Pop & Rock Vinyl New Releases - News

This limited edition box set from Chuck Prophet includes all 12 tracks from his Yep Roc Records
release Night Surfer plus 2 bonus tracks, all on seven 7" vinyl singles. Featuring new artwork
specific to each song on the record sleeves and unique 3-D box cover art with 3-D glasses
included in the package. A true collector's piece for a true Chuck Prophet fan!

Reissue of this great Germany cosmic / synth/ kraut LP! Originally released in 1977! Incl. the cut "Ho Ronomo".....w/ Brian Eno! Tip!

First new 45 for the year for The GPS sees a welcome return to the label from the always great Dean Wareham (Galaxie 500 / Luna) and Britta Phillips.

A double A sided 7' which sees Britta covering Dylan's 'Don't Think Twice, It's Alright', (which precedes a full length solo album due in April this year on Double Feature Records. This is a recording from those sessions...)

The AA sees Dean and Britta covering 'Hey Paula', (a Number One hit from 1962 for Paul and Paula) and was produced by Papercuts' Jason Quever.

Cover art was done by Californian artist Brian Calvin and features an erotic painting resulting in an additional 'censoring' over sleeve so as not to offend curious youth. A limited numbered pressing of 400 ready mid to late January and sure to sell out in rapid fashion.

Giant Peach is the natural extension of the early and disparate solo bedroom projects of
Frances Chang and Mike Naideau.

Upon meeting in 2008, their guitar-driven efforts began to merge, though the idiosyncrasies of
each were so undiluted and divergent that they seemed to repel like oil and water. But, they
found that each added hues unnatural to the other's spectrum. And as they continued to grow up
together their long histories of musical influences bled into one. Never aiming to be any "kind" of
band, GP's noisy and emotional music flowed naturally from the quality of the time.

With the early addition of drummer David Shotwell and more recent Luke Holstein on bass, the
group utilized the stark aesthetic polarities existent between its members to pen a new slew of
dense and specific songs realized through elongated moments of tension.Tarantula is the first full
length release from the current four-piece. A crystallized feeling of swimming upstream in an
attempt to fulfill the potential of what has yet come to be... a collection of watery and distorted
rock that falls somewhere between the compressed scream of Husker Du and the contemplative
hum of Helium.

Now available on vinyl! Nashville bluesman Patrick Sweany's breakthrough release has received
4-star reviews from both The Independent and Q Magazine and 8/10 from Uncut and Maverick
Critics have hailed it as his finest yet.

"If good is what grabs you, pull up a chair. Warm, wistful, lusty, but resigned to life's hard road
this solid-gold album is a keeper" - (4*) Q

"A coming of age as the bar-band raconteur paints his Southern soul masterpiece" - (8/10) Uncut

"His lyrics paint vivid pictures, his singing is more soulfully nuanced than ever, and the
arrangements are lean, but mean" - Classic Rock presents The Blues (Daytime Turned To
Nighttime review)

After years of radio silence, 2016 finally sees the re-emergence of Bristol's mighty, cult instrumental sitar/psych combo Saddar Bazaar; as they release their long-awaited third studio album "Seventh Valley", on the esteemed Great Pop Supplement label.

'Seventh Valley' showcases the band's dynamically evolving, heavy sound orbiting around the sitar/guitar fusion of the Hyder brothers and driven by new drummer Thomas Elgie (Gonga). Recorded in Stokes Croft, Bristol by Latch Manghat (producer of Taint and The Heads) the album incorporates repetitive drones and riffs, dreamy blues-ragas and head-spinning psych-outs.

First emerging during the 1990s Saddar Bazaar secured their reputation as Britain's foremost purveyors of psychedelic sitar blues-rock with the release of two acclaimed albums (on the legendary Delerium label) 'The Conference of the Birds' - (described by Mojo as; 'a haunting hybrid of transcendental ragas and psyched-out slide guitar') - followed by 'Path of the Rose'.

Further exclusive recordings with post-rock underground labels Enraptured and Earworm (including a split album with Detroit's revered drone/space maestros Windy & Carl) reflected the band's inexorable drive for sonic experimentation.

Saddar Bazaar's immersive live performances have been developed by performing alongside artists such as Bevis Frond, Porcupine Tree, Gong, Silver Apples, Damo Suzuki and Dylan Carson. The band's ongoing sound experiments have generated stunning studio collaborations with the likes of Solitude Aeturnus, Bark Psychosis and Cathedral.

With the completion of their third studio album 'Seventh Valley', Saddar Bazaar have once again emerged, sitar in hand to transform the contemporary tapestry of psychedelic rock.

A beautiful record limited to 300 hand numbered pressings on sky blue wax with stickered front sleeve and insert and will sell out super quick so get on it!

Peaceville present 'Opacities' LP on 180 gram heavyweight black vinyl with a 4 page colour
booklet, with cover and booklet artwork created by London based illustrator Dan Mumford
who has previously worked on artwork for Iron Maiden, Biffy Clyro, Protest The Hero &
Assassins Creed. This LP edition will also feature a free mp3 download.
ecorded at Chapel Studios, produced by SikTh's Dan Weller (Enter Shikari / Kids In Glass Houses)
nd Justin Hill with mixing by Forrester Savell (Karnivool, Animals As Leaders) vocalist Mikee
Goodman hails 'Opacities' as the best music the band have ever made, stating, "musically, vocally
nd lyrically it is our most complete work. We've pushed our sound to the next level."
Along with a new record, December will also see the band touring the UK following recent shows
cross the world in Germany, Japan, India and Nepal showing that while they were away their
music and influence continued to spread.

Four-time Grammy nominee, multi-instrumentalist and producer, Steven Wilson follows
up on his acclaimed Hand. Cannot. Erase. with the new interim album 4 ½ on 22nd
January 2016. Available on CD, LP and Blu-ray

Produced and mixed by Steven Wilson, 4 ½ features a stellar group of musicians
contributing to the LP including Adam Holzman (keyboards), Nick Beggs (bass), Guthrie
Govan (guitar), Dave Kilminster (guitar), Marco Minnemann (drums), Chad Wackerman
(drums), Craig Blundell (drums), and Theo Travis.

The 6 track digipak CD edition with 8 page colour booklet is housed in a beautiful die-cut
slipcase with photography by Lasse Hoile and design by Carl Glover. The LP edition
includes a download code for the album in a choice of FLAC or mp3.

The Blu-Ray edition offers audiophiles a listening experience second to none, with the
album in high resolution stereo and 5.1 surround sound with the addition of a bonus track
'Lazarus', a new recording of the Porcupine Tree classic.

4 ½ also includes a new interpretation, with Steven's current touring band, of the
Porcupine Tree track 'Don't Hate Me'. The new version is a duet with Ninet Tayeb who
also featured on the 'Hand. Cannot. Erase.' album.

The award winning 'Hand. Cannot. Erase.' has received universal praise from the media
and fans alike resulting in Steven's highest chart positions worldwide including UK #13,
Germany # 3, Netherlands #2, USA - #39 Billboard Top 200, Canada #24 & Finland #4
national album charts.

With sold out shows around the world including his 2 recent performances at London's
prestigious Royal Albert Hall, Steven Wilson will continue to tour throughout 2016.
Starting in Germany on January 12th, the 2016 European tour takes Steven to Belgium,
Holland, UK, France, Denmark, Sweden, Finland, Russia, Hungary, Italy and Greece.

Austin band's buzzworthy debut full-length on deluxe white vinyl.
Produced by Mike McCarthy (Spoon, Heartless Bastards, Patty Griffin).

"Sabrina Ellis is a force of nature. Her voice soars, pierces through swells of sound even when
she's barreling into a guitar riff or go-go dancing (which she does, frequently and enthusiastically).
As they proved at the Mohawk on Sunday, Sweet Spirit are also one of the tightest and most
versatile bands in Austin or, quite frankly, from anywhere right now." - Deborah Sengupta-Stith,
Austin American-Statesman

"Spoon frontman Britt Daniel has been bigging up power-pop act Sweet Spirit, inviting the group
on tour and sharing Spoon's producer Mike McCarthy ... " - Andy Langer, Billboard Magazine

Celebrating This Heat's 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979's This Heat, 1980's Health and Efficiency, and 1981's Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.
Isn't it so often the case that the most innovative works of art - the ones that break the ground where others follow - are the ones that seem to reach only the ears of those who take those ideas and run with them

So it is with This Heat and their eponymous debut album frequently referred to as 'blue and yellow' for its ultra-minimal jacket. Within its 48 minute run time, the seeds of post-punk, avant rock, noise rock and post-rock can be found.

Formed in Brixton, a multicultural, and - at the time - down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

Their debut album had - for the time and for the DIY scene - an unusually long gestation, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did - including gigs - and tracks such as Water' were entirely improvised in the studio.

Given the difficult, abrasive, and involved nature of their sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience - whether that audience was ready for them or not.

Celebrating This Heat's 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979's This Heat, 1980's Health and Efficiency, and 1981's Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.
With their debut album and follow-up maxi single Health and Efficiency, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock, placing the trio - Charles Bullen, Charles Hayward and Gareth Williams - at the forefront of experimental music.

However, 1981's Deceit is the one that truly deserves its reputation as a classic of the post-punk era, tying up the myriad threads of their work so far and adding accessibility and melody to the still furiously forward-thinking sound.

Recorded in a variety of studios including the band's own Cold Storage, the 11 tracks put a sense of social anxiety and global paranoia to the fore. Some lyrics were "harvested" from TV commercials ( Sleep'), others described the curtain-twitching of surveillance society ( Triumph'), and some were screamed with raw, ragged abandon, like on Makeshift Swahili'. Makeshift was a big learning situation for me," says Hayward. "I learned to let go with my voice, to release the energy that each song required, no matter where that might lead. The song, about the collapse of language, was central to the Deceit idea."

Musical innovations abound too - drum tracks were recycled from other recordings, albeit in manipulated and mutated form, and Independence' reverses the melody of earlier track Fall Of Saigon'. It's an album whose themes and sounds unfurl before the listener, the mood of edgy, pre-apocalyptic tension growing throughout. Says Hayward: "I still think of this record as a dream within a dream."

This Heat split a year after the release, with Bullen and Hayward completing the final tour without Williams. Hayward went on to form Camberwell Now and Bullen recorded as Lifetones. A tentative 2001 reunion came, tragically, too late - Williams died of cancer within a month of them meeting to rehearse.

Celebrating This Heat's 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979's This Heat, 1980's Health and Efficiency, and 1981's Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.
Bridging the gap between the debut and their masterpiece, Deceit, the 1980 release found the band settling into a groove at their studio, Cold Storage.

With their self-titled debut, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock. The album took the trio - Charles Bullen, Charles Hayward and Gareth Williams - two years to create, and placed them at the forefront of experimental music. The follow-up, the 20-minute Health and Efficiency, proved to be a less labored - and more conventional - record to make.

The eight-minute title track, remembers Charles Hayward, "was improvised pretty much fully-formed," and included the sound of the neighboring school's playground and the band rolling bottles around in the gallery space next to their studio. That's where they found the maxi-single's sleeve too - Pete Cobb's blue and white image was on display in the same gallery. As Charles Hayward notes: "Everything seemed to fall into place."

On the B-side, the drone for Graphic/Varispeed' came from the song "24 Track Loop" on the first album, albeit manipulated, slowed down and sped up. "In the process, we realized that we liked the morphing of the sound from one state to another as the vari-speed combed the sound across the equalization, like a microscope. So we recorded the process itself, which is what you hear here," says Hayward. The intention was for the single to be able to be played at 33, 45 or 78 RPM - which you're welcome to do with this reissue, too.

01 Transparent Eyeball
02 Earth over Us
03 Cosmic Truth
04 When I'm Dead
05 Mirror Boy
01 Transparent Eyeball
02 Earth over Us
03 Cosmic Truth
04 When I'm Dead
05 Mirror Boy
06 Drugged up on the Universe
07 Teeth of the Mountain
08 Green Gold
09 Mushroom Spirit Doors
10 Hunter's Prayer
11 Last Lovers in Hell
01 Drugged up on the Universe
02 Teeth of the Mountain
03 Green Gold
04 Mushroom Spirit Doors
05 Hunter's Prayer

Leroy Mattis' first drum was a plastic butter container. 'My mother wouldn't buy me a drum because back then the situation in Jamaica was very tense... In 1960 Jamaica was still an English colony, and the drum is a roots instrument.' Tommy McCook was living two doors down; during the first years of The Skatalites, Mattis would practise there. In 1970 he was National Junior Drumming Champion, with Count Ossie winning overall; four years later his ensemble battled in the Senior finals with the drummers of the Light Of Saba.
'Our group was initially called Genesis, it was a 7-piece drum group, but I changed the name to Mabrak, which means Thunder in Amharic. We knew that we were coming with a heavy sound.'
Experiments in percussion, in the middle of the night at Harry J's — funky versions of rhythms like Curly Locks, Too Late To Turn Back Now and Fattie Fattie, led by talking drums — beautifully mixed by King Tubby, who couldn't believe his ears.
Originally released in 1976, in paper inners only. Smartly sleeved in quintessential Dug Out style this time around — with an insert, including a recent interview with Mabrak.

Lee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with These Boots Are Made For Walkin',' the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic.
Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described "non-singer" whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned.

In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning-in as much as he ever did-for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment.

Lushly orchestrated and-like the album that preceded it-half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others ( Sand,' Boots,' So Long Babe,' Summer Wine'-included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, For One Moment.' It's a record of extremes: When A Fool Loves A Fool' is as light and throwaway as anything he ever laid down, while the wistful My Autumn's Done Come' (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest.

Despite MGM's best efforts, Hazlewood proved difficult to market without a Sinatra to temper his baritone drawl, and you'd suspect Hazlewood wasn't taking it quite as seriously as they might have hoped anyway. By 1967, Hazlewood had founded the LHI imprint and was busy building his own empire-one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus follow-ups Lee Hazlewoodism: Its Cause and Cure (1967) and Something Special (1968). Welcome, then, to Hazlewood's magnificent MGM years.

The three years spent on MGM Records between 1966 and 1968 were golden ones for Lee Hazlewood.
He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, The Quiet Revenge of Elmo Furback, competing with Phil Spector from their respective studios, and coming up with the formula for the "boy/girl' songs for which he'd become famous. In fact, the unflattering portrait on the cover of Something Special did little to hint at how hip this late-flowering talent (he was in his late 30s when These Boots Are Made For Walkin'' made him a star songwriter) had become.

The common strand on the MGM trilogy is one of the unexpected happening. They were an ill fit for a major label-experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than Something Special. Where 1966's The Very Special World Of Lee Hazlewood and 1967's Lee Hazlewoodism: Its Cause And Cure had employed an arranger, Billy Strange, and a full orchestra, Something Special stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like Little War' and Hands,' the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, Requiem For An Almost Lady. The sound was that of a stripped-down nightclub jazz/blues/folk combo, fully rejecting the psychedelic music going on all over the world.

The album made clear that forging a career as a serious star was not at the top of Hazlewood's agenda, and at the third opportunity, he'd let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the MGM albums were his expensive demos. I'm sure that MGM thought that they would be successful.' Little chance of that with Something Special-it was originally released only in Germany. The same year, Hazlewood founded the LHI imprint, and began building his own empire, one we've been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood's best-and most varied-work.

Second pressing No color wax or foil stamp jacket Some albums hold the blueprint for something bigger than can be contained on twelve inches of vinyl, the self-titled debut album by The Stone Roses is one of them. Check!
Despite clocking in at less than fifty minutes long, it's a record that shaped the next two-and-a-half decades of British music.

Released in 1989, The Stone Roses was a fusion of rock music and the nascent rave scene in the group's native Manchester. For a period of a few years, the industrial English city that gave us Joy Division, The Fall, and The Smiths was home to a drug-fuelled, club-based scene that earned the town a new nickname-Madchester. Falling squarely in that point of transition, The Stone Roses created guitar music that made people dance, fostering the baggy scene that paved the way to Britpop and Manchester's next mega band, Oasis.

The Stone Roses were the full package: they had the tough demeanor and insular mentality of any group of friends from a rugged city, they had a unique look comprised of bucket hats, Adidas sportswear, baggy jeans, and oversized T-shirts, and they talked a mean fight in interviews. But musically they were groaning with talent-Gary 'Mani' Mounfied (bass) and Alan 'Reni' Wren (drums) made complex rhythms seem effortless, guitarist John Squire could give his beloved Jimmy Page a run for his money, and frontman Ian Brown balanced punk sensibility and hippy mentality.

In the UK, the album is the stuff of legend, its cover still seen on T-shirts in any given gig venue. Around the world, its influence was less tangible, most likely due to the fact that the group was hamstrung by a legal wrangle with the Silvertone label following the album's release.

Musically, it's a mix of the grandiose and the intimate, containing songs so forceful and emotive they've become terrace anthems ( This Is The One' is Manchester United's walk-on music) alongside introspective tracks like the anti-monarchy madrigal "Elizabeth My Dear.' In Waterfall,' there are cascading guitar lines that describe its title like musical onomatopoeia, and in Made Of Stone' and She Bangs The Drum,' there are perfect pop songs too. Most significantly, there are songs in which the band etch their own myth in earth-rumbling basslines and grandiose statements: I Wanna Be Adored,' which opens the album, and I Am The Resurrection,' which closes.

Reissued on Light In The Attic on deluxe double-vinyl, this is your chance to discover the album for the first time or to own it in its most beautiful presentation yet.

Super Session (1968) was conceived by Al Kooper and features the work of guitarists Mike Bloomfield and Stephen Stills. Kooper and Bloomfield had previously worked together on the sessions for the ground-breaking classic Highway 61 Revisited by Bob Dylan. For Super Session, Kooper recruited keyboardist Barry Goldberg and bassist Harvey Brooks, both members of the Electric Flag, along with well-known session drummer 'Fast' Eddie Hoh.

On the second day of recording, with the tapes ready to roll, Bloomfield did not show up. Kooper hastily called upon Stephen Stills, also in the process of leaving his band Buffalo Springfield. Regrouping behind Stills, Kooper's session men cut mostly vocal tracks, including 'It Takes A Lot to Laugh, It Takes A Train to Cry' from Highway 61 and a lengthy and atmospheric take of 'Season of the Witch' by Donovan.

The album peaked at #12 on the Billboard 200, and has been certified a Gold record. The success of this record opened the door for the 'supergroup' concept of the late 1960s and 1970s — Blind Faith, Crosby, Stills & Nash, and the like.

Mats Gustafsson - saxophone, electronics
Brian Chippendale - drums, electronics, vocals
Massimo Pupillo - bass

Started as a temporary project in 2014 by Mats Gustafsson (FIRE!, THE THING), Brian Chippendale (LIGHTNING BOLT) and Massimo Pupillo (ZU). but then continued as a band project. The trio now is releasing their first album on Trost records.
Brutal and noisy!

Night Fiction is Cian Nugent's third proper album but
his first taking on the role of singer-songwriter. Where
his previous two (2013's Born With The Caul and 2011's
Doubles) explore extended guitar-based instrumentals with
his band, The Cosmos, here he reigns things in and focuses
his songwriting skills. Guitar fans, do not fear—there is
still plenty of soloing and fingerpicking here. Comprised of
both solo and full-band material, Night Fiction amalgamates
everything Nugent has done up to this point and reveals
a more broad palate of influences, including The Velvet
Underground, Richard Thompson, Television, Neil Young,
John Lennon, Fred Neil, etc.
Put to tape over a week beginning on Valentine's Day
2014, Night Fiction was recorded in Bow Lane Studios in
Dublin with Daniel Fox (Girl Band) and mixed by Brendan
Jenkinson. The album's seven songs include solo ventures
as well as full-band recordings featuring David Lacey
on drums, Conor Lumsden on bass, Brendan Jenkinson
on organ and piano and Ailbhe Nic Oireachtaigh on viola.
The vibe here is familiar yet refreshing and a logical progression
for Nugent.
'I've always been impressed and inspired by Cian's guitar
playing; now on this album he brings his voice and stories
to only expand that brilliance.' —Steve Gunn

The first full-length release by psycho-psych freaks Comets
On Fire, available again on vinyl in a newly remastered
edition!
Comets On Fire delivers dark and damaged acid rock
served in a crude and blown-out speedball of Blue Cheer,
High Rise, James Williamson and a shit-faced-drunk Roxyera
Eno. Methamphetamine and Schnapps-drenched lullabies
take it straight into the sonic shitstorm, shifting from
4/4 power rock to imploding free form. Echoplex-treated
tales tell of drug-crazed space travelers, graverobbers in
love and cosmic cannibals.
The album was recorded on 4-track with the levels in the
bloody red in a basement and garage in Santa Cruz, California.
Tinkering, mixing and sound manipulation with help
from Tim Green (Fucking Champs, Nation of Ulysses).

A classy, sophisticated soul album from South African producer/songwriter Greg Dean, working with some outstanding US vocalists, among them rising soul jazz star
Jarrod Lawson - Jazz FM's Soul Artist of the Year - New Jersey's Eric Roberson and in-demand Atlanta vocalist Chantae Cann, who has recently collaborated with Snarky Puppy.

Stand-out tracks include the catchy duet 'Unconditional Love' with a classic feel and Chantae Cann and Jarrod Lawson trading sweet and powerful vocals, and Eric Roberson's 'Grass Ain't Greener', as well as the stunning ballad 'That Would Be All' sung by noted New York singer-songwriter Gordon Chambers, and 'Colours', another exquisitely soulful cut featuring Lawson.

Among the impressive newer names are Broadway actor-singer Mykal Kilgore, who has recently appeared in 'Motown The Musical', with a vocal tour de force on 'Denial'.

Now living in New York, Greg has produced and written for many major artists in South Africa and has released albums for Universal under the GB Collective identity.
He is currently completing the writing of a stage musical, in collaboration with his
brother Shaun and the Nelson Mandela Foundation, about the life of Nelson Mandela.

* Remastered from the original tapes
* Essay by 'Punk Professor' Vivien Goldman, interviewing key players
* LP Includes download card for full album + 5 bonus tracks

In the course of three albums, Lizzy Mercier Descloux, the rogue poet, artist, and singer-songwriter, travelled on a musical voyage from Manhattan (1979 debut Press Color) to The Bahamas (1981 follow-up Mambo Nassau) and apartheid South Africa (1984's Zulu Rock) - a controversial cultural boycott in protest of the nation's racially divided society.

One place Descloux had never visited was the pop charts, but that changed when 'Mais Où Sont Passées Les Gazelles (Where Have The Gazelles Gone)' - a reworking of a South African Shangaan disco hit - went all the way to the top spot in her native France, giving her a platform and a profile in the land she'd fled many years before. Recorded at Satbel Studios in Johannesburg, the album followed what her mentor Michel Esteban describes as "an extraordinary adventure" through eastern Africa following the footsteps of 19th century poet Rimbaud through Sudan, Ethiopia, the East Coast.

A socially conscious person, Descloux wanted to use her music to draw some attention to the situation in South Africa, even obliquely, but there were musical motivations too - she was tapping into a hot and little-heard dance music in the aforementioned Shangaan disco, Soweto jive and mbaqanga, the style Malcolm McLaren had mined for his mash-up hit "Duck Rock" a year before.

The music of South Africa seduced, subsumed, and molded Lizzy, who sounds surer and more swinging than ever before throughout Zulu Rock, but credit must also go to British producer Adam Kidron, then best known for his work with Scritti Politti, who joined Esteban and Descloux for the entire African journey. Lizzy and Adam's was a battle of wills from the start, but his insistence on getting Lizzy to sing in a more conventional, tuneful way resulted in an emotional, ambitious, creative power struggle that delivered arguably her best vocals yet.

In Vivien Goldman's new liner notes for this reissue, Kidron says: 'My first impression of Lizzy was that she couldn't sing but that she had that crazy Madonna, Neneh Cherry, Nina Hagen attitude thing going on and a magical way with words — a marketer's gift for getting to the essence of a feeling or idea.' And for once, on this album, the marketing did itself.

* Remastered from the original tapes
* Essay by 'Punk Professor' Vivien Goldman, interviewing key players
* LP Includes download card for full album + 6 bonus tracks

After 1979's Press Color - reissued by Light In The Attic - Lizzy Mercier Descloux went tropical. Mambo Nassau, released in 1981 on Philips Records, saw the vagabond Parisian poet, artist and musician decamp from New York to the Bahamas with her manager and sometime lover, Michel Esteban.

The effect on her music was not as expected. Press Color had been an album of dissonant, distorted disco influenced by the New York no wave scene, but Chris Blackwell's Compass Point Studios provided a hermetically sealed environment into which the island's relaxed atmosphere did not seep. Instead, music from within those four walls - made by Tom Tom Club and Grace Jones - had the effect of a feedback loop. The album, meanwhile, reflected the growing confidence of Descloux as a musician, an increasing interest in African music and the input of two new collaborators: synthesizer innovator Wally Badarou and Jamaican engineer Steve Stanley, the album's de facto producer.

'Since 1975, we had spent seven years in New York and it felt like the end of a cycle,' says Esteban, who co-founded ZE Records, on which label Descloux's first album was released. 'We wanted to get out of Manhattan and move towards Africa. We needed new adventures and change. Mambo Nassau was our next stage.'

Mambo Nassau's skip through styles is like a tour of Lizzy's musical DNA, embracing not just mutant funk, disco and punk but a pastiche of Bavarian oompa music ('Milk Sheik') and even cocktail jazz chanson ('Les Baisers D'Amants"), a duet with DJ Philippe Krootchey.

Mambo Nassau did speak to the mavericks enamored of Lizzy's free spirit but it did not sell well. "We never were commercial," notes Esteban. The album is presented now with bonus tracks including "Mister Soweto", "Corpo Molli Pau Duro" and a cover of Bob Marley's 'Sun Is Shining', all of which were intended to help score a record deal that would allow her to record in Soweto, South Africa. It worked. With the follow-up, Zulu Rock, on the horizon, Descloux's African adventure was only just beginning...

In 2015 JUMP UP released the brilliant "FRIENDS ON BENEFITS" EP 7" from these UK 2 TONE ska darlings, hot on the heels of the vinyl pressing of the PRINCE FATTY produced debut "SOMEHOW WE MET". Now their debut 3 song 7" EP is available to fans worldwide. Last copies on the band's KILLER SKA label.

Like a lot of people during the aftermath of 9/11, Pernice Brothers'
band leader / pop songwriting genius Joe Pernice found himself contemplating
a drastic life change. The self-reflection pointed to a need
to rediscover the joy in things and hold on to them for dear life. This
all led to Pernice rounding up his dependable array of rock 'n' roll
cohorts (Thom Monahan, Peyton Pinkerton, Mike Belitsky, Laura
Stein, Bob Pernice) and recording a new album.
Written and conceived in the summer and fall of 2002, Yours, Mine
& Ours, the third Pernice Brothers album, may have been a joy to record,
but it's hardly a musical exercise in uplift. To quote the original
2003 press release, 'The record may share its title with a breezy, feelgood
Doris Day motion picture, but to quote the colossal talent that is
Rip Torn, 'This ain't that.''
Including modern power-pop classics such as 'The Weakest
Shade of Blue,' 'Baby in Two' and 'One Foot in the Grave,' Yours,
Mine & Ours received near-universal acclaim from critics with stellar
notices from both Pitchfork and The A.V. Club. The album also
ranked #22 on The Village Voice's 2003 Pazz and Jop poll.
This exclusive American Dust pressing is the first ever vinyl edition.
Limited to 500 copies on 'fireworks' splatter vinyl, it features
completely new, exclusive artwork by acclaimed artist Nathaniel
Russell.
'On Yours Mine & Ours, Pernice Brothers twist pop formula into
something smart and occasionally perverse.' —Pitchfork
'The kind of record fans of intelligent pop music played with real
emotion should purchase. Immediately.' —AllMusic
'It's impossible to avoid being swept away by Pernice Brothers' music.'
—The A.V. Club

'The group raises images of White Spanish missions with red tile roofs in old California, of Wells Fargo, of 1865 San Francisco political corruption and 1965 San Francisco purity still intact. In person Quicksilver Messenger Service is a musical mental movie of the West.'
- Village Voice review of the QMS live at Fillmore East, June 1968
As everyone knows, the Quicksilver Messenger Service at their peak in 1968 were one of the greatest live bands the world has ever seen. Rather than some foggy hearsay legend, proof of their prowess is available via a few live recordings fortunately preserved from oblivion. This one is a particularly devastating night at Fillmore East in June 1968.












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Mit - The Beacons Of Somewhere Sometime haben SUBSIGNAL ihren bislang vierten Longplay veröffentlicht. Nach einem Jahr intensiven Komponierens wurde das Album im Frühjahr 2015 von Markus Steffen, Arno Menses und Charly Czajkowski co-produziert. Die Keyboards wurden von Luca Di Gennaro (von der italienischen Band Soul Secret) übernommen, die Drums von Dirk Brand (u.a Axxis, Geoff Downes & John Wetton). Entstanden ist dabei ein knapp 70-minütiges Werk, dessen emotionale Tiefe im bisherigen Katalog der Band sicherlich ein Novum darstellt. Wenngleich es sich bei - The Beacons of Somewhere Sometime nicht um ein Konzeptalbum im klassischen Sinne handelt, durchziehen bestimmte, immer wiederkehrende musikalische Themen, die CD. Auf der textlichen Ebene befasst sich das Album mit den Themen Verlust und Trennung in ihren unterschiedlichsten Formen, dem Eintritt von unerwarteten und nicht steuerbaren Ereignissen.

Describing music of great power & great expanse as "cinematic" can be fitting, if perhaps overused. When it comes to the music of Tokyo's Sundays & Cybele - a Japanese band speaking the universal language of explosive, kaleidoscopic sound, for a result easily translated as both heavy & heavenly - it's incredibly appropriate. Sundays & Cybele seem always to be reaching for peak experience, demonstrated herein by lead guitar breaks that seems to merge the differences between Ash Ra Tempel & The Dead Boys into a single, illuminating whole where Orange amps threaten to explode in a transcendent array of colors.

VINYL ONLY RELEASE LIMITED TO 300 QTY. A certain self-awareness of the very question is at the heart of the WALL apparatus & listening along as they discover themselves throughout this EP is invigorating & scary. Tone & rhythm whirl together, like an emergency exit door choreographed to swing flawlessly in time to its damned & chaotic Pavlovian alarm bell. From the first rigid & cautious seconds of their EP, WALL unleashes an uncanny self-awareness that methodically slips pages ripped from demented No Wave legacies through a shredder of their own design.

Bigger, Better, Faster, More! is the only studio album released by Alternative Rock band 4 Non Blondes, released in 1992. The first single was Dear Mr. President', followed up by their biggest smash What's Up'.

4 Non Blondes formed in 1989 by bassist Christa Hillhouse, guitarist Shaunna Hall, drummer Wanda Day, and vocalist and guitarist Linda Perry. Prior to the release of their debut album, Roger Rocha replaced Hall on guitar, and Dawn Richardson replaced Day on drums. They hit the charts in 1993 with What's Up', their only major hit single. Perry left the band in 1994 to begin a solo career, and the remaining members disbanded shortly after.

Perry has since released solo work, produced and written songs on hit albums by Christina Aguilera, Alicia Keys, Pink, Gwen Stefani, Courtney Love and Kelly Osbourne.

The first official LP-reissue (on 180-GRAM VINYL!) of the second Krokodil album 'Swamp', presented in a gatefold sleeve with an embossed crocodile leather front cover. The printed inner sleeve offers many previously unpublished photographs. The album, originally issued by Liberty in 1970, features a great mixture of bluesy rock, psych/prog and kraut vibes. Recorded at Bavaria-Tonstudios, München, 1970.

After many years of putting out strictly vintage 60s-70s-80s reissues, the time has come for us to (re)start releasing albums from current bands we truly love.

We present New Records, a brand new Guerssen imprint. You know the kind of stuff we like, so the focus will be on 90s and beyond psychedelia, hard, folk, progressive, etc with many surprises to come. You can expect our usual attention to detail and nice artwork designs.

Our first release is a vinyl version with new artwork of the overlooked CD only album released in 2011 by Japanese band Khola Cosmica.

Hailing from Tokyo, Khola Cosmica are not your average 'stoner-rock' band. This brutal power trio play some of the most extreme, psychedelic doom proto-metal you can find. Long tracks featuring devastating, loud, in-your-face fuzz riffing, hypnotic drones and dark atmospheres destined to destroy your mind.

Best known as a member of the legendary ABBA and for her Phil Collins-produced solo album, Something's Going On, Swedish pop icon Frida celebrates her 70th birthday this fall. To honor the occasion, fellow Scandinavian and one of the most respected remixer of our era, Hans-Peter Lindstrøm, has remixed Frida's hit single, 'I Know There's Something Going On.' As a huge fan of the album, the Norwegian disco master was delighted to take part in the project.

Mannequin Records escavation into the archives of the Italian minimal synth of the early 80's continues. This time we are deeply honored to present the 1982-1983 demos tapes of Turin's Monuments, who released in 1984 their only official mini-LP 'Age', comprising six incredibly fantastic electro-pop tracks, which was already reissued by Mannequin back in 2013.
The Monuments came into being in January 1981 in Turin when Mauro Tavella (keyboards, programming) and Andrea Costa (keyboards, voice) pooled their artistic experiences. From the outset, they produced exclusively synthesized music, following the natural evolution in electronic music from the early days with monophonic synthesizers to the latest virtual sounds generated with the aid of computers.

Most of the tracks have been composed between the summer and autumn of 1982 in their own private recording studio TKS in Turin. Some they were made at the beginning of 1983 but only a song, 'Clock's room', was later arranged and entered fully into the mini-lp 'Age'.

***WAREHOUSE FIND LAST FEW COPIES REDUCED***Hot on the heels of 'Ruled by Passion, Destroyed by Lust', their debut album as The Asphodells, Andrew Weatherall and Timothy J. Fairplay have offered up the entire album for remixing by some established and emerging artists. The first of these to be released are by Wooden Shjips and Daniel Avery, neither of whom should need any introduction.

The Liverpool band's debut EP Pangea (derived from ancient Greek for whole of the earth) showcases Mike Ellis' ethereal vocals and occupying territory from Neu and Air to early Verve and Stone Roses. They un-doubtedly deliver a unique blend of styles which they are making their own. The EP starts with Coshh' - a melodic Kraut-rock juggernaut, lodged in lyrical realism and a howling lead line that stretches the senses. Followed by next track 'Air'- think funk meets electronica, in this tribal beat driven collage of sound.

Next up is 'Metropolis' - inspired by the 1920's silent classic 'Metropolis' using hip hop drums, gypsy guitar lines, medievall Gregorian vocals and bombastic solos to create something truly unique. Finally 'The Egg'- creates a feeling of isolation, using World War 2 style SOS sounds under a richly satisfy-ing chord progression, leading into a jam that continues to rise and rise.

'TURKISH ROCK, FUNK AND PSYCHEDELIC MUSIC OF THE 1960S AND 1970S'. This is the follow up to the first volume of 'Saz Beat', offering a second selection of mind blowing (and mind bending) tracks from Turkey's '60s and '70s scenes. Presenting styles ranging from Anatolian rock to psychedelic pop, and from oriental funk to far-out electrified folk, 'Saz Beat II' is another totally stunning collection. The LP is pressed in an edition of 500 copies and includes a neat fold-out poster.

Originally released in 1975 on the Birds Nest label, the sole album by boogie stompers AGNES STRANGE is an obscure hard rock gem that needed to be rediscovered. Formed in Southampton, UK in the mid 70's by Alan Green (bass), Dave Rodwell (drums), and John Westwood (guitar, vocals), AGNES STRANGE failed to reach any glory or fame, but their legacy made of heavy rock riffings, raw leads and tough attitude, with a spacey 'Hawkwind-esque' touch here and there, helped them reach cult status amongst 70's rock fanatics. Limited to 500 copies on 180 gram LP.

Howlin' Wolf is the third studio album from Chicago blues singer/guitarist/harmonica player Howlin' Wolf. It is a collection of six singles previously released by the Chess label from 1960 through 1962. Because of the illustration on its sleeve, the album is often called The Rockin' Chair Album, which was eventually adopted on subsequent pressings.

The album has had quite some influence on later musicians. In 1966, fellow Chess artist Koko Taylor recorded a cover version of Wang Dang Doodle' which reached #4 on the Billboard's R&B Charts and became a minor crossover hit. Earlier in 1963 Sam Cooke released a single of Little Red Rooster' making #7 on the R&B Singles chart and #11 on the Hot 100. In 1969 the songs Shake for Me' and Back Door Man' were used in the lyrics to the Led Zeppelin song Whole Lotta Love'.