamless way, but almost like a photo album that has been edited to force you, the listener, to put yourself into the story, to add to that narrative. The music itself is borne of daydreams, and invites you to join in, with the album having left a door unlocked for you to enter by Bathgate's inimitable skill in, as NPR puts it, the art of distilling alienation into bruised-sounding beauty.'

Characters appear when we least expect them, such as line-blurring hip-hop artisan Tunde Olaniran's soaring guest vocal on the train-like, then suddenly swooping Low Hey', while other songs, like closing track Nicosia' begs you to document the wide-eyed scenery slowly, as the camera in your mind's eye slowly zooms out on the wide emotional landscape of the album. We're left with a whole that begs us to complete the story - Dizzy Seas is one of those tour-de-force albums that begs further listens: picking up on the subtle grain of the background, the whispy hues that colour our own personal photo-book stories, and wondering just how we fit in to that brilliant, beautiful, sad, happy, old, new, and wonderfully open story that Bathgate has collected for us on this album.

In a rush, a blur, with ambient vapors swirling round it setting the stage, Chris Bathgate's Dizzy Seas has arrived, the product of years of exploration, travel, searching, daydreaming. Dizzy Seas is Bathgate's fourth full-length album, a brilliant collection of recordings that collage together to make a whole, not in a seamless way, but almost like a photo album that has been edited to force you, the listener, to put yourself into the story, to add to that narrative. The music itself is borne of daydreams, and invites you to join in, with the album having left a door unlocked for you to enter by Bathgate's inimitable skill in, as NPR puts it, the art of distilling alienation into bruised-sounding beauty.'

Characters appear when we least expect them, such as line-blurring hip-hop artisan Tunde Olaniran's soaring guest vocal on the train-like, then suddenly swooping Low Hey', while other songs, like closing track Nicosia' begs you to document the wide-eyed scenery slowly, as the camera in your mind's eye slowly zooms out on the wide emotional landscape of the album. We're left with a whole that begs us to complete the story - Dizzy Seas is one of those tour-de-force albums that begs further listens: picking up on the subtle grain of the background, the whispy hues that colour our own personal photo-book stories, and wondering just how we fit in to that brilliant, beautiful, sad, happy, old, new, and wonderfully open story that Bathgate has collected for us on this album.

Land of Talk - the Montreal-based band led by Elizabeth Powell - has announced its first new album in seven years, Life After Youth, set for release May 19th on Saddle Creek. Produced and mixed by John Agnello (Kurt Vile, Sonic Youth) and Jace Lasek (Besnard Lakes), and featuring Sharon Van Etten, Steve Shelley (Sonic Youth), Sal Maida (Roxy Music/Sparks), and The Besnard Lakes, the album is a collection of songs that sees Powell in the finest voice of her career, and reuniting with original Land of Talk drummer Bucky Wheaton.

Since forming Land of Talk in 2006, the one certainty in Powell's life has been uncertainty, as her band has gone from being one of Montreal's most brash, buzzy indie rock acts to one of its most elusive and enigmatic. After recording Land of Talk's debut EP, Applause Cheer Boo Hiss, she lost her drummer. After releasing Land of Talk's first full-length record produced by Justin Vernon (Bon Iver), Some Are Lakes (2008), she lost her voice. And after the release of the breakthrough' (SPIN) Cloak and Cipher LP (2010), Powell lost her will.

Powell knew she needed a break from the album/tour/album/tour cycle after Cloak and Cipher's release —she just didn't plan on it becoming a full-blown hiatus. In 2011, she left Montreal behind and retreated to her grandparents' cottage near Lake Couchiching, ON to write only to see all her work lost when her laptop irreparably crashed, taking all her demos down with it. The combination of post-tour fatigue and the demoralizing loss of her new material brought her to a dead stop.

It wasn't until years later that Powell reunited with Wheaton, who emailed her out of the blue after falling out of contact for several years, and together began woodshedding new songs in Toronto at Broken Social Scene/Do Make Say Think bassist Charles Spearin's home jam space, and then booking time at Montreal's Breakglass Studios with Lacek, who recorded the first Land of Talk EP (and, for this new record, shared bass duties with wife/bandmate Olga Oggie' Goreas).

The story of Life After Youth resembles one of those Raiders of the Lost Ark maps with the red routing lines bouncing back and forth into a blur— which is kind of like what my brain is like,' Powell says with a laugh. But from that mental and geographic scramble, a work of great focus and clarity has emerged. To paraphrase the late David Bowie, it's been seven years, and Powell's brain hurt a lot. But she stands today as the patient-zero case study for Life After Youth's therapeutic powers.

The Spitfires return to the fore with new single 'Move On' - released Friday 19th May on Catch 22 Records.
Available on 7' blue coloured vinyl and digital download with exclusive b-side 'Stick To Your Guns'.

Recorded on 28 May 1977 at the Hippodrome in Paris and released the same year via Tapioca Records, Gong Gong
est Mort, Vive Gong (Gong is Dead, Long Live Gong)' is the double live album by one of the greatest psychedelic rock
band of all time.
This one-off show marks the reunion of the group founded ten years before by the legendary Daevid Allen
(1938-2015), artist, poet, musician and former visionary co-leader of the seminal Soft Machine band.
These 76 minutes include some of the band's highest achievements: songs included in The Radio Gnome Invisible
Trilogy (Flying Post, Angel's Egg and You)' and Camembert Electrique' albums contribute to shape Gong's soni
ccosmology, foundational to a boundary-crashing music style between jazz and space rock.

Pet Shop Boys are pleased to announce 'Catalogue: 1985-2012', a very special series of reissues of all their studio albums released on Parlophone. This definitive edition will feature each album from the duo's peerless discography on the label, remastered and released with additional 'Further listening' albums of bonus tracks, demos and mixes created in the same period of time as each album. Many tracks are being released for the first time. Each album will be accompanied by an extensive booklet in which Neil Tennant and Chris Lowe discuss each song, illustrated with many archive photographs. The entire project is designed by Farrow.
Alongside the 'Further Listening Editions' the remastered original albums will also be reissued on 180gm heavyweight vinyl.

Pet Shop Boys are pleased to announce 'Catalogue: 1985-2012', a very special series of reissues of all their studio albums released on Parlophone. This definitive edition will feature each album from the duo's peerless discography on the label, remastered and released with additional 'Further listening' albums of bonus tracks, demos and mixes created in the same period of time as each album. Many tracks are being released for the first time. Each album will be accompanied by an extensive booklet in which Neil Tennant and Chris Lowe discuss each song, illustrated with many archive photographs. The entire project is designed by Farrow.
Alongside the 'Further Listening Editions' the remastered original albums will also be reissued on 180gm heavyweight vinyl.

Pet Shop Boys are pleased to announce 'Catalogue: 1985-2012', a very special series of reissues of all their studio albums released on Parlophone. This definitive edition will feature each album from the duo's peerless discography on the label, remastered and released with additional 'Further listening' albums of bonus tracks, demos and mixes created in the same period of time as each album. Many tracks are being released for the first time. Each album will be accompanied by an extensive booklet in which Neil Tennant and Chris Lowe discuss each song, illustrated with many archive photographs. The entire project is designed by Farrow.
The reissue series begins on June 16th, with the release of three very different-sounding PSB albums: 'Nightlife', 'Release' and 'Fundamental'.
'Nightlife' is their darkly orchestrated collaboration with producers Rollo, Craig Armstrong and David Morales, originally released in 1999, is reissued with two Further listening' CDs, including exclusive, unreleased tracks such as 'Little black dress', 'Tall thin men' and 'For all of us' and demo versions of 'Vampires', 'Call me old-fashioned' and 'Radiophonic'.

Pet Shop Boys are pleased to announce 'Catalogue: 1985-2012', a very special series of reissues of all their studio albums released on Parlophone. This definitive edition will feature each album from the duo's peerless discography on the label, remastered and released with additional 'Further listening' albums of bonus tracks, demos and mixes created in the same period of time as each album. Many tracks are being released for the first time. Each album will be accompanied by an extensive booklet in which Neil Tennant and Chris Lowe discuss each song, illustrated with many archive photographs. The entire project is designed by Farrow.
The reissue series begins on June 16th, with the release of threew very different-sounding PSB albums: 'Nightlife', 'Release' and 'Fundamental'.
'Release' which features Johnny Marr on guitar, entered the top ten in the UK album charts on its release in 2002. The record comes with two 'Further listening' albums of additional tracks, including unreleased songs 'Motoring', 'The night is a time to explore who you are', 'Run, girl, run' and 'Reunion', as well as previously-unreleased John Peel versions of 'A powerful friend' and 'If looks could kill' and a previously-unreleased cover version of Gilbert O'Sullivan's Alone again, naturally' featuring Elton John.