Pop & Rock Vinyl New Releases - News

Das Kopenhagener Trio LSD ON CIA ist als großartige Live-Band bekannt. Mit "Celestial Bodies" legt sie ein
so innovatives wie spannendes zweites Album hin. Stellt man die Frage, was daran neu ist, so lautet die
Antwort schlicht und ergreifend: alles! Schluss mit Retro-Sounds, "Celestial Bodies" ist ein frischer und
zeitgemäßer Gegenentwurf zu all den Bands, die ihr Heil in der Aufbereitung musikalisch längst verklungener
Zeiten suchen. LSD ON CIA haben sich die Weiterentwicklung des Rocks auf die Fahnen geschrieben, und
die hört sich allerdings höchst fortschrittlich an. Für die Albumaufnahmen verbarrikadierten sich die drei
Dänen für 14 Tage in einem polnischen Studio. Anschließend gaben sie den Mix in die erfahrenen Hände des
legendären Grapehouse Studios in Kopenhagen. Aber es sollte irgendwie nicht sein. Die Ergebnisse
entsprachen nicht dem Gefühl, das die Musiker zu ihren Aufnahmen hatten. Erst als sie selber Hand anlegten
und Mix sowie Master in Eigenregie fertigstellten, nahm der "Himmelskörper" seine faszinierende Gestalt an
und wurde zu etwas, von dem auch LSD ON CIA behaupten können, es sei: Rock!

A new found love - you can feel it, it is close and very euphoric. "Trouble Makes Good Songs" could be the headline for this musical journey as Northern Lite release their tenth album. "Shuffle Play" is the name of the new long player which weaves through the initial silence and transforms from dark electronic into pure stage euphoria.Singer-Songwriter Andreas Kubat describes the ups and downs of an artist and musician who loses his passion and drive only to find it again. Perhaps he is also speaking from the soul of a lover who establishes himself a comfortable seat on the path of life's road only to exchange it for a new one devoid of comfort. He has also packaged and added known songs like "Staring at the Sun" and "I See a Darkness", which have changed through the mirror of time and now fit perfectly into the story.

"Shuffle Play" is an improved Resumé, a new variation of Northern Lite. The great restlessness of the band is back in songs like "Wonder Why" and "Who You Are". They're all about the quest, the search for passion and love, of tiny moments which bring everything to a central point. The album ends with a drumbeat to the cover of "Clocks" which brings us back to the actual topic - the great love of Northern Lite remains the stage and on this stage you'll soon find "Shuffle Play".

'Lioness' is Sivert Høyem's 6th solo-album. It has 11 songs all written by Sivert, and co-produced by Sivert and keyboard player Christer Knutsen. The album is mixed by Tchad Blake (The Black Keys, Sheryl Crow, Pearl Jam, etc.). Mastering is done by Greg Calbi at Sterling Sound.

In February Sivert will be touring in Norway, starting in Oslo Spektrum on Sat. Feb. 13th. Live dates are also planned in Holland, Germany, Switzerland and Greece (April-May next year). These countries are also the key markets for this album.

Sivert has also written the theme song to the new TV series Occupied which is based om an idea by famour author Jo Nesbø. The TV series has started to air in Norway and will also air on Arte in Germany, France, Austria, Switzerland, Holland, Belgium , Liechtenstein and Luxembourg from mid/late Nov, DR in Denmark and Sky Arts in the UK from Jan.

'Lioness' is Sivert Høyem's 6th solo-album. It has 11 songs all written by Sivert, and co-produced by Sivert and keyboard player Christer Knutsen. The album is mixed by Tchad Blake (The Black Keys, Sheryl Crow, Pearl Jam, etc.). Mastering is done by Greg Calbi at Sterling Sound.

In February Sivert will be touring in Norway, starting in Oslo Spektrum on Sat. Feb. 13th. Live dates are also planned in Holland, Germany, Switzerland and Greece (April-May next year). These countries are also the key markets for this album.

Sivert has also written the theme song to the new TV series Occupied which is based om an idea by famour author Jo Nesbø. The TV series has started to air in Norway and will also air on Arte in Germany, France, Austria, Switzerland, Holland, Belgium , Liechtenstein and Luxembourg from mid/late Nov, DR in Denmark and Sky Arts in the UK from Jan.

'Hardest working band in the UK' the Stone Foundation are releasing "Beverley" and "Pushing Your Love are available"  7 Vinyl for the first time on Gloria Jones' newly formed Light Of Love Wax Co. label. Profits are to be donated to the building of a school for music and film in Sierra Leone. Lifted off their latest album, both Beverley and Pushing Your Love feature Northern Soul star cameos by Nolan Porter and The Four Perfects on backing vocals.

Recorded in London with Rory Atwell, Taffy Come Home' is one of their finest moments to date and comes backed with 'It's Not Very Easy' which is only available as a bonus track on special editions of the album.

TELEGRAM line up of Matt Saunders (vocals/ guitar), Oli Paget-Moon (bass), Jordan Cook (drums) and new guitarist Pip Stakem have announced a UK headline tour. The band kick off the twenty date run with a show on the 11th of February at the Hare and Hounds in Birmingham and then finish up in London at the Moth Club in Hackney on Thursday the 3rd of March.

Die Detroiter Garage-Punk-Legende Timmy Vulgar, auch bekannt als Timmy Lampinen, war in seiner rund
zwei Jahrzehnte währenden künstlerischen Laufbahn bereits Frontmann bei Bands wie Human Eye, Clone
Defects und Epileptix. Mittlerweile führt er das Trio Timmy's Organism an. Dieses hat sich, ganz klar, dem
guten, alten Garage Punk verpflichtet. Zunächst war Timmy's Organism als experimentelles Soloprojekt
geplant, aber bei den Aufnahmen zu "Rise Of The Green Gorilla" (2010) und "Raw Sewage Roq" (2012)
sowie im Zuge exzessiven Tourens schlossen sich die drei Herren Timmy Vulgar (Gesang, Gitarre), Jeff
Giant (Bass), und Blake "Bovver" Hill (Drums) so fest ins Herz, dass aus einer losen eine feste Verbindung
wurde. Und damit war der Weg für "Heartless Heathen" geebnet. Das dritte Bandalbum erscheint bei Jack
Whites Label Third Man. Gingen die ersten beiden Langspieler schon ziemlich steil nach vorne, so verströmt
"Heartless Heathen" kolossale Punk'n'Roll-Energie à la Chrome, Crime und The Damned. Pate stehen dabei
Captain Beefheart und die Destroy All Monsters. Anschnallen nicht vergessen!

An Selbstbewusstsein mangelt es den vier Herren aus Austin, Texas, wahrlich nicht. Ihre Karriere bei Bad
Sports, Wiccans, Radioactivity und Wax Museum haben die Musiker an den Nagel gehängt, um als Video
nicht nur ein neues Genre namens Hate Wave zu gründen, sondern schlicht und ergreifend die Welt zu
erobern. Nun denn, ihr treibendes Gebräu aus schnoddrigem Postpunk, Voll-auf-die 12-Hard-Rock und
dissonantem Garage hat auf jeden Fall das Zeug dazu, zumindest die Jeans-und-Leder-Fraktion
mitzunehmen. "The Entertainers" kommt mal getragen, mal geradewegs rockend, aber immer mit einem
deutlichen und sehr sympathischen Wipers-Einschlag. Damit ist schon mal ein massiver Grundstein für
höhere Ziele gelegt. Ob's für die Weltherrschaft reicht, bleibt abzuwarten. Lassen wir uns bis dahin doch
einfach von den Entertainern unterhalten ...

Archival reissue of the garage-psych-funk Zamrock masterpiece (1975) MOJO Four Stars // ...face melting psych-funk-garage madness...' MTV // The entirety of WITCH's third album, restored and remastered from master tapes, and presented as an archival reissue. WITCH's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's third album, Lazy Bones!!, is the band's masterpiece - a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk. Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,afro-rock ensemble WITCH, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four WITCH albums available in archival reissue form. As with our box set, the audio is nigh-perfect - restored and remastered from the original master tapes.

Mittlerweile hat das Post-Industrial-Trio Wolf Eyes auch schon zwei Jahrzehnte auf der Uhr. Ausgehend von
seiner Homebase Detroit hat es die geneigte Hörerschaft in dieser Zeit mit Hunderten (!) Veröffentlichungen
förmlich überschwemmt. Darunter zahlreiche Kassetten, selbstgebrannte CD-Rs, Singles und Split-LPs, die in
Kleinstauflagen unter anderem bei American Tapes erschienen, dem Label des Bandmitglieds John Olson,
aber auch ganz "reguläre" Alben, die über Labels wie Sub Pop oder Troubleman in die Läden kamen. "I Am A
Problem: Mind In Pieces" ist nun der erste Langspieler, der bei Jack Whites Label Third Man erscheint. Ganz
passend, denn im Gegensatz zu den bisherigen Noise-, Free-Jazz- und Drone-Eskapaden wirkt "I Am A
Problem: Mind In Pieces" recht rockig. Oberflächlich betrachtet, denn nicht umsonst nennt man Wolf Eyes die
"Kings of US Noise". Trotz einnehmender Songstrukturen, die durch einfache Gitarren-Melodien und
entrückte, Loop-hafte Akkorde gekennzeichnet sind, gibt es da nach wie vor disharmonische Flötensoli, fiese
Saxofon-Einlagen, Folterfrequenzen, manische Trommelwirbel, orientalisches Gebläse und psychedelische
Echokammern, die nur darauf warten, von der Leine gelassen zu werden. Und das werden sie ...

Die Wüste hat eine eigene Frequenz, einen einzigartigen Sound, den man so vor allem in der Wildnis um
Tucson, Arizona, hören kann. Und von genau dort kommt das Sextett Xixa. Die Band um Brian Lopez und
Gabriel Sullivan absorbiert diese Klänge und integriert sie als zentrales Element in ihr Debütalbum
"Bloodline", dem Nachfolger der EP "Shift + Shadow". Xixa ist in der Indierock-Szene Tucsons verwurzelt.
Lopez und Sullivan sind zum Beispiel Mitglieder der Livebands von Giant Sand, William Sedlmayr und
Calexico. Die Stücke auf "Bloodline" reichen von Psychedelic Rock über Cumbia bis hin zu
westafrikanischem Wüsten-Blues. Dabei sind die Songs durch große Gegensätze gekennzeichnet: einerseits
klingt der Sound kantig und trocken, andererseits himmlisch und funkelnd. Wenn man so will, amalgamiert
das Album damit den unheimlichen Zauber der Wüste. Darüber hinaus bezeichnet "Bloodline" die Abkehr von
Xixas Anfängen als reine Chicha-Band (Chicha ist ein Subgenre des Cumbia). Die Musiker sind Teil der
zweiten bzw. dritten Generation lateinamerikanischer Künstler in den Staaten. Insofern ist "Bloodline" auch
Ausdruck einer Identitätssuche sowie einer ganz eigenen Interpretation von Vintage Latin-Sounds.

+CD, LP 180g

Das Londoner Trio Yak ist in aller Munde, zumindest bei den Hipstern der britischen Metropole. Dafür reichte
schon allein die Digital-Veröffentlichung eines einzigen Songs, nämlich "Plastic People", im November 2014.
In den Ohren der Szenepostille "NME" fiel "Plastic People" so gelungen aus, dass sie kurzerhand einen Yak-
Hype ausrief. Tatsächlich nahm der Hype im März 2015 mit der Debüt-Single "Hungry Heart" konkrete Züge
an. Wie das Musikorgan "The Quietus" befand, handelte es sich bei dem Minivinyl um eine "100-mph-collision
of rock & roll ramalama and twisted psychedelic wonder", die sich wie ein psychotischer Wurm durch die
Gehörgänge ins Kopfinnere vorfressen und dort verbleiben würde, natürlich ungefragt und ohne Miete zu
zahlen. Wer gewillt ist, sich solchen Gefahren auszusetzen, soll sein Glück mit der 7" "No" versuchen, einem
von Steve Mackey (Pulp) produzierten 3-Tracker. Es lohnt sich. Nicht nur für britische Hipster, sondern auch
für die einheimischen Musikenthusiasten. Denn "No" vereint fuzzy Gitarrenwände und streitsüchtige Drums
zu einem trotzigen, alles mitreißenden Maelstrom, der Lautsprecher und Menschen zur Entzückung treibt.

*Folkestone's Hot Salvation Records and Sheffield DIY collective The Audacious Art Experiment are excited to announce LOLOISMO, the new album from Spanish duo ZA! Cult legends in their home country and renowned for their electrifying live shows, ZA! already counts Kim Gordon's Body/Head and John Talabot as fans, and LOLOISMO marks their first official UK release.

Re-forming in 1989 after a decade apart, Manchester's Buzzcocks proved their
music had the staying power to remain relevant long after the new wave had broken.
Three years later, a televised show co-ordinated by influential British music paper
New Musical Express saw co-frontmen Steve Diggle and Pete Shelley combine with
a new rhythm section to deliver a visual and aural treat. Stunning stagecraft, new
songs and older favourites like 'Fast Cars', 'Autonomy' and 'What Do I Get' abound
from these maturing punk pioneers.

DELUXE VINYL EDITION!!!
On New Year's Eve 1979, Cheap Trick, riding a crest of massive international success via their multi-platinum At Budokan album, and the newly
released Dream Police, played L.A.'s indoor Forum Arena and rocked it to its very foundations. Anyone who had suspicions that the intensity of
Budokan was somehow manufactured could have tuned in to KLO FM, who broadcast the entire show, and heard for themselves that Cheap
Trick was indeed the real deal. Listening to this staggering performance more than 35 years later is jaw dropping, and testimony to a group who
were way ahead of the pack at this time, playing a sophisticated power-pop/rock hybrid that few if any of their contemporaries could come lose to
realising.

Eclosion released by Monster Melodies Records
A legendary recording of underground French Rock from 1972
Eclosion is a musical project by Leon Cobra (founder of magazine Le Treponeme Bleu Pale), the guitar player Bernard Stisi (ex Primitiv's) and Marc Blanc (drummer and guitar player from Ame Son).
A psychedelic experimental sound recorded in analog in 1973 on a Revox tape recorder (the same which was used by Rednoise to record the sound effects of the Sarcelles-Locheres album in 1970) and with the help of an echo chamber for an innovative result.
The trio were lead to different destinies and the project ended up stuck on a shelf, along with the drawings made for the cover by Henri Aspic.
Edited for the first time, the record numbered at 1000 copies only is a blue vinyl presented in a cover which unfolds and entails a number of illustrations and an illustrated card of a collage by Leon Cobra, as well as as an anniversary edition of the magazine Le Treponeme Bleu Pale, 40 years after its creation.
The record numbered at 1000 copies only is a blue vinyl in a gatefold cover. Included is an illustrated card of a collage by Léon Cobra, as well as an anniversary edition of the magazine Le Tréponeme Bleu Pale, 40 years after its creation

First official pressing limited to 1000 copies (original pressingwas preview to be edited in 1971 but never came out only 10 test pressing was made

The album come in gatefold sleeve two postal card and one insert colored vinyl

Limited edition of 500 copies, gatefold sleeve, red vinyl, including 3 inserts (2 different postcards, 1 A5 note by Henri-Jean Enu about the story of Fille Qui Mousse). (Jimmy James 16-07-2011)



Underground experimental rock band from Paris circa 1970-72

Often referred to as the French Faust, Fille qui mousse album mixed collage, psychedelic rock, surreal poetry, and organically tapped noise purity with the absolute best of experimental 70s rock-and-beyond. "Straight off, we plunge into that Faust structure...riffing with a psychedelic bent, hints of Gong too...we move into bizarrely constructed patterns of percussive sound and chopped-up rock music, and just as a musical focus takes shape it disappears. A poem, recited by a girl, over an urban landscape populated by numerous barking dogs then gives way to an intensely strange mangled web of sound that's almost brain numbing. And, yet more in the way of strangeness is a piano based piece that recalls some of Roger Doyle's early experiments. The only actual song has the most bizarre lyrics (in English) and is followed by an excursion in distorted and processed guitar. Next is where the folk music comes in, but even with gypsy violin FQM's interpretation of folk is strange and twisted. Finally, we return to the psychedelic jamming that opened the album, but with a jazzier edge, ending the album perfectly. Music Guide (website : allmusic) - April 2003 (Canada)



This album has a strange history, but not as strange as the music it offers. Se taire pour une femme trop belle (Shutting up for a woman too pretty) is the first and only album to have been recorded by the French collective Fille Qui Mousse (Frothing Girl). It was recorded in July 1971 in a single day of studio time for the Futura label. Its release was cancelled due to the label struggling with financial problems, but about five test copies were pressed and 'escaped' to build a cult status among collectors...Was the music worth all that trouble It's hard to say. This album is part tape experiment, part experimental psychedelia, part Krautrock. Some tracks are very strong and intriguing, but as a whole the album covers too much ground with too varying results to make a strong impression. Things start and finish with two good Krautrock-type jams (over the same riff) featuring guitarist Daniel Hoffmann, the rhythm section of Jean-Pierre and Dominique Lentin and soloing guests François Guildon guitar and Léo Sab violin, all directed by Henri-Jean Enu, the group's mastermind. These two tracks account for 14 of the 35 minutes of running time. In-between are squeezed nine short pieces by Enu, Denis Gheerbrandt and Benjamin Legrand. 'Amour-Gel' pairs a recitation in French with barking dogs and other field recordings. In 'Derrière le Paravent' male voices are looped and strerched into a nagging drone. 'Mirroir nagait dans le Lac du Bois de Boulogne' and 'Tibhora-Parissalla' feature Legrand's piano playing treated, edited and otherwise mauled with what the technology could offer at the time (mainly overubbing and applying razorblade to tape). You probably had to be there : for 1971 Fille Qui Mousse was far out, even more extreme than the Mothers of Invention. Today, fans of Neu! , Faust, the No-Neck Blues Band or Jackie-O Motherfuckers will find it entertaining. François Couture Blogcritics August 2002 (USA)



In 1979 an album was released by a bunch of postpunk weirdoes who had never owned music instruments before they went into the studio one weekend to record it. Only five hundred copies of this record were made. Well, this isn't that record. This is even more obscure and strange. For years Fille Qui Mousse was known only as a name on the checklist of influential "electronic experimental music" that graced the aforementioned record, Nurse with Wound's Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella". Fille Qui Mousse never released an album - they recording one for the little known French Futura label in 1971 but its release was shelved and only ten test copies were ever made and the last known copy was sold for $3,000. Of such things are legends made, amongst obsessive record geeks, at least.

But what about the actual music on this thing Do the playful, experimental squeaks and clatter of 1971 have anything going for them today, beyond a quaint, nostalgic charm or mere curiosity value Is it just another cacophonous diversion for those of us who get our kicks from disdaining everything contemporary, reasonable or popular, to play once or twice and then file away amongst all those other supposedly important classics of collectible avant-rock Obviously it's not easy listening. It's not recognizable as rock music, not even if you stretch your parameters to include the wackiest stuff around today or yesterday. And unlike many of the German bands of the early 70s who were chasing their own freaky vision of hard (American) electronic rock out into space or deep into their own acid-tweaked heads, the almost unknown pioneers of avant guard 70s French rock - like Mahogany Brain, whose determination not to be able to play their instruments somehow gave them (in hindsight at least) a pristine, darkly poetic insouciance that made the Velvet Underground seem like Herman's Hermits - aspired to something that wasn't just anti-rock but flagrantly anti-music/non-music. Whether this was born of a genuine revolutionary spirit or just to épater les bourgeois probably no longer matters. Se taire pour une femme trop belle, is, ultimately, even after trying to place it in historical, cultural or goddamn psychogeographical context, just too detached from anything recognizable for me to be able to venture an opinion as to whether it's good or bad. It just is - slabs of sounds out of context, springs twanging, two-fingered piano abuse, detuned guitars, a few moments of gibberish chanting, dogs barking, some lackadaisical folksy jamming that opens and closes the album - and at its heart a single, unplaceable, inhuman shriek that goes on for at least six minutes and feels like it'll never end and probably causes brain damage no matter how quietly you play it. How does that sound to you

Album of the year, undoubtable.

(Nigel Richardson)

DELUXE VINYL EDITION!!!
This release compiles a bunch of songs and tunes that Frank Zappa was involved with in various ways before he became known as the leader of
the Mothers Of Invention. For several years prior to the Mothers becoming MGM-Verve recording artists, Frank was associated with the Pal
Recording Studio, whose owner and operator was Paul Buff. It was here, in Cucamonga, under Buff's tutelage, that Frank learned how to use a
studio to create music, as opposed to simply writing dots on paper. Frank later bought the studio from Buff and renamed it Studio Z, but all of the
contents of this release were recorded before that happened. Frank's contribution to these tracks was either as musician, singer, writer or producer
or a combination of some or all of these roles.

James Johnston and his band Gallon Drunk set the stage of London's Town &
Country Club ablaze when New Musical Express invited them to play a 1992 charity
concert entitled Viva Eight. The chaotic atmosphere that night spawned breathtaking
musical improvisation as the five-piece band tore through material from just-released
first album 'You, The Night...And The Music' plus single 'Draggin' Along'. With a family
tree connecting them with Nick Cave, PJ Harvey, Faust and Marianne Faithfull,
Johnston and Gallon Drunk continue to make challenging music today; this is an early
chapter of their ongoing and still evolving story.

DELUXE VINYL EDITION!!!
These superb live performances were broadcast from a hometown gig in Hollywood and another in Berkeley, California exactly one month later,
in late 1994 - a pivotal year for Hole. Vocalist and songwriter, Courtney Love - claiming to be influenced by an unholy trinity of Big Black, Sonic
Youth and Fleetwood Mac - had formed the band five years earlier, in Los Angeles in 1989 with Eric Erlandson.

The third reference of the french label Monster mélodies is just coming. The album contain unreleased version recorded between 1970 and 1978 from the legendary Moving gelatine plates just made for the forty five birthday of the band. Only 1000 copies are made in clear pink vinyl (gelatin color) in gatefold de luxe sleeve with flyer, family tree and postal card and one seven inch reproduction from the original acetate engraved in 1971 made in one copy with the two first recording of the band aired only on the radio France inter at the Pop club.



All these tracks are unreleased versions never edited before

These historical recording have been restored from old tapes and acetates in the best condition but can't be compared with the very high quality of studio master recording.



All tracks Composed by (Didier Thibault, Gérard Bertram, Gérard Pons, Maurice Helmlinger) except Astromonster (Gérard Bertram) and Galantine/ Synthème/ Like a flower (Didier Thibault)

Tracks one, two and three recorded live at theater 105 at the Maison de l'ORTF on 26 may 1972. Tracks four and five recorded live at the studio 104 at the Maison de la radio on13 april 1978. Track 6 recorded at Marc Profichet' house in Bagneux in 1979 (nine years after the band play it live at the Bourget festival on 30 march 1970 and ten years before the version studio recorded and edited in 2006 on the album Removing).

This album includes a 7 inch record fac simile of the original acetate made in December 1970 in ONE COPY only with unreleased version of X25 (6'49) and London cab (2'00). Beginning recording of the band completely different from later studio version edited on the first Moving Gelatine Plates album.

DELUXE VINYL EDITION!!!
On February 15th 1976, Patti Smith and her group played at the Boarding House in San Francisco - a performance which was broadcast live on
FM radio. This deluxe LP captures this concert in its entirety and illustrates perfectly the strange power of this pioneering band and its dynamic,
talented and foresighted lead singer and main songwriter.

DELUXE VINYL EDITION!!!
The Final Epitaph Live is the recording of Play Dead's final performance in Stevenage, England on December 22, 1985.

DELUXE VINYL EDITION!!!
Red Hot Chili Peppers played the penultimate spot on the sites North Stage on the Saturday night, the first gig the band would play with new
guitarist Dave Navarro, formerly with Janes Addiction. The performance saw the debut of new songs such as "Warped", "Aeroplane", and "Pea"
although the songs were in the beginning stages and the lyrics were very different from the final versions. The groups performance at Woodstock
94 was a huge success and catapulted the Chili Peppers into a different league of popularity and record sales.

Release of the psychedelic rock album "Robert Wood & Woodlands" on the Monster Mélodies Records label

An exceptional recording, dating from September 1974, live! with a superb sound, featuring a band that has never released an album up to now.

Robert Wood, an English vibraphonist, guitarist and singer, born in Bournemouth in 1949, is a veteran of the jazz scene, free jazz, jazz and experimental rock (among others he has played with Alan Silva, Don Cherry, Gong, Marc Bolan, Sam Gopal, Kent Carter, Bernard Vitet, Lard Free, Christian Vander, Fred Frith, Yannick Top) spending the major part of his career in France. Woodlands, the band accompanying him here, was formed in 1973 with Olivier Didier (ex-Herbe Rouge) on drums and Simon Wheatley on electric bass. Patrick Fontaine (ex-Ame Son and ex-Bananamoon Band) replaced Simon Wheatley a few months later and it is this second line-up we can hear for the first time live thanks to this album. In 1974 Robert Wood & Woodlands played more than forty concerts in France. Magical moments still remembered with emotion forty years later by concert-goers. This is because the group's music is bursting with energy.

Robert Wood, a protean musician strengthened by all his different musical experiences, plays his Deagan Electravibe and Premier Vibraphone in a manner which is both extremely personal and relentlessly perfectionist, producing a unique sound enveloped by the bass and the drums of his two accomplices at the summit of their musicality. Using a technique which includes as Robert himself explains: « my own choice of mallets, sticks, differents types of pieces of wood, finger cymbals, the palms of my hands, the soft tips of my fingers and the harder attack of my finger nails! Each of these different types of attack engendered their own characteristic sound parameters which could naturally be played in a myriad of intermingling sound colours. I have always strived to open the range and flexibility of expression of the vibraphone as an instrument complete in itself and not simply an extension of the percussion family. On the "Robert Wood & Woodlands" album I have kept this method on the Premier Vibraphone and developed it further on the Deagan Electravibe! Adding a JEM Cry Baby Wah Wah from the 60's and a legendary amp, the Mike Matthews Freedom Amp, which Ame Son had kindly lent me. So I could explore all the possibilities of Overdrive, Reverb and the mutational frequencies of the Wah to go even further into my "improvisational madness " as certain people called it.

On my Premier Vibraphone, I struck the key(s) at basically five different positions on each key, with a further four intermediate positions on each key which I would also strike for modelling the inherent harmonics. Applied to the Deagan Electravibe this technique literally exploded the conceived limitations of the vibraphone, and also created new soundscapes for my vocals, shooting us off into a cosmic voyage of time, sound and rhythm...with Patrick Fontaine and Olivier Didier, a permanent source of inspiration and musical happiness!... (extracts from an interview by Ron Kane)

DELUXE VINYL EDITION!!!
This superb radio broadcast recording captures Talking Heads live at the Saratoga Springs Performance Center set in the lush environs of
Saratoga Spa State Park in New York State during the summer of 1983. At this stage in their career, Talking Heads were at an artistic peak, having
progressed from their initial spiky art-punk stance into something much funkier and more ethnically diverse in inspiration. Crucially, bassist Tina
Weymouth and her husband, drummer Chris Frantz, had also formed the successful dance-oriented splinter group, Tom Tom Club, in 1981.

DELUXE VINYL EDITION!!!
This superb LP release is the first instalment of three, with a run time of just over 4 hours combined, captures the entire show broadcast that
legendary night more than 40 years ago. Capturing the group almost fully recovered from the deaths of Duane Allman and Berry Oakley, and with a
little help from their friends, they deliver one of their most outstanding performances ever.

DELUXE VINYL EDITION!!!
This superb LP release is the second instalment of three, with a run time of just over 4 hours combined, captures the entire show broadcast that
legendary night more than 40 years ago. Capturing the group almost fully recovered from the deaths of Duane Allman and Berry Oakley, and with a
little help from their friends, they deliver one of their most outstanding performances ever.

DELUXE VINYL EDITION!!!
This superb LP release is the third instalment of three, with a run time of just over 4 hours combined, captures the entire show broadcast that
legendary night more than 40 years ago. Capturing the group almost fully recovered from the deaths of Duane Allman and Berry Oakley, and with a
little help from their friends, they deliver one of their most outstanding performances ever.

DELUXE VINYL EDITION!!!
A bit like a Roman candle, the Boomtown Rats burned brightly for a short period, spewing out several excellent albums before just as quickly
fading and fizzling out.
This particular gig was for the TV cameras of the German music show "Der Musikladen" presumably around July/August 1978 as The Rats
finished up promoting their eponymous debut album and released the follow up "A Tonic For The Troops." The setlist therefore majors on their
first album featuring eight of the ten tracks, supplemented by Shes So Modern (the lead single from TFTT), Dont Believe What You Read from
the same album and a number of B-sides.

The English blues rock band The Yardbirds released
their album Roger the Engineer in 1966. It was the
only Yardbirds album with all original material.
Although the record was officially titled Yardbirds it has
since its release been referred to as Roger the
Engineer, a title stemming from the cover drawing of
the record's audio engineer Roger Cameron by band
member Chris Dreja. Due to the influence of Jeff
Beck's experimentation with guitar distortion, the
album is considered a precursor to heavy metal.

This 2016 LP reissue features the bonus non-album
single Happenings Ten Years Time Ago b/w Psycho
Daisies at the end of Side B.

VINYL IS NON RETURNABLE
* First new album from band in 20 years
* Limited edition 180 gram red & black split colored vinyl limited to 500 copies worldwide
* Features classic lineup with original members Selene Vigil-Wilk, Elizabeth Davis-Simpson, Valerie Agnew, and Roisin Dunne

In the early 90's, Seattle rock band 7 Year Bitch burst onto the scene with their raw songwriting and raucous live performances. After releasing their third (and final) studio album in 1996, the band was undeniably at their peak and electrified audiences around the world with their intense stage shows. During this time, the band returned to their hometown of Seattle and played a fiery show at Club Moe which was recorded and subsequently buried in the vaults for nearly 20 years. Recently discovered, this amazing live performance is the first release from MOE Recordings.

Few rock bands have as heavy--or as deeply complicated--a legacy as that of 7 Year Bitch. Formed in Seattle in 1990 just as the music world was about to be flipped on its head by the explosion of grunge 7 Year Bitch were, from the very beginning, a band hell bent on carving their own distinct path. The band was formed by drummer Valerie Agnew, vocalist Selene Vigil-Wilk, guitarist Stefanie Sargent and bassist Elizabeth Davis- Simpson. Unlike so many of their peers at the time, who were often tied to particular feminist punk agendas or a specifically grunge aesthetic, 7 Year Bitch were a much more visceral, back to basics punk rock band. Throughout the band's seven-year run, they proved not only to be trailblazers, but also incredibly resilient.

Much of the band's most iconic work was colored by a series of terrible losses--the passing of founding guitarist Stefanie Sargent in 1992 and the murder of The Gits frontwoman (and longtime friend and mentor) Mia Zapata in 1993--events that powerfully informed some of the band's most potent music. With the addition of Roisin Dunne--an old friend of Stefanie Sargent--joining the band as guitarist in 1992, the band was primed to enter into one of the most dynamic eras of their career. Less concerned with being feminist trailblazers than simply being an incredibly kick-ass rock band, 7 Year Bitch ended up being both.

Their three studio albums--1992 debut album Sick 'Em, 1994's landmark ¡Viva Zapata!, and the band's last studio album, 1996's Gato Negro--rank among some of the best and resolutely bombastic records unleashed during the 1990's, heavy as all hell rock albums loaded front to back with equal parts dynamic songwriting and a healthy dose of punk rock fury.

Now, nearly 20 years since the band played their last shows, 7 Year Bitch is set to release Live At Moe--a live album that documents the band at the peak of their powers. Recorded in 1996 at Seattle's Club MOE (aka Moe's Mo'Roc'n Cafe), the tracks on Live At Moe were originally broadcast on iMusic, the first website to routinely stream live music directly from a club. The recordings themselves were all but forgotten until producer and MOE Recordings impresario Scott Blum--the man behind iMusic, found the recordings (along with around 350 other master recordings) languishing in a box previously buried in his basement. According to Blum, it was the intensity of the 7 Year Bitch recordings that inspired him to create a record label that could bring these recordings back into the world.

"I found some really special performances, but the one that forced me to start MOE Recordings with Jerry Everard from Club Moe was 7 Year Bitch," he says. "I was always a fan of theirs, but felt that many of their studio recordings didn't match up to the energy of their live shows. And since I knew I had some great performances, I reached out to the band to see if they were interested in putting them out. We spent a lot of time getting the sound just right. When a live music engineer is doing the sound for a show, they respond to the energy of the crowd and tend to push the volume as the night goes on. Reigning that "on the fly" mixing in to a more consistent level for an album was a bit of a challenge, but fortunately the energy of the performances are so electric and undeniable, the music carries the album all the way through and it's exciting to be transported back to 1996 when 7 Year Bitch was at the top of their game."

For longtime fans, hearing 7 Year Bitch tear through some of their most classic material is to be reminded of just what a formidable live band they really were. On Live At Moe the band rips through a career-spanning set, which includes ferocious live renditions of audience favorites "The Scratch", "Lorna", and "M.I.A.", as well as deeper cuts such as "Crying Shame" and "The Midst". The tracks were mixed live at the time of the recording by longtime soundwoman Lisa Faye Beatty, who would later replace Roisin as the bands guitarist. The record not only serves as a testament to 7 Year Bitch's live prowess, but to the diversity of their catalog.

At a time when nineties nostalgia seems to be cresting at an all-time high, hearing Live At Moe is a remarkable reality check--a reminder of the urgency and spirit that informed so much of the best music to come out of that time. "In the 90's, I felt like so much crazy stuff was happening at a frantic pace, like a runaway train," recalls Davis. "We didn't have the ability to focus and think about the future or context. We just reacted in the moment. I'm really proud of the genuinely unaffected spirit with which we did everything. It was chaos but we owned it--no bullshit, no airs. Just fucking punk. Zero fucks given."

Live At Moe is produced by Scott Blum and features the classic lineup of Selene Vigil-Wilk (Vocals), Elizabeth Davis-Simpson (Bass), Valerie Agnew (Drums) and Roisin Dunne (Guitar).

The Dutch alternative rock band De Staat was formed by lead singer Torre Florim and started of as a one-man project. In 2007 the band recorded their first demo in the original formation. Debut album 'Wait for Evolution' was released in 2009 and brought the band the 3voor12 award for Best Album in 2009. In no time De Staat was asked to play at festivals such as Glastonbury, City to City, The Great Escape, Sziget and Lowlands. Follow-up 'Machinery' appeared in 2011 and for the latest album 'I_CON' Grammy Award winner Vance Powell was asked to co-produce the album. 'I_CON' was highly praised. It was rewarded with an Edison Award and single 'Devil's Blood' was 3FM Megahit. Album 'O' is the first album recorded & produced in the band's very own studio in their hometown Nijmegen that they've built in the old building of pop venue Doornroosje. This is the band's fourth album after one with Dutch indie Excelsior and two on Mascot. All three were Top 15 albums in Holland.

New album 'O' doesn't just represent the sound 'Oh', but also symbolises a circular movement, which is resembled in every aspect of the album. The new songs are repetitive; you could say they can go on forever.

Nick Bike returns off the back of another successful Redbull Thre3style campaign winning the 2015 Western Canadian Finals...Chosen Spokes Vol. 2 dips into the Illmatic age - 'Ain't Hard II Tell' get's double treatment with an A-side remix and B-side deconstruction and recreation of the original instrumental. As with Volume 1, the B side also includes a skipless loop for the scratch heads...limited copies!
Pics & sound files attached

A BRITISH BAND FULL OF BRITISH HISTORY, Skunk Anansie are back with their sixth studio album, 'Anarchytechture': a collection of hard-hitting alternative rock anthems, brimming with punchy riffs and the sort of fire that can only burn from the heart and soul of vocal powerhouse, Skin.

'Anarchytechture' is the follow-up to 2012's 'Black Traffic', and features the group's regular line-up of Skin, guitarist Ace, bassist Cass & drummer Mark Richardson.
The new album - produced by Tom Dalgety (Royal Blood, Killing Joke) at RAK Studios in London, with mixing duties divided between Dalgety & Jeremy Wheatley, and mastering set to be handled by the legendary Ted Jensen at Sterling Sound in New York - has been confirmed for worldwide release on January 15th; it will be supported by a full European headline tour, including two dates in the UK, visiting fans North and South...

February 4th - London, The Forum
February 5th - Albert Hall, Manchester

About Skunk Anansie: Skunk Anansie formed in 1994, went on hiatus in 2001, then reformed in 2009. To date, they have released five studio albums: Paranoid and Sunburnt (1995), Stoosh (1996), Post Orgasmic Chill (1999), Wonderlustre (2010) and Black Traffic (2012); they have also issued the compilation album 'Smashes and Trashes' (2009), plus the acoustic CD / DVD 'An Acoustic Skunk Anansie - Live In London' (2013), along with a run of hit singles, including 'Charity', 'Hedonism', 'Selling Jesus', 'I Can Dream' and 'Weak'.

"For the uninitiated Akercocke are by far the most astonishingly evil sounding,
Goat-Lord-worshipping extreme metal band the UK has ever produced"
- Dom Lawson, Kerrang (UK)

Akercocke hail from London UK, and were formed in early 1997 by friends David Gray and
Jason Mendoca, who had both previously been in the underground Black Metal band,
Salem Orchid. With an accomplished debut under their belts it wasn't long before they
caught the attention of the metal press & ultimately Peaceville Records who released this,
the band's second album of satanic death/black metal mixed with more experimental &
twisted riffing, bringing to mind the complexities of bands such as Voivod taken to new
brutal heights.

'The Goat of Mendes' was originally released in 2001 amid a strong buzz in the
underground & mainstream metal media alike, with the band quickly rising to the top of
the UK extreme metal mountain aided by their captivating and ferocious live appearances,
including a string of dates with Sweden's Katatonia in support of the album.

The band achieved further success on subsequent albums, with Akercocke's final release
coming in 2007 before the band folded. David Gray went on to form the band Voices, as
well as having stints with My Dying Bride.

Aoife (pronounced EEE-fah) O'Donovan's debut solo album, Fossils, was released to
critical acclaim and ended up on many "Best of 2013" lists from outlets like NPR Music,
American Songwriter, New York Magazine and No Depression, among others.

Aoife O'Donovan's second album, "In the Magic Hour" - produced by Tucker Martine (The
Decemberists, Neko Case) via Yep Roc Records - is a 10-song album full of the singer's
honeyed vocals mixed with gauzy, frictionless sounds: splashing cymbals, airy harmonies,
the leisurely baritone musings of an electric guitar. Written in the wake of O'Donovan's
grandfather's death, "In the Magic Hour" is her most introspective effort yet, an aching
exploration of memory and mortality.



For a decade, O'Donovan wielded her instrument with tensile strength as the captivating
lead singer of the Boston-based progressive string band Crooked Still. She was a featured
vocalist on "The Goat Rodeo Sessions," the Grammy-winning album by Yo-Yo Ma, Stuart
Duncan, Edgar Meyer and Chris Thile, has made regular appearances on A Prairie Home
Companion and collaborated with some of the most eminent names in music across a
wide variety of genres from Alison Krauss to Dave Douglas. She has also appeared as part
of the Transatlantic Sessions.

In 2013 O'Donovan released her debut solo album, "Fossils," a moody collection of original
songs with a country lilt. The album garnered praise from The New York Times and Rolling
Stone, while The Guardian deemed O'Donovan the "next Americana celebrity."

While "In The Magic Hour" rekindles the creative partnership with Grammy-nominated
producer Martine, the album also highlights the fruits of Aoife's various career
collaborations. Composer Gabriel Kahane, New York's string quartet Brooklyn Rider and
musician Chris Thile all lend musical and vocal support, as well as I'm With Her band
members Sara Watkins and Sarah Jarosz, plus many more.

Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria.
It was mixed in Conny Planks studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School: layered sequencer patterns, swirling chord tapestries etc Oriental elements or hints thereof add a particular charm to Baumann/Koek.